sonnets - david-glen smith• the sonnets will immortalize the beloved on earth • idolatry and in...
TRANSCRIPT
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Sonnets
2
Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Historical Overview
• evolvedovercenturies;enduredforover700years
• originallydevisedasalyric,developedinsouthernFrance,northernItaly
• thetermmeanslittlesonginItalian
Defined
• thesonnetisapoemcomposedwitharecognizedformula(rhyme/meter)
andisconcernedwithasingletheme,whichsometimestwiststo
asecondarytheme
• traditionalseenwith14lines,iambicpentameter,andavolta(aturnorshift)
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Types of Sonnets
Becauseofitspopularity,thepoemhastransformedovertime,retaining
importantcategorizingelements,yetmetamorphosingsomecomponents.
•Italiansonnet > orPetrarchansonnet
•Englishsonnet > orShakesperiansonnet
•Spenseriansonnet
•Blanksonnet(modern)
No matter the type of sonnet:
•Boththeoctaveandthesestetmustcontainparallelthemesortwostories
whichrelatetooneanother.
• Typicallytheoctavepresentsasituation,event,image,orgeneralization
andthesestetpresentsareflectionormeditationontheprevioussection,
areaction,oraresult.
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Basic Characteristics of Traditional Sonnet
•fourteenlines
•chosenrhymeschemeandstrategicmeter
•aturnorshiftintheme(referredtoasthevolta)
Important Terms
•octave eightlines ||Forsonnetsthefirsteightlinescarryatheme.
•sestet sixlines ||Theremainingsixlinescantwistthetheme.
•tercet threelines
•quatrain fourlines
•couplet twolines
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Francesco Petrarch (July20,1304–July19,1374)
ItisoftensuggestedthatFrancescoPetrarchcreatedthesonnetform,—however
itismoreappropriatetosayhepopularizedtheformduringhislifetime
• heisknownastheFatherofHumanism
•notallowedtomarryduetoclericaldutieswiththeRomanCatholicChurch
• itisbelievedhefatheredtwochildrennonetheless
• wasaEuropeancelebrityfromhisearlywritingsinLatin
• diedofthePlagueinhislatesixties
• heestablishedcommonthemesinthesonnetformwhichbecametraditional
elementsforhundredsofyears
• hisfullcollectionconsistsof317sonnetsdedicatedtoawomansimply
named:Laura
}
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Petrarch’s Italian Sonnet: Themes Expressed in his poems • sonnetsmustbewrittenaboutaBeloved • thePoet-writermustbeobsessedwiththeBeloved;hewoulddoanythingforher • thePoet’sloveissogreatheeventuallybecomessickwithwant • itisacknowledgedthatloveisatrial;afrustrationforthePoet • thePoetfallsinloveatfirstsightoftheBeloved • theBelovedcannotbenamedinthework;theyaregivenasecretname tohidetheirtrueidentity;thePoetwillmakepunsoutoftheBeloved’sname • theBelovedisunattainable,eitherbecausetheyarealreadybetrothed ortheyarenotinterestedinthePoetatall • theBelovedisanintensebeauty,anIdealexampleofthePerfectWomanlivingin theMaterialWorld;theBelovedissobeautifulandmoralsheislovedevenbyHeaven; • insomecases,(aswithPetrarch)theBelovedisfatedtodieanearlydeath (ThisallowsfurthercreationofsonnetscommentingontheMaterialWorld’sloss.) • thesonnetswillimmortalizetheBelovedonearth • idolatryandinsomecasesintensesensualityanderoticallusions • Roman/Greekdeitiesareshownfrequentlyintheseworks,specifically Venus(Aphrodite)andCupid(Eros)duetotheircontroloverlove.
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
The various themes and images utilized by Petrarch are referred to as
Petrarchan conceits.
Thesearestillusedtodayinvariousways,evenbypopsingers.
• acommonconceitistheimageofaloverindespairoverrejection
• thepoet-speakerisshownasahumble,willingservantorslaveoftheBeloved
• theBelovedisblonde,blue-eyed,paleskin,andbrightredcheeksandlips;
sheisdescribedthroughstereotypeandnotrealisticmetaphors
• whenover-used,aconceitbecomescliché,expected
To simplify, these poems can appear, when poorly written, over-dramatic,
pathos driven, scenes filled with heaving bosoms, and self-centered whining.
