Sonnets, those elegant 14-line poems, have captivated readers for centuries. From Shakespeare’s romantic verses to Milton’s powerful pronouncements, the sonnet form has proven remarkably adaptable. But beneath the surface of these seemingly simple poems lies a world of intricate structures and fascinating history. This article will delve into the core components of a sonnet, exploring the various sonnet structures, examining examples, and providing insights into what distinguishes each form.
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Understanding the Sonnet: A Brief History
The sonnet, meaning “little song” in Italian, originated in 14th-century Italy with Francesco Petrarch. Traditionally written in iambic pentameter, a rhythmic pattern of ten syllables with alternating unstressed and stressed beats, the sonnet features a volta, a crucial turn or shift in thought or emotion, typically near the poem’s end. This turn adds depth and complexity, often presenting a resolution, counterargument, or a change in perspective.
Petrarchan and Shakespearean Sonnets: Two Pillars of the Form
Two dominant sonnet structures have emerged: the Petrarchan (Italian) and the Shakespearean (English). While both adhere to the 14-line rule and often employ iambic pentameter, they differ significantly in their rhyme schemes and the placement of the volta.
The Petrarchan Sonnet
The Petrarchan sonnet is divided into two parts: an octave (eight lines) and a sestet (six lines). The octave typically follows an abbaabba rhyme scheme, establishing the poem’s central theme or problem. The volta occurs between the octave and sestet, introducing a shift in thought or feeling. The sestet’s rhyme scheme can vary, often cdecde or cdcdcd, offering a response, resolution, or reflection on the octave’s theme.
Elizabeth Barrett Browning’s “How Do I Love Thee? (Sonnet 43)” exemplifies the Petrarchan form:
How do I love thee? Let me count the ways. (a)
I love thee to the depth and breadth and height (b)
My soul can reach, when feeling out of sight (b)
For the ends of being and ideal grace. (a)
I love thee to the level of every day’s (a)
Most quiet need, by sun and candle-light. (b)
I love thee freely, as men strive for right; (b)
I love thee purely, as they turn from praise. (a)
I love thee with the passion put to use (c)
In my old griefs, and with my childhood’s faith. (d)
I love thee with a love I seemed to lose (c)
With my lost saints. I love thee with the breath, (d)
Smiles, tears, of all my life; and, if God choose, (c)
I shall but love thee better after death. (d)
The Shakespearean Sonnet
The Shakespearean sonnet comprises three quatrains (four-line stanzas) and a concluding couplet (two lines). The rhyme scheme is abab cdcd efef gg. Each quatrain typically develops a specific aspect of the poem’s theme, with the volta occurring before the final couplet, which provides a concise summary or impactful conclusion.
Shakespeare’s Sonnet 18, “Shall I compare thee to a summer’s day?” demonstrates this structure:
Shall I compare thee to a summer’s day? (a)
Thou art more lovely and more temperate. (b)
Rough winds do shake the darling buds of May, (a)
And summer’s lease hath all too short a date. (b)
Sometime too hot the eye of heaven shines, (c)
And often is his gold complexion dimmed; (d)
And every fair from fair sometime declines, (c)
By chance, or nature’s changing course, untrimmed; (d)
But thy eternal summer shall not fade, (e)
Nor lose possession of that fair thou ow’st, (f)
Nor shall death brag thou wand’rest in his shade, (e)
When in eternal lines to Time thou grow’st. (f)
So long as men can breathe, or eyes can see, (g)
So long lives this, and this gives life to thee. (g)
Title page for Shakespeare’s sonnet collection, first published in 1609
Exploring Other Sonnet Structures
Beyond the Petrarchan and Shakespearean models, other sonnet structures have emerged, each with its own distinct characteristics:
- Spenserian Sonnet: Developed by Edmund Spenser, this form links the quatrains through a chain rhyme scheme: abab bcbc cdcd ee.
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- Miltonic Sonnet: While adhering to the Petrarchan rhyme scheme, Miltonic sonnets, named after John Milton, often employ enjambment, carrying a sentence or phrase across lines without punctuation.
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Terza Rima Sonnet: This form utilizes interlocking three-line stanzas with a chain rhyme scheme ( aba bcb cdc ded aa).
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Curtal Sonnet: Invented by Gerard Manley Hopkins, this shortened sonnet maintains the proportions of the Petrarchan sonnet but compresses the lines, resulting in a 10.5 or 11-line poem with a unique rhyme scheme and sprung rhythm.
Conclusion: The Enduring Appeal of Sonnet Structures
The sonnet, with its diverse structures, continues to fascinate and inspire poets and readers alike. Whether exploring love, loss, or the complexities of the human condition, the constraints of the sonnet form offer a framework for concentrated expression and profound artistic exploration. By understanding the nuances of each sonnet structure, we can gain a deeper appreciation for the artistry and enduring power of these “little songs.”