The sonnet, a poetic form both ancient and enduring, continues to captivate readers and writers alike. Derived from the Italian word sonetto, meaning “little song,” its origins trace back to the 13th-century Italian court. While Giacomo da Lentini is credited with its invention, it was Francesco Petrarca (Petrarch) who first brought the sonnet to prominence. Later, during the Elizabethan era, the sonnet crossed the English Channel, finding a passionate advocate in William Shakespeare, who solidified the 14-line iambic pentameter structure we recognize today.
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The Building Blocks of a Sonnet: Rhyme, Meter, and Volta
The sonnet’s tightly structured rhyme scheme and consistent meter create an inherent musicality. Paradoxically, it’s also considered the first poetic form intended for silent reading, a “lyric of self-consciousness,” as described by Paul Oppenheimer. This duality is reflected in the sonnet’s two-part structure: the proposition and the resolution, divided by the volta, or turn. This allows the poem to present a problem or question in the first section, only to resolve or reframe it in the second.
The fundamental elements of a traditional sonnet are:
- 14 lines: This fixed length contributes to the sonnet’s concentrated power.
- Iambic pentameter: Each line consists of five iambs (metrical feet with an unstressed syllable followed by a stressed syllable), creating a rhythmic pulse.
- Rhyme scheme: Two primary rhyme schemes exist:
- Petrarchan (Italian): ABBAABBA CDECDE or ABBAABBA CDCDCD
- Shakespearean (English): ABAB CDCD EFEF GG
Petrarchan vs. Shakespearean: Structure and Impact
The Petrarchan sonnet is divided into an octave (eight lines) and a sestet (six lines), while the Shakespearean sonnet comprises three quatrains (four-line stanzas) and a concluding couplet. The volta marks the transition to the final section in both forms.
This structural difference influences how poets develop their themes. The Petrarchan sonnet, with its distinct octave and sestet, often presents contrasting ideas or explores a problem and its resolution. Shakespeare’s structure, with its building quatrains and culminating couplet, allows for a layered exploration of a theme, culminating in a final, often epigrammatic statement.
The Sonnet as a Cell: Constraint and Transcendence
The sonnet’s strict structure is often likened to a cell, a confined space within which the poet must work. Yet, the best sonnets transcend these limitations. The poet’s voice bends the form to its will, creating meaning through the interplay of constraint and expression.
Love in Sonnets: Shakespeare and Millay
Love is a frequent theme in sonnets. Shakespeare’s “My Mistress’ Eyes are Nothing like the Sun” subverts traditional love poetry tropes, praising unconventional beauty. Edna St. Vincent Millay’s “What lips my lips have kissed, and where, and why” explores the bittersweet ache of fading memories. Both poems exemplify the sonnet’s capacity to explore complex emotions within a structured framework.
Modern Sonnets: Breaking the Mold
Modern poets continue to experiment with the sonnet form, stretching its boundaries while retaining its essence. Gerard Manley Hopkins’s “Carrion Comfort,” with its sprung rhythm and extended lines, and Dawn Lundy Martin’s “[When the bed is empty…],” with its slant rhymes and irregular line lengths, demonstrate the sonnet’s adaptability.
Beyond Fourteen Lines: Sonnet Sequences and Crowns
For poets who desire a larger canvas, sonnet sequences and crowns offer extended explorations. A sequence is a series of connected sonnets, while a crown links sonnets by repeating the last line of one as the first line of the next, with the final sonnet’s last line echoing the first sonnet’s opening.
The sonnet, despite its age, remains a vibrant and adaptable form. Its structured nature provides a framework for exploring a wide range of themes and emotions, while its inherent flexibility allows poets to push boundaries and make the form their own. Whether adhering to traditional structures or experimenting with new variations, poets continue to find inspiration within the sonnet’s fourteen lines.