What’s the deal with Renaissanc

e poetry?Way back in time…

15th-17th century1400-16001450-16001485-1600

During the “rebirth” or “reconstruction”, you would see a lot of this… Idealization of the beloved Rejection (Women) Romance Imagery Symbolism Metaphor Hyperbolic speech Figurative language Nature

An awakening of intellectual awareness:

John Donne Ben Johnson Edmund Spenser William Shakespeare John Milton Sir Philip Sidney

Who were the celebrities?

SonnetsTraditionally come in two types:

(1) The Italian (or Petrarchan) sonnet

An octave (eight lines) rhyming abbaabba

A sestet (six lines) of varying rhyme patterns such as: cdecde or cdccdc

Sir Thomas Wyatt- 1500s (into English)

became all the rage.

Sonnets (cont.) 2) English (or Shakespearean) sonnet

Three quatrains (sections of four lines, also called "staves"): abab cdcd efef

A concluding couplet (two rhyming lines): gg.

Early of Surrey and others- 1500s

** Last sestet/couplet illustrates change in direction/thought/emotion

Shakespearean Sonnet Simplest and most flexible pattern of

sonnets Ea. Quatrain has specific idea, but are

closely related Volta can be line 9 or in the couplet

Italian Sonnet The Italian sonnet is divided into two sections by two different groups of

rhyming sounds. The first 8 lines is called the octave and rhymes:

a b b a a b b a The remaining 6 lines is called the sestet and can have either two or three

rhyming sounds, arranged in a variety of ways:

c d c d c dc d d c d cc d e c d ec d e c e dc d c e d c

Never end with a couplet! (not permitted in Italy) Flexible pattern Change in rhyme pattern signifies change in subject, this turn is

called the VOLTA (where second idea is introduced)

Wait. .what about the Spenserian Sonnet? Edmund Spenser Spenserian sonnet – everything

similar to Shakespearean except rhyme pattern

a b a b // b c b c //c d c d //e e Very closely related to English sonnet Volta also typically at line 9 or couplet All three quatrains close in subject

matter

Edmund Spenser - Sonnet 75

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, Out love shall live, and later life renew.”

What is the rhyme pattern?

A) ABBA CDDC EFF GGB) AABB CCDD EEF GGC) ABAB CDCD EFEF GGD) ABAB BCBC DEDE FF

How to Interpret Poetry

Metaphysical Poetry Group of British poets in 17th cent. Concerned with religion (casuistic element) Donne-the perfection of beauty Unusual similes/metaphors Unrealistic imagery Strong sense of wit/humor Famous for introducing the conceitt Deeper meaning/allegory

Conceit Extended metaphor Complex logic Invites reader into a refined way of

understanding a comparison Juxtaposition/manipulation of images

“The Flea” Mark but this flea, and mark in this, How little that which thou deniest me

is ; It suck'd me first, and now sucks

thee, And in this flea our two bloods

mingled be. Thou know'st that this cannot be said A sin, nor shame, nor loss of

maidenhead ; Yet this enjoys before it woo, And pamper'd swells with one

blood made of two ; And this, alas ! is more than we

would do.

O stay, three lives in one flea spare, Where we almost, yea, more than married

are. This flea is you and I, and this Our marriage bed, and marriage temple is. Though parents grudge, and you, we're

met, And cloister'd in these living walls of jet. Though use make you apt to kill me, Let not to that self-murder added be, And sacrilege, three sins in killing three.

Cruel and sudden, hast thou since Purpled thy nail in blood of innocence? Wherein could this flea guilty be, Except in that drop which it suck'd from

thee? Yet thou triumph'st, and say'st that thou Find'st not thyself nor me the weaker now. 'Tis true ; then learn how false fears be ; Just so much honour, when thou yield'st to

me, Will waste, as this flea's death took life from

thee.

Where is the conceit?

Cavalier Poetry Secular topics (typically) Conversational style Natural speech and rhythm Regular rhyme pattern Also used conceits and metaphors Highly influenced by classical Greek and Roman literature Romantic love “Carpe Diem”- Horace Straightforward meaning