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Author: Ron
Started: 10/04/07
Last Edited: 10/04/07
Published: 10/04/07
Revision: 2
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| Poetry Showcase [Other] | Moderators for this section: Weaver, ochsterboxter, CadenzRime, Lingua Pura, ososment, carolynrn, Inker |
How To Write A SonnetOutline: From an article in Kenaz magazine. Reproduced here with permission. Why: Because I believe it will help us. Review: Any comment welcome. I live and learn. I thought a sonnet was just 14 lines of 10 syllables - difficult enough just to contemplate that naive thought. Now I know the mechanics of it and they are fascinating.
The following explanation of the form of a sonnet was written by Andy Willoughby and Bob Beagrie, Editors of Kenaz magazine, and taken from 'Bob & Andy's Poetry Kitchen: The Sonnet', on page 35 of the March '07 Issue and reproduced here by kind permission. Originating in the courts of Sicily it has an illustrious history and its popularity spread across Europe when Francesco Petrarca (1304 -1374) published Canzonia, a sequence of 366 poems, 317 of which were sonnets. It was a European bestseller. The Italian originators invented the octave and sestet division, a powerful opening statement of 8 lines followed by a resolution to the question raised by the first part. This creates the traditional turn, inversion or shift within the poem which is called the volta. They also established the rhyming scheme of abbaabba in the octave and cdecde in the six line sestet. The neat field of the sonnet's 14 lines is capable of great shades of mood or tone. When the sonnet was imported into England by Thomas Wyatt and the Earl of Surrey in the 16th Century the English poets began to adapt the form to suit their language, which had less available rhymes than Italian. English sonnets had a wider rhyming scheme and ended in a rhyming couplet, they also moved it away from the intellectual and argumentative Petrarcan style. Shakespeare personalised the sonnet and was prolific in the form. However what is known as the Shakespearean sonnet's rhyming pattern is: ababcdcd efefgg and often employs the iambic pentameter. The final rhyming couplet allowed him to develop a pithy or declamatory ending to the turn. The form has survived to the present day in many variations including experimental and free verse sonnets. The turn or volta is still an integral element of the contemporary sonnet and can usually be found between line 8-10, which gives the tight form its dynamic tension. Andy Willoughy & Bob Beagrie, Editors, Kenaz. |
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