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)

3

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.

4

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

5

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.

8

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

9

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)

11

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

12

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

13

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.

15

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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Sonnets

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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Sonnets

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.

21

Sonnets

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.

22

Sonnets

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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Sonnets

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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Sonnets

06.24.13 || English 2322: British Literature: Anglo-Saxon — Mid 18th Century || D. Glen Smith, instructor

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

26

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.”

27

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.