The two most common forms are the Italian (Petrarchan) sonnet, with the quatrains patterned abab abab or abba abba and the tercets cdc dcd or cde cde, and the French sonnet, with the pattern abba abba and ccd eed or ccd ede. In the quatrains only two rhymes are repeated, and in the tercets, two or three. Mikics, The Art of the Sonnet (2010).Ī fixed verse form a poem of 14 lines grouped into two quatrains and two tercets. American poets noted for their sonnets include Longfellow, E. Poets such as Elizabeth Barrett Browning, the Rossettis, and George Meredith in the 19th cent. the sonnet again achieved popularity in the poetry of Wordsworth and Keats. Around the time of Milton's great sonnets, the use of the form began to decrease, but with the advent of romanticism in the early 19th cent. Innumerable sonnets and sonnet sequences appeared in Elizabethan England, notably by Sidney, Spenser, and Shakespeare. The sonnet came into prominence in Germany during the romantic period in the work of Goethe, Schlegel, Heyse, and others. The form was introduced into Spain by Almogáver, into Portugal by Camões, into France by Saint-Gelays and Marot, and into England by Wyatt and Surrey. In Italy, where it was cultivated during the Renaissance, it achieved great expression in the work of Petrarch, Dante, Tasso, and Michelangelo. The sonnet is generally believed to have developed from medieval songs. Variations of these schemes occur, notably the Spenserian sonnet, after Edmund Spenser (rhyming abab bcbc cdcd ee). There are two prominent types: the Italian, or Petrarchan, sonnet, composed of an octave and a sestet (rhyming abbaabba cdecde), and the Elizabethan, or Shakespearean, sonnet, consisting of three quatrains and a couplet (rhyming abab cdcd efef gg). Shakespeare’s sonnets are more varied than those of any other sonneteer: in some he accepts the convention, in others he rejects it entirely and in others again his attitude is of a highly ambiguous irony.Sonnet, poem of 14 lines, usually in iambic pentameter, restricted to a definite rhyme scheme. more than grand statements and certainties, they express “possibilities”, human weaknesses, the glorification of human beauty in spite of its transience. These themes are often presented in a dramatic way, thus revealing that they were the product of a dramatist.
The collection deals with disparate themes: marriage and procreation, beauty and narcissism, time and art’s ability to confer immortality. The sonnets of the second group are addressed to a mysterious “Dark lady”, a lady whom the poet loved at first with passionate devotion, realizing later that she had only taken a brief fancy to him. The first group of sonnets (from I to CXXVI) is dedicated to a “Fair Youth”, probably the Earl of Southampton or the Earl of Pembroke who were both his friends and patrons. Shakespeare’s collection has no precise narrative or sequential ordering. Sonnet sequences were very popular in the Elizabethan Age and they dealt with love and religious subjects. This form was extremely suitable to give dramatic shape to a syllogism: a premise, a second premise, a conclusion and an ironic or simply concluding couplet. They follow the Elizabethan structure: three quatrains and a couplet, rhyming ABAB CDCD EFEF GG, later called Shakespearean Sonnet. They do not follow the traditional structure called Petrarchan or Italian sonnet (two quatrains and three tercets) so popular at that time. Shakespeare wrote a collection of 154 sonnets, written principally between 15 but not published until 1609.
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