Please
read these
sonnets as background for our reading. In
particular, compare Shakespeare's Sonnet 29 with Milton's sonnet on his
blindness, and compare both of those with Keats' untitled sonnet, "When
I have fears that I may cease to be."
Please also read about
sonnets here.
As you read, keep these
questions in mind --
- Is this sonnet the
English/Shakespearean form or the
Italian/Petrarchan form? or is it, perhaps, some more unusual variant?
- Can you mark how the
argument (or metaphor or idea) changes or
develops from quatrain to quatrain?
- Can you locate the turn
(most often at the start of line 9, but see the notes about sonnets)
where the argument shifts from part A to part B?
- There's an
old wise-crack about Shakespeare, that he wrote the first twelve lines
of each poem, handed them to an apprentice, and said, "Here, kid.
You've got two lines to say what this means." But there are a lot of
ways to do that. The couplet may sum up the rest, reverse it, comment
on it, make a pun or other joke, or paradoxically deny what the other
twelve lines have argued. What happens in the sonnets you are reading?
- If you are looking at a
Petrarchan sonnet, you may find
that the difference in argument between the octave and sestet is a bit
more subtle than the punchline affect of a Shakespearean sonnet. What's
the affect of the longer sestet? Does the development of the content
seem related to the rhyme scheme?
- If you are looking at a
Petrarchan sonnet, does it have
internal rhyme in the last line, or some other couplet-like affect?
- If you are looking at a
couplet sonnet, or some other variant, can you find a
"turn" or other structure in it?
William
Shakespeare
[Sonnet 29]
(Shakespeare's
sonnets were written between 1564 and 1616)
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WHEN
in disgrace with fortune and men’s eyes
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I all alone beweep my outcast state,
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And trouble deaf heaven with my
bootless cries,
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And look upon myself, and curse my
fate,
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Wishing me like to one more rich in
hope,
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Featur’d like him, like him with
friends possess’d,
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Desiring this man’s art, and that
man’s scope,
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With what I most enjoy contented least;
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Yet in these thoughts myself almost
despising,
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Haply I think on thee,—and then my
state,
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Like to the lark at break of day
arising
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From sullen earth, sings hymns at
heaven’s gate;
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For thy sweet love
remember’d such wealth brings
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That then I scorn to
change my state with kings.
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William Shakespeare
[Sonnet 116]
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LET
me not to the marriage of true minds
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Admit impediments. Love is not love
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Which alters when it alteration finds,
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Or bends with