The Petrarchan sonnet, also known as the Italian sonnet, holds a distinguished place in the world of poetry. While Giacomo da Lentini is credited with its invention in the 13th century, it was Francesco Petrarca, known as Petrarch (1304-1374), who elevated the form to literary prominence. This article will explore the structure of the Petrarchan sonnet and provide examples from masters of the form across different eras.
Contents
- Understanding the Petrarchan Sonnet Structure
- Petrarchan Sonnet Examples Across the Centuries
- Petrarch: “O joyous, blossoming, ever-blessed flowers!”
- Sir Thomas Wyatt: “Whoso List to Hunt”
- Sir Philip Sidney: Sonnet 31 from Astrophil and Stella
- William Wordsworth: “The World Is Too Much with Us”
- Gerard Manley Hopkins: “The Windhover”
- The Enduring Legacy of the Petrarchan Sonnet
Understanding the Petrarchan Sonnet Structure
The Petrarchan sonnet’s distinct structure consists of fourteen lines divided into two parts: an eight-line octave (abbaabba rhyme scheme) and a six-line sestet (various rhyme schemes, such as cdecde or cdcdcd). A crucial element is the volta, a turn or shift in the poem’s argument or focus, typically occurring between the octave and the sestet. Traditionally, the octave presents a problem, theme, or question, while the sestet offers a resolution, reflection, or answer.
Petrarchan Sonnet Examples Across the Centuries
The Petrarchan sonnet, though originating in Italy, has resonated with poets across languages and centuries. Here are some notable examples:
Petrarch: “O joyous, blossoming, ever-blessed flowers!”
This sonnet exemplifies Petrarch’s mastery of the form, utilizing nature imagery to express his admiration for Laura, his idealized beloved. The octave describes the beautiful surroundings where Laura walks, while the sestet shifts to the poet’s envy of nature for its proximity to her.
O joyous, blossoming, ever-blessed flowers! ’Mid which my pensive queen her footstep sets;
O plain, that hold’st her words for amulets And keep’st her footsteps in thy leafy bowers!
O trees, with earliest green of springtime hours, And all spring’s pale and tender violets!
O grove, so dark the proud sun only lets His blithe rays gild the outskirts of thy towers!
O pleasant country-side! O limpid stream, That mirrorest her sweet face, her eyes so clear,
And of their living light canst catch the beam! I envy thee her presence pure and dear.
There is no rock so senseless but I deem It burns with passion that to mine is near.Sir Thomas Wyatt: “Whoso List to Hunt”
Wyatt, one of the earliest English sonnet writers, adapted the Petrarchan form to English. “Whoso List to Hunt” is believed to be inspired by his unrequited love for Anne Boleyn. The poem employs the metaphor of a hunt to depict the pursuit of an unattainable woman.
Sir Philip Sidney: Sonnet 31 from Astrophil and Stella
Sidney’s Astrophil and Stella is a significant sonnet sequence in English literature. In Sonnet 31, the speaker addresses the moon, expressing his lovesickness, a common Petrarchan theme.
William Wordsworth: “The World Is Too Much with Us”
Wordsworth, a Romantic poet, employed the Petrarchan form to express his lament about humanity’s disconnect from nature. The sonnet powerfully critiques materialism and celebrates the beauty of the natural world.
Gerard Manley Hopkins: “The Windhover”
Hopkins, known for his unique poetic style, crafted a Petrarchan sonnet that celebrates both the beauty of a kestrel and the glory of God. His distinctive language and sprung rhythm imbue the poem with a dynamic energy.
The Enduring Legacy of the Petrarchan Sonnet
These examples demonstrate the versatility and enduring power of the Petrarchan sonnet. From expressions of love and loss to reflections on nature and spirituality, the form has provided poets with a framework for exploring a wide range of human emotions and experiences. Its structured beauty and inherent capacity for expressing complex ideas continue to inspire poets today.