—sonnetlike, adj./son"it/, n.1. Pros. a poem, properly expressive of a single, complete thought, idea, or sentiment, of 14 lines, usually in iambic pentameter, with rhymes arranged according to one of certain definite schemes, being in the strict or Italian form divided into a major group of 8 lines (the octave) followed by a minor group of 6 lines (the sestet), and in a common English form into 3 quatrains followed by a couplet.v.i.2. Archaic. to compose sonnets.v.t.3. Older Use. to celebrate in a sonnet or sonnets.
* * *Fixed verse form having 14 lines that are typically five-foot iambics rhyming according to a prescribed scheme.The sonnet is unique among poetic forms in Western literature in that it has retained its appeal for major poets for five centuries. It seems to have originated in the 13th century among the Sicilian school of court poets. In the 14th century Petrarch established the most widely used sonnet form. The Petrarchan (or Italian) sonnet characteristically consists of an eight-line octave, rhyming abbaabba, that states a problem, asks a question, or expresses an emotional tension, followed by a six-line sestet, of varying rhyme schemes, that resolves the problem, answers the question, or resolves the tension. In adapting the Italian form, Elizabethan poets gradually developed the other major sonnet form, the Shakespearean (or English) sonnet. It consists of three quatrains, each with an independent rhyme scheme, and ends with a rhymed couplet.
* * *▪ poetic formfixed verse form of Italian origin consisting of 14 lines that are typically five-foot iambics rhyming according to a prescribed scheme.The sonnet is unique among poetic forms in Western literature in that it has retained its appeal for major poets for five centuries. The form seems to have originated in the 13th century among the Sicilian school of court poets, who were influenced by the love poetry of Provençal troubadours. From there it spread to Tuscany, where it reached its highest expression in the 14th century in the poems of Petrarch. His Canzoniere—a sequence of poems including 317 sonnets, addressed to his idealized beloved, Laura—established and perfected the Petrarchan (or Italian) sonnet, which remains one of the two principal sonnet forms, as well as the one most widely used. The other major form is the English (or Shakespearean (Shakespeare, William)) sonnet.The Petrarchan sonnet characteristically treats its theme in two parts. The first eight lines, the octave, state a problem, ask a question, or express an emotional tension. The last six lines, the sestet, resolve the problem, answer the question, or relieve the tension. The octave is rhymed abbaabba. The rhyme scheme of the sestet varies; it may be cdecde, cdccdc, or cdedce. The Petrarchan sonnet became a major influence on European poetry. It soon became naturalized in Spain, Portugal, and France and was introduced to Poland, whence it spread to other Slavic literatures. In most cases the form was adapted to the staple metre of the language—e.g., the alexandrine (12-syllable iambic line) in France and iambic pentameter (pentameter) in English.The sonnet was introduced to England, along with other Italian verse forms, by Sir Thomas Wyatt (Wyatt, Sir Thomas) and Henry Howard, earl of Surrey (Northampton, Henry Howard, Earl of, Baron Of Marnhull), in the 16th century. The new forms precipitated the great Elizabethan flowering of lyric poetry, and the period marks the peak of the sonnet's English popularity. In the course of adapting the Italian form to a language less rich in rhymes, the Elizabethans gradually arrived at the distinctive English sonnet, which is composed of three quatrains, each having an independent rhyme scheme, and is ended with a rhymed couplet.The rhyme scheme of the English sonnet is abab cdcd efef gg. Its greater number of rhymes makes it a less demanding form than the Petrarchan sonnet, but this is offset by the difficulty presented by the couplet, which must summarize the impact of the preceding quatrains with the compressed force of a Greek epigram. An example is Shakespeare's Sonnet CXVI:Let me not to the marriage of true mindsAdmit impediments. Love is not loveWhich alters when it alteration finds,Or bends with the remover to remove:Oh, no! it is an ever-fixéd mark,That looks on tempests and is never shaken;It is the star to every wandering bark,Whose worth's unknown, although his height be taken.Love's not Time's fool, though rosy lips and cheeksWithin his bending sickle's compass come;Love alters not with his brief hours and weeks,But bears it out even to the edge of doom.If this be error and upon me proved,I never writ, nor no man ever loved.The typical Elizabethan use of the sonnet was in a sequence of love poems in the manner of Petrarch. Although each sonnet was an independent poem, partly conventional in content and partly self-revelatory, the sequence had the added interest of providing something of a narrative development. Among the notable Elizabethan sequences are Sir Philip Sidney's Astrophel and Stella (1591), Samuel Daniel's Delia (1592), Michael Drayton's Idea's Mirrour (1594), and Edmund Spenser's Amoretti (1591). The last-named work uses a common variant of the sonnet (known as Spenserian) that follows the English quatrain and couplet pattern but resembles the Italian in using a linked rhyme scheme: abab bcbc cdcd ee. Perhaps the greatest of all sonnet sequences is Shakespeare's, addressed to a young man and a “dark lady.” In these sonnets the supposed love story is of less interest than the underlying reflections on time and art, growth and decay, and fame and fortune.In its subsequent development the sonnet was to depart even further from themes of love. By the time John Donne wrote his religious sonnets (c. 1610) and Milton wrote sonnets on political and religious subjects or on personal themes such as his blindness (i.e., “When I consider how my light is spent”), the sonnet had been extended to embrace nearly all the subjects of poetry.It is the virtue of this short form that it can range from “light conceits of lovers” to considerations of life, time, death, and eternity, without doing injustice to any of them. Even during the Romantic era, in spite of the emphasis on freedom and spontaneity, the sonnet forms continued to challenge major poets. Many English writers—including William Wordsworth, John Keats, and Elizabeth Barrett Browning—continued to write Petrarchan sonnets. One of the best-known examples of this in English is Wordsworth's “The World Is Too Much With Us”:The world is too much with us; late and soon,Getting and spending, we lay wasteour powers;Little we see in Nature that is ours;We have given our hearts away, a sordid boon!This Sea that bares her bosom to the moon,The winds that will be howling at all hours,And are up-gathered now like sleeping flowers,For this, for everything, we are out of tune;It moves us not.—Great God! I'd rather beA Pagan suckled in a creed outworn;So might I, standing on this pleasant lea,Have glimpses that would make meless forlorn;Have sight of Proteus rising from the sea;Or hear old Triton blow his wreathéd horn.In the later 19th century the love sonnet sequence was revived by Elizabeth Barrett Browning in Sonnets from the Portuguese (1850) and by Dante Gabriel Rossetti in The House of Life (1876). The most distinguished 20th-century work of the kind is Rainer Maria Rilke's Sonnette an Orpheus (1922).
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SONNET — SONNE Poème à forme fixe de quatorze vers répartis en quatre strophes, le sonnet tient dans la littérature européenne, et notamment française, une place extrêmement importante. On sait qu’«un sonnet sans défaut vaut seul un long poème» (Boileau) … Encyclopédie Universelle
Sonnet 18 — sonnet|18 Shall I compare thee to a summer s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer s lease hath all too short a date; Sometime too hot the eye of heaven shines, And often is his… … Wikipedia
Sonnet 55 — Sonnet|55 Not marble, nor the gilded monuments Of princes, shall outlive this powerful rhyme; But you shall shine more bright in these contents Than unswept stone besmear d with sluttish time. When wasteful war shall statues overturn, And broils… … Wikipedia
Sonnet 1 — sonnet|1 From fairest creatures we desire increase, That thereby beauty s rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou, contracted to thine own bright eyes, Feed st thy light st… … Wikipedia
Sonnet 30 — Sonnet|30 When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time s waste: Then can I drown an eye, unused to flow, For precious… … Wikipedia
Sonnet 63 — Sonnet|63 Against my love shall be, as I am now, With Time s injurious hand crush d and o er worn; When hours have drain d his blood and fill d his brow With lines and wrinkles; when his youthful morn Hath travell d on to age s steepy night, And… … Wikipedia
Sonnet 2 — sonnet|2 When forty winters shall besiege thy brow, And dig deep trenches in thy beauty s field, Thy youth s proud livery, so gazed on now, Will be a tatter d weed, of small worth held: Then being ask d where all thy beauty lies, Where all the… … Wikipedia
Sonnet 29 — Sonnet|29 When, in disgrace with fortune and men s eyes, I all alone beweep my outcast state And trouble deaf heaven with my bootless cries And look upon myself and curse my fate, Wishing me like to one more rich in hope, Featured like him, like… … Wikipedia
Sonnet 13 — Sonnet|13 O! that you were your self; but, love, you are No longer yours, than you your self here live: Against this coming end you should prepare, And your sweet semblance to some other give: So should that beauty which you hold in lease Find no … Wikipedia
Sonnet 3 — Sonnet|3 Look in thy glass, and tell the face thou viewest Now is the time that face should form another; Whose fresh repair if now thou not renewest, Thou dost beguile the world, unbless some mother. For where is she so fair whose unear d womb… … Wikipedia
Sonnet 60 — Sonnet|60 Like as the waves make towards the pebbled shore, So do our minutes hasten to their end; Each changing place with that which goes before, In sequent toil all forwards do contend. Nativity, once in the main of light, Crawls to maturity,… … Wikipedia