When well-crafted, the poems share a common story of lost love with the reader.
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
The Form’s Popularity
• considertheseaspop-songsoftheirday
• Petrarch’spoemswerecomposedinacommonvernacularofItalian,
nottheacademicLatin
• thisallowshisworktobeaccessibletotheaverageperson
• likewise,Petrarch’smainthemedealswiththepsychologyofaspurnedlover,
aconceptanyonecanrelateto,nomatterwhatsocialclassoroccupation
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Sonnet Sequence
ThroughPetrarch’sfullcollectionofpoemstheconceptofasonnet sequence
wascreated:numerouspoemsbridgedtogetherwithacommonstoryline.
• Apopularformofwritingevenin16thCenturyEngland,200yearslater.
• Itiscrucialtofocusontheunityoftheworkasawhole.
• Thesequenceisapublicdeclarationofanartist’sdevotiontoaBeloved.
• Theoriginalintentionwasnottojustreadoneofthesepoemsrandomlyout
ofsequence,butrathertoreadtheentirecollectionfrombeginningtoend
toseethetransformationofthecharactersandtoseeastoryunfold.
• HismanuscriptisreferredtoasRime Sparse, inEnglish:Scattered Rhymes.
• Alsocalled:Canzoniere
• Thepoemsarearrangedasifcomposedinchronologicalorder,butrecent
studieshaveshownthathewrotethemoutofpropersequence.
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
The Story within Rime Sparse
• inPetrarch’spoems,thebelovedisnamedLaura
• hewroteover366poemstoher,317aresonnets
• thecollectionevolvestoincludethemesofbereavementoverheruntimely
death,andthelostpossibilitiestobewithher,andmemoriesofherbeauty
• ablurringoffictionandrealityoccurhereaswell;itiscurrently
acknowledgedthatshemorethanlikelyneverexisted:
>heclaimsshewasarealpersonhesawatachurchonApril6,1327
>fellinloveinstantly
>shediedonEasterSunday,April6,1348bythereckoningatthattime.
• hisloveforherwasunreciprocated;heindicatesLaurawasalreadymarried
• itisunknownifthetwoeveractuallyspokefacetoface(ifshereallyexisted)
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
}
}
octave: in this case composed of two quatrains
sestet:in this case composed of two tercets
The Italian Rhyme Scheme
A A
B B
B A
A B
A A
B B
B A
A B
C C C
D D D
E C C
C C D
D D C
E C D
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Francesco Petrarch(July1304-July1374)
fromRime Sparse original Italian
1
Voich’ascoltateinrimesparseilsuono
diqueisospiriond’ionudriva‘lcore
insulmioprimogiovenileerrore
quand’erainpartealtr’uomdaquelch’i’sono,
delvariostileinch’iopiangoetragiono
fralevanesperanzee‘lvandolore,
ovesiachiperprovaintendaamore,
sperotrovarpietà,nonchéperdono.
Mabenveggioorsícomealpopoltutto
favolafuigrantempo,ondesovente
dimemesdesmomecomivergogno;
etdelmiovaneggiarvergognaè‘lfrutto,
e‘lpentersi,e‘lconoscerchiaramente
chequantopiacealmondoèbrevesogno.
English translation
1
Youwhohearthesound,inscatteredrhymes,
ofthosesighsonwhichIfedmyheart,
inmyfirstvagrantyouthfulness,
whenIwaspartlyotherthanIam,
Ihopetofindpity,andforgiveness,
forallthemodesinwhichItalkandweep,
betweenvainhopeandvainsadness,
inthosewhounderstandlovethroughitstrials.
YetIseeclearlynowIhavebecome
anoldtaleamongstallthesepeople,sothat
itoftenmakesmeashamedofmyself;
andshameisthefruitofmyvanities,
andremorse,andtheclearestknowledge
ofhowtheworld’sdelightisabriefdream.
takenfrom:http://petrarch.petersadlon.com/canzoniere.html trans:A.S.Kline
A
B
B
A
A
B
B
A
C
D
E
C
D
E
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Sonnet One from Rime Sparse
• themainthemeoffullcollectionisexpressedinopeningpoem:
>astroyofunrequitedlove
>thepoetissufferingfromremorse
>—andheisindespairfromfailuresinlove
• establishesintroductiontostoryofafailedloveaffair,twentyyearsprior
• thispoemactsasthethesisofthefullsonnetsequence
• Poetislove-lornandfoolish
• thereaderisshownaswise,knowledgeableinlove
• Poetisshownasridiculedbysociety,anobjectofgossip
• themainpointisrevealed:theworldistemporal
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Francesco Petrarch
3
Itwasonthatdaywhenthesun’sray
wasdarkenedinpityforitsMaker,
thatIwascaptured,anddidnotdefendmyself,
becauseyourlovelyeyeshadboundme,Lady.
Itdidnotseemtometobeatimetoguardmyself
againstLove’sblows:soIwenton
confident,unsuspecting;fromthat,mytroubles
started,amongstthepublicsorrows.
Lovediscoveredmeallweaponless,
andopenedthewaytotheheartthroughtheeyes,
whicharemadethepassagewaysanddoorsoftears:
sothatitseemstomeitdoeshimlittlehonour
towoundmewithhisarrow,inthatstate,
henotshowinghisbowatalltoyouwhoarearmed.
takenfrom:http://petrarch.petersadlon.com/canzoniere.html trans:A.S.Kline
Francesco Petrarch
5
WhenIuttersighs,incallingouttoyou,
withthenamethatLovewroteonmyheart,
thesoundofitsfirstsweetaccentsbegin
tobeheardwithinthewordLAUdable.
YourREgalstate,thatInextencounter,
doublesmypowerforthehighattempt;
but:‘TAcit’,theendingcries,‘sincetodoherhonour
isforothermen’sshoulders,notforyours’.
So,wheneveronecallsouttoyou,
thevoiceitselfteachesustoLAUd,REvere,
you,O,ladyworthyofallreverenceandhonour:
exceptperhapsthatApolloisdisdainful
thatmorTAltonguecanbesopresumptuous
astospeakofhiseternallygreenbranches.
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Sir Thomas Wyatt (1503–11October1542)
IscreditedforintroducingtheItaliansonnettotheEnglish
• sometimescreditedasestablishingthemodernliterarytraditioninEngland,
pickingupwhereGeoffreyChaucerleftofffromtheFourteenthCentury
• likeChaucer,WyattisinterestedintheItalianRenaissance,usingaspects
oftheircultureforthedevelopingEnglishartsmovement
• likePetrarch,WyattisinterestedintheAncientClassicalperiod,usingthe
poetryandproseofthattimeasameansofembellishingthecurrentliterature
• keepinmind,heismainlyconsideredanobleman,diplomat,andcourtierof
HenryVIII’scourt;poetryandartswereasecondaryactivity,ahobby
• hispoetryandtranslationswerenotpublisheduntilafterhisdeath
• oftenheemployedaliterarytechniquecalledimitatio,whichmeans
emulationorimitationofanotherarist’swork;inthisfashion,apoetmay
“borrow”animageorphrasefromanotherwriter,thentwisttheconcept
intosomethingnew
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
In his own work or in translations he promotes the Petrarchan model.
WyattusesPetrarchasaprototypefortheEnglishpoem.
• typicalPetrarchanconceitsappearfrequently:
>loveasahuntingtrip,thefemalefigureasadoe
>loveasashiponastormysea
• particularlyinhisimitatioverseshewillmaintaintheoriginalintentionsofthe
work,rarelydivergingawayfromtheprimarysource
• attimeshewillutilizeanexperimentalsonnetrhymescheme:
ABBACDDCEFFEGG
whichrefigurestheclosingsestetwitha quatrain and a couplet,ratherthan
twotercets
• duetohistimeperiodinhistory,hislanguageandspellingareout-dated
totheaveragereader;however,withpatience,hisworkcanbeaccessible
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
The Italian Rhyme Scheme
A A
B B
B A
A B
A A
B B
B A
A B
C C C
D D D
E C C
C C D
D D C
E C D
Wyatt Rhyme Schemes
A A
B B
B B
A A
A C
B D
B D
A C
C C E
D D F
D C F
C D E
E G
E G
(when experimenting)
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Francesco Petrarch(July1304-July1374)
fromRime Sparse original Italian
189
Passalanavemiacolmad’oblio
peraspromare,amezzanotteilverno,
enfraScillaetCaribdi;etalgoverno
siede‘lsignore,anzi‘lnimicomio.
Aciascunremounpenserprontoetrio
chelatempestae‘lfinparch’abbiascherno;
lavelarompeunventohumidoeterno
disospir’,disperanze,etdidesio.
Pioggiadilagrimar,nebbiadisdegni
bagnaetrallentalegiàstanchesarte,
chesond’errorconignorantiaattorto.
Celansiiduomeidolciusatisegni;
mortafral’ondeèlaragionetl’arte,
talch’incomincioadesperardelporto.
Modern English translation
189
Myship,fullofoblivion,sails
onabittersea,atwinter’smidnight,
betweenScyllaandCharybdis:atthehelm
sitsthatLord,orrathermyenemy.
Ateachoarthere’sacrueleagerthought,
thatscornsthetempestanditsend:
thesail’stornbyaneternalmoistwind
ofsighs,ofhopes,andofdesire.
Arainoftears,amistofdisdain
drenchandslackenthealreadytiredshrouds,
wovenfromerrorandignorance.
Mytwousualguidinglightsaresohidden:
reasonandartsodrownedbythewaves,
thatIbegintodespairoffindingharbour.
takenfrom:http://petrarch.petersadlon.com/canzoniere.html trans:A.S.Kline
A
B
B
A
A
B
B
A
C
D
E
C
D
E
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06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Francesco Petrarch
Modern English translation (A.S. Kline)
189
Myship,fullofoblivion,sails
onabittersea,atwinter’smidnight,
betweenScyllaandCharybdis:atthehelm
sitsthatLord,orrathermyenemy.
Ateachoarthere’sacrueleagerthought,
thatscornsthetempestanditsend:
thesail’stornbyaneternalmoistwind
ofsighs,ofhopes,andofdesire.
Arainoftears,amistofdisdain
drenchandslackenthealreadytiredshrouds,
wovenfromerrorandignorance.
Mytwousualguidinglightsaresohidden:
reasonandartsodrownedbythewaves,
thatIbegintodespairoffindingharbour.
A
B
B
A
A
B
B
A
C
D
E
C
D
E
English imitatio (Thomas Wyatt)
(seepage669in Longmanforfurthercomparison)
Mygalychargedwithforgetfulnes
Thorroughsharpeseesinwynternyghtesdothpas
TweneRockandRock;andekemynennemy,Alas,
Thatismylorde,sterithwithcruelnes;
Andeveryowreathoughtinredines,
Asthothatdethwerelightinsucheacase.
Anendleswynddoethterethesaylapase
Offorcedsightesandtrustyferefulnes.
Araynofteris,aclowdeofderkdisdain,
Hathdonetheweredcordesgreathinderaunce,
Wrethedwitherrourandekewithignoraunce.
Thestarresbehidthatledmetothispain;
Drownedisreasonthatshouldmeconsort,
AndIremaindisperingoftheport.
A
B
B
A
A
B
B
A
C
D
D
C
E
E
Wyatt,SirThomas.The Essential Wyatt. SelectedbyW.S.Merwin. NewYork:EcoPress,1989.Print.
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06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Francesco Petrarch
English translation (A.S. Kline)
190
Apurewhitehindappearedtome
withtwogoldhorns,ongreengrass,
betweentwostreams,inalaurel’sshade,
atsunrise,intheunripeseason.
Heraspectwassosweetandproud
Ileftallmylabourtofollowher:
asamiser,insearchoftreasure,
makeshistoilloseitsbitternessindelight.
‘Touchmenot,’indiamondsandtopaz,
waswrittenroundaboutherlovelyneck:
‘itpleasedmyLordtosetmefree.’
Thesunhadalreadymountedtomid-day,
myeyesweretiredwithgazing,butnotsated,
whenIfellintowater,andshevanished.
A
B
B
A
A
B
B
A
C
D
D
C
E
E
English imitatio (Thomas Wyatt)
(seepage668in Longmanforcomparison)
Whosolisttohunt,Iknowewhereisanhynd,
Butasforme,helas,Imaynomore;
Thevayntravaillhathweriedmesosore,
Iameoftheimthatfarthestcommethbehinde.
YetmayIbynomeanesmyweriedmynde
DrawefromtheDiere:butasshefleethafore,
FayntingIfolowe;Ileveofftherefore,
SinsinanettIseketoholdthewynde.
Wholistherhount,Iputhimowteofdowbte,
AswellasImayspendhistymeinvain:
And,gravenwithDiamondsinlettersplain,
Thereiswrittenherfaierneckroundeabowte,
Noli me tangere,forCaesarsIame,
Andwyldfortohold,thoughIseemtame.
Wyatt,SirThomas.The Essential Wyatt. SelectedbyW.S.Merwin. NewYork:EcoPress,1989.Print.
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06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
English imitatio (Thomas Wyatt) in modern wording
(seepage668in Longmanforcomparison)
Whosowishestohunt,Iknowwhereisanhind, <a female deer
Butasforme,alas,Imaynomore:
Thevaintravelhasweariedmesosore.
Iamofthemthatfurthestcomebehind;
YetmayIbynomeansmyweariedmind
Drawfromthedeer,butasshefleesafore,
FaintingIfollow;Ileaveofftherefore,
SinceinanetIseektoholdthewind.
Whodesiresher,hunt,Iputhimoutofdoubt,
AswellasI,mayspendhistimeinvain:
Andgravenwithdiamondsinlettersplain,
Thereiswrittenherfairneckroundabout:
Noli me tangere,forCaesar’sIam; <touch me not
Andwildfortohold,thoughIseemtame.
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06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Francesco Petrarch
original Italian
140
Amor,chenelpensermioviveetregna
e‘lsuoseggiomaggiornelmiocortene,
talorarmatonelafrontevene;
ivisilocaetiviponsuainsegna.
Quellach’amareesofferirne‘nsegna,
evolche’lgrandesio,l’accesaspene,
ragion,vergogna,ereverenzaaffrene,
dinostroardirfrasestessasisdegna.
OndeAmorpaventosofuggealcore,
lasciandoognisuaimpresa,etpiangeettrema;
ivis’ascondeetnonapparpiufore.
Cheposs’iofar,temendoilmiosignore,
senonstarsecoinfinal’oraestrema?
chebelfinfachibenamandomore.
A
B
B
A
A
B
B
A
C
D
E
C
D
E
English translation
140
Lovethatlivesandreignsinmythought
andholdsthecentralplaceinmyheart,
sometimescomestomybrowfullyarmed,
takeshisstandthere,andsetsuphisbanner.
Shewhoteachesloveandsuffering,
andwishesgreatdesireandburninghope
toberestrainedbyreason,reverence,shame,
isangeredinherselfbyourardour.
ThenLoveretreatsinfeartotheheart,
relinquishinghisaim,trembles,weeps:
hideshimselfthere,andnomoreappears.
WhatcanIdo,nowmylord’safraid,
butstaywithhimuntilthefinalhour?
Forheendswell,whodieslovingwell.
takenfrom:http://petrarch.petersadlon.com/canzoniere.html trans:A.S.Kline
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06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
Thomas Wyatt
(seepage667in Longmanforcomparison)
Thelonglovethatinmythoughtdothharbor,
Andinmineheartdothkeephisresidence,
Intomyfacepressethwithboldpretense
Andthereincampeth,spreadinghisbanner.
Shethatmelearnethtoloveandsuffer
Andwillthatmytrustandlust’snegligence
Bereinedbyreason,shame,andreverence
Withhishardinesstakethdispleasure.
Wherewithaluntotheheart’sforesthefleeth,
Leavinghisenterprisewithpainandcry,
Andtherehimhideth,andnotappeareth.
WhatmayIdo,whenmymasterfeareth,
Butinthefieldwithhimtoliveanddie?
Forgoodisthelifeendingfaithfully.
Henry Howard, Earl of Surrey
(seepage670in Longmanforcomparison)
Love,thatdothreignandlivewithinmythought,
Andbuilthisseatwithinmycaptivebreast,
Cladinthearmswhereinwithmehefought,
Oftinmyfacehedothhisbannerrest.
Butshethattaughtmeloveandsufferpain,
Mydoubtfulhopeandekemyhotdesire
Withshamefastlooktoshadowandrefrain,
Hersmilinggraceconvertethstraighttoire.
AndcowardLove,then,totheheartapace
Takethhisflight,wherehedothlurkandplain,
Hispurposelost,anddarenotshowhisface.
Formylord’sguiltthusfaultlessbideIpain,
Yetfrommylordshallnotmyfootremove:
Sweetisthedeaththattakethendbylove.
takenfrom:http://www.dorthonion.com/drmcm/english_lit/supplementary/petrarch.html
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Henry Howard(1517–19January1547)
Description of Spring, Wherein Every Thing Renews, Save Only the Lover
(seepage671in Longmanforcomparison)
Thesooteseason,thatbudandbloomforthbrings, A 5
Withgreenhathcladthehill,andekethevale. B 5
Thenightingalewithfeathersnewshesings; A 5
Theturtletohermakehathtoldhertale. B 5
Summeriscome,foreveryspraynowsprings, A 5
Theharthathhunghisoldheadonthepale; B 5
Thebuckinbrakehiswintercoatheslings; A 5
Thefishesfletewithnewrepairèdscale; B 5
Theadderallhersloughawaysheslings; A 5
Theswiftswallowpursueththefliëssmale; B 5
Thebusybeeherhoneynowshemings; A 5
Winteriswornthatwastheflowers’bale. B 5
And thusIseeamongthesepleasantthings A 5
Eachcaredecays,andyetmysorrowsprings! A 5
1. soote:sweet2. eke:also vale:abbreviationofvalley4. turtle:turtledove;make:mate5. spray:twigorbranchwithflowers6. his olde head:i.e.hisantlers; pale:fencepost7. brake:bushes9. sloughe:skin11. minges:mingles;mixes12: bale: harm;misfortune;woe; misery;sorrow: Wintertimeisthebaleforflowers.
Surrey,HenryHoward,Earlof.The Poetical Works of Henry Howard, Earl of Surrey. Boston:Little,BrownandCompany,1854.Print.
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
The theme of this poem is linked to a common subject for the English
sonnet writers: itdisplaysalover-poetoutcastandisolatedduetohisfailure
inlove.
• Line 1establishesthetimeofyear,springtime,andestablishesthe
positiveaspectsofnature:soote(sweet).
>remember,previouslyChaucerwouldhavepronouncedtheword
“soote”as“soot-ay”—now,thisnewgenerationofpoetswilldropthe
final“e”sound—creatingthesilenteinEnglish.
>thisnewphoneticapproachhasbeencoinedtheGreatVowelShift—
duringthelateMiddleEnglishperiod,sometimeafterChaucer’sdeath,
themannermanywordswerepronouncedshiftedtoanewsound.
Itisstillunclearwhythishappened.Politics,theBlackPlague,
andwarswiththeFrenchareallcandidatesfortheevent.
> furthermore,byHoward’stime,Englishspellingofwordswasbecoming
standardized—nottoagreatextent,buttheprocesswasbeginning
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
• Line 2usestheword“eke”—pronounced“eeek,”meaning“also.”
• Line 4mentionsa“turtle”—wheneverthiswordappearsinRenaissance
poetry,aturtleisshorthandfortheturtle-dove.Keepinmindmetercount
iscontrollingsomeaspectsofthepoem—inthiscaseHowardneedsaperfect
iambic pentameterthroughout.
• Line 6 and 7bringupsimilaranimals:ahartandabuck:
keepinmind,theterm“hart”isexclusivelyusedforaspecificspecies
calledthereddeer;whereas,abuckisinclusiveofmanyspecies,including
amaledeer,maleantelope,malegoat,ormalesheep.
• Line 9usestheword“slough,”pronouncedas“sluff.”
• Line 10utilizesaninversionofthenoun/adjectiverelationshipinorder
toabidebytherhymescheme.
• Line 13containsthevolta.
• Line 14usesadifferentmeaningfortheexpectedmeaningoftheword
“care”—thatis,careinthiscasemeans“anxiety,”“worry,”or“concern.”
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Sonnets
06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor
• Noticetheironicplacementofthelastword;aplayonwordsisbeingshown.
Throughoutthepoem,thepoet-speakernevermentionsthenameofthe
actualseasonoftheyear,yethedescribesinstrongdetailthetiming,so
thereisnoquestioninghismood.
• Hisdepressiondeepensasherealizesitisspring.Asadepiphanymoment
isshownwhenherealizesheisisolatedinthemiddleofnaturalactivity
surroundinghim.