TYPES OF SONNETS
THE ITALIAN
OR
PETRARCHAN SONNET
The sonnet can be thematically divided into two sections: the first presents the theme, raises an issue or doubt, and the second part answers the question, resolves the problem, or drives home the poem's point.
This change in the poem is called the turn and helps move forward the emotional action of the poem quickly, as fourteen lines can become too short too fast.
Italian (Petrarchan)- this sonnet is split into two parts, an octave and a sestet. The octave is composed of two envelope quatrains rhyming "abba abba" (Italian octave). The sestet's rhyme pattern varies, though it is most often either "cde cde" (Italian sestet) or "cdc dcd" or cde dce (Sicilian sestet). The turn occurs at the end of the octave and is developed and closed in the sestet.
In the Italian sonnet the octave bears the burden; a doubt, a problem, a reflection, a query, an historical statement, a cry of indignation or desire, a Vision of the ideal while the sestet eases the load, resolves the problem or doubt, answers the query, solaces the yearning, realizes the vision.
Again it might be said that the octave presents the narrative, states the proposition or raises a question;the sestet drives home the narrative by making an abstract comment, applies the proposition, or solves the problem.
OR
PETRARCHAN SONNET
The sonnet can be thematically divided into two sections: the first presents the theme, raises an issue or doubt, and the second part answers the question, resolves the problem, or drives home the poem's point.
This change in the poem is called the turn and helps move forward the emotional action of the poem quickly, as fourteen lines can become too short too fast.
Italian (Petrarchan)- this sonnet is split into two parts, an octave and a sestet. The octave is composed of two envelope quatrains rhyming "abba abba" (Italian octave). The sestet's rhyme pattern varies, though it is most often either "cde cde" (Italian sestet) or "cdc dcd" or cde dce (Sicilian sestet). The turn occurs at the end of the octave and is developed and closed in the sestet.
In the Italian sonnet the octave bears the burden; a doubt, a problem, a reflection, a query, an historical statement, a cry of indignation or desire, a Vision of the ideal while the sestet eases the load, resolves the problem or doubt, answers the query, solaces the yearning, realizes the vision.
Again it might be said that the octave presents the narrative, states the proposition or raises a question;the sestet drives home the narrative by making an abstract comment, applies the proposition, or solves the problem.
THE ENGLISH
OR
SHAKESPEAREAN SONNET
The English or Shakespearean sonnet, developed first by Henry Howard, Earl of Surrey (1517-1547.
The English (Shakespearean) sonnet, embodies four divisions: three Sicilian quatrains (each with a rhyme-scheme of its own) and a rhymed (heroic) couplet.
The typical rhyme-scheme for the English sonnet is
abab cdcd efef gg
The couplet at the end is usually a commentary on the foregoing, an concise close.
The turn comes at or near line 13, making the ending couplet quick and dramatic.
The English (Shakespearean) sonnet, embodies four divisions: three Sicilian quatrains (each with a rhyme-scheme of its own) and a rhymed (heroic) couplet.
The typical rhyme-scheme for the English sonnet is
abab cdcd efef gg
The couplet at the end is usually a commentary on the foregoing, an concise close.
The turn comes at or near line 13, making the ending couplet quick and dramatic.
THE
SPENSARIAN SONNET
The Spenserian sonnet combines the Italian and the Shakespearean forms, using three quatrains and a couplet but employing linking rhymes between the quatrains, thus abab bcbc cdcd ee such that the rhyme scheme interlocks each of the quatrains, much like the terza rima is made of interlocking triplets.
