The Spenserian sonnet, distinguished by its interlocking rhyme scheme (abab bcbc cdcd ee), often stands in the shadow of its Shakespearean and Petrarchan counterparts. While Edmund Spenser’s Amoretti sequence remains the most famous example, the form boasts a rich history beyond Spenser, particularly within Scottish literature. This article explores the Spenserian sonnet’s origins, its evolution, and its enduring appeal, showcasing examples from various poets across centuries.
Contents
Edmund Spenser, the poet most associated with the Spenserian sonnet.
The Scottish Connection
Surprisingly, during the sonnet’s 16th and early 17th-century heyday, more Scottish than English poets embraced the Spenserian form. Influenced by Petrarch and Surrey (the architect of the Shakespearean sonnet), Scottish poets adopted the abab bcbc cdcd ee rhyme scheme as their standard. This prevalence justifies considering the Spenserian sonnet as the “Scottish sonnet,” much like the Shakespearean sonnet is the “English sonnet.”
The first published Spenserian sonnets appeared in Edinburgh in King James VI’s Essays of a Prentice in the Divine Art of Poesy (1584-1585). Included were sonnets by the Hudson brothers, marking the first published Spenserian sonnets by Englishmen, predating even Spenser’s own published work in the form.
Spenserian Voices Through Time
Beyond Spenser, numerous poets have explored the potential of the Spenserian sonnet. Here are a few notable examples:
Alexander Montgomery (died 1598)
Potentially the originator of the form, Montgomery masterfully employed variations like the double Spenserian and the “Spenserian forte” (abab bcbc cdcd dd), as seen in his defiant “That He Wrought Not Against the Maidens of Edinburgh.” His skillful use of alliteration and precise word placement elevates the traditional “flyting” into a powerful defense of honor.
King James VI of Scotland (1566–1625)
James VI’s Essays of a Prentice contains a sequence of Spenserian sonnets where he invokes classical gods to bless his poetic endeavors. His seventh sonnet vividly depicts a tumultuous sea voyage, skillfully utilizing imagery and symbolism related to both Neptune and the Christian Trinity.
King James VI of Scotland, also a Spenserian sonnet writer.
William Fowler (c.1560–1612)
Fowler’s Tarantula of Love sequence features sonnets exploring the complexities of love amidst a plague outbreak. Tarantula of Love XXVII starkly juxtaposes the horrors of disease with the consuming power of love, using evocative imagery and apocalyptic allusions.
William Fowler, a Spenserian sonneteer.
Henry Lok (c.1553–1608 or after)
Lok’s Sundry Christian Passions includes a series of Spenserian sonnets reflecting religious themes. Sonnet VI reimagines the Prodigal Son narrative, effectively using the sonnet’s structure and rhyme scheme to highlight the son’s journey from youthful folly to repentance.
Samuel Daniel (1562–1619)
Daniel’s Delia sequence incorporates Spenserian sonnets that offer a nuanced perspective on unrequited love. His skillful use of repetition and subtle argument transforms a potentially clichéd theme into a sophisticated exploration of honor and desire.
Later Spenserian Poets
The Spenserian sonnet continued to attract poets across centuries. Thomas Edwards (1699–1757) helped revive the sonnet in the 18th century, while William Thompson (1712–1766) experimented with variations in line length. Thomas Stott (1755–1829) used the form for humorous verse, and Thomas Hood (1799–1845) offered a poignant reflection on death. William Cullen Bryant (1794–1878), a prominent American poet, engaged with the theme of mutability in his Spenserian work.
William Cullen Bryant, American Romantic poet who wrote Spenserian sonnets.
The Modern Revival
The 20th and 21st centuries have witnessed a renewed interest in the Spenserian sonnet. Poets like Robert B. Parker, Roddy Lumsden, Margaret I. Gibson Bates, Sherman Alexie, and Leigh Harrison have all contributed to the form’s continued evolution, demonstrating its enduring adaptability. Online platforms have further facilitated this revival, with numerous contemporary poets exploring the Spenserian sonnet’s possibilities.
Conclusion
The Spenserian sonnet, though often overlooked, offers a unique and rewarding challenge for poets. Its intricate rhyme scheme and historical resonance provide fertile ground for creative expression. From its Scottish roots to its modern resurgence, the Spenserian sonnet continues to flourish, enriching the landscape of English poetry.