The sonnet, originally a “little song,” is a cornerstone of poetic form. While many forms exist, few possess the distinctive elegance and intricate structure of the Spenserian sonnet. Developed by Edmund Spenser, this variation on the classic sonnet form stands out from its contemporaries, like the Shakespearean and Petrarchan sonnets, through its unique rhyme scheme and the resulting lyrical effect. Understanding the spenserian form requires examining its structure, meter, and, most importantly, a prime example from the master himself.
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Edmund Spenser, known for his epic poem The Faerie Queene, was a poet deeply engaged with the poetic traditions that came before him, particularly Chaucer and the Italian masters. His approach to the sonnet form reflects this, blending English and Italian sensibilities. Unlike Shakespeare, who often acted as a dramatist first and poet second, Spenser approached poetry with the eye of a lyricist and storyteller. This temperament is evident in his sonnets, especially those collected in his sequence Amoretti.
Let’s delve into one of Spenser’s most celebrated sonnets from Amoretti, Sonnet 75, to illustrate the key features of the spenserian form:
One day I wrote her name upon the strand,
But came the waves and washed it away:
Again I wrote it with a second hand,
But came the tide, and made my pains his prey.
Vain man, said she, that doest in vain assay
A mortal thing so to immortalize,
For I myself shall like to this decay,
And eek my name be wiped out likewise.
Not so (quoth I), let baser things devise
To die in dust, but you shall live by fame:
My verse your virtues rare shall eternize,
And in the heavens write your glorious name.
Where whenas Death shall all the world subdue,
Our love shall live, and later life renew.
The Distinctive Structure of the Spenserian Sonnet
The most defining characteristic of the spenserian sonnet is its intricate rhyme scheme. Unlike the Shakespearean sonnet (ABAB CDCD EFEF GG) or the standard Petrarchan sonnet (ABBAABBA CDECDE or CDCDCD), the Spenserian form employs an interlocking rhyme scheme that creates a sense of continuous flow from one quatrain to the next.
The structure is composed of three quatrains followed by a final couplet, totaling 14 lines. The rhyme scheme is ABAB BCBC CDCD EE. Notice how the ‘B’ rhyme from the first quatrain becomes the linking rhyme for the second quatrain, and the ‘C’ rhyme from the second links the third. This creates a chain-like effect, propelling the reader through the poem with a sense of elegant connection rather than distinct, separated quatrains.
In Sonnet 75, the rhyme scheme is clearly displayed:
- Quatrain 1: strand (A), away (B), hand (A), prey (B)
- Quatrain 2: assay (B), immortalize (C), decay (B), likewise (C)
- Quatrain 3: devise (C), fame (D), eternize (C), name (D)
- Couplet: subdue (E), renew (E)
This interlocking structure contributes significantly to the lyrical, melodious quality often associated with spenserian sonnets. It feels less argumentative or dramatic than a Shakespearean sonnet and more like a smooth, unfolding meditation or narrative, reflecting Spenser’s inclination towards storytelling and lyricism.
While the Shakespearean sonnet builds towards a strong, often epigrammatic conclusion in its final couplet, the Spenserian sonnet’s couplet, while still providing closure, feels less abrupt due to the preceding interconnected rhymes. The ear is already guided through the linked quatrains, making the final two lines a culmination of an elegant progression rather than a sharp, decisive turn.
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Meter in Spenserian Sonnets
Like most English sonnets of the period, the spenserian sonnet is typically written in iambic pentameter. This meter consists of ten syllables per line, alternating between unstressed and stressed syllables (da-DUM da-DUM da-DUM da-DUM da-DUM).
Edmund Spenser is often regarded as one of the most consistent practitioners of iambic pentameter. His meter is frequently described as “doggedly iambic,” meaning he adhered very strictly to the pattern, taking fewer metrical risks or employing as many variations as a poet like Shakespeare might.
In Sonnet 75, the iambic pentameter is largely regular:
One day | I wrote | her name | upon | the strand,
But came | the waves | and wash|èd it | away:
Again | I wrote | it with | a sec|ond hand,
But came | the tide, | and made | my pains | his prey.
(Note the pronunciation of “washèd” as two syllables, common practice in 15th and 16th-century poetry to maintain the meter).
Spenser’s strict adherence to meter reinforces the sense of elegance and formal beauty in his work. It contributes to the musicality and polished nature of the spenserian sonnet, aligning with his preference for a more traditional and harmonically rich poetic landscape compared to Shakespeare’s often more rugged and dramatic lines.
Spenser’s Sonnet 75: Theme and Analysis
Spenser’s Sonnet 75, from his Amoretti sequence dedicated to his wife Elizabeth Boyle, explores a classic theme in Renaissance poetry: the power of verse to immortalize the beloved and their love. The sonnet presents a dialogue between the speaker (Spenser) and his beloved.
The first two quatrains establish the transient nature of worldly things. The speaker tries to write his beloved’s name on the beach, but the waves wash it away. This physical act symbolizes the ephemeral quality of life and beauty (“a mortal thing”). The beloved points this out, acknowledging her own eventual decay and the fading of her name. This exchange sets up the central conflict: the fleeting reality versus the desire for permanence.
The third quatrain presents the speaker’s resolution. He rejects the idea that their love and the beloved’s virtues are subject to such decay. Here lies the volta, or turn, although the transition feels smooth due to the interlocking rhyme scheme. The speaker asserts the power of his verse to “eternize” her virtues and “in the heavens write your glorious name.” This is a common conceit in Renaissance poetry, where poets boasted of their ability to grant immortality through their art.
The final couplet delivers the powerful conclusion, typical of the spenserian form. It provides a final assertion that transcends physical death. Their “love shall live, and later life renew” even after “Death shall all the world subdue.” The rhyme (subdue/renew) seals this promise of enduring love through poetry.
The analysis of Spenser’s Sonnet 75 showcases how the spenserian structure and meter work in concert with the theme. The interlocking rhymes smoothly connect the speaker’s actions, the beloved’s pragmatic response, and the speaker’s triumphant poetic declaration. The consistent iambic pentameter lends a steady, almost dignified rhythm to the argument, emphasizing the speaker’s conviction in the lasting power of his verse and their love.
Comparing Spenserian, Shakespearean, and Petrarchan Forms
Understanding the spenserian sonnet is often best achieved by comparing it to its famous cousins. While all are 14-line poems typically in iambic pentameter, their rhyme schemes create vastly different effects.
- Petrarchan (Italian) Sonnet: ABBAABBA CDECDE (or variations in sestet). This form emphasizes an octave (8 lines) presenting a problem, question, or situation, followed by a sestet (6 lines) offering a resolution or comment, marked by a clear volta between them. Its effect is often meditative and introspective. John Milton’s sonnets are prime examples of the Petrarchan form adapted for themes beyond idealized love.
- Shakespearean (English) Sonnet: ABAB CDCD EFEF GG. This form uses three distinct quatrains, each often developing a separate but related idea or image, culminating in a powerful, often dramatic or epigrammatic couplet. The volta typically occurs before the final couplet, delivering a sharp twist or summary. Shakespeare’s Sonnet 129, though lacking a traditional thematic turn between octave and sestet, showcases the dramatic intensity achieved through this structure and final couplet.
- Spenserian Sonnet: ABAB BCBC CDCD EE. As discussed, the interlocking rhymes create a smoother, more continuous flow. This form is less segmented than the Shakespearean and less distinctly bipartite (octave/sestet) than the Petrarchan. It lends itself well to narrative progression, detailed descriptions, and lyrical expression, embodying an elegant fusion of English and Italian poetic sensibilities.
The choice between these forms reflects the poet’s temperament and purpose. Spenser, the elegant lyricist and traditionalist, found in his unique interlocking rhyme scheme a perfect vehicle for the harmonious and enduring beauty he sought to capture in his verse.
Legacy of the Spenserian Sonnet
While the Shakespearean sonnet proved more popular and influential in later English poetry, the spenserian sonnet remains a significant and beautiful form. Poets occasionally return to it for its distinctive musicality and structural elegance.
The spenserian form, with its seamlessly linked quatrains leading to a concluding couplet, offers a unique challenge and opportunity for poets. It demands resourcefulness in rhyming and a skillful hand to manage the flow of thought across the linked sections. Spenser’s mastery in his Amoretti sequence demonstrates the profound artistic value achievable within this elegant structure, securing its place in the rich history of the English sonnet tradition. Exploring Spenser’s Sonnet 75 is a rewarding exercise for anyone seeking to appreciate the nuances and enduring beauty of the spenserian sonnet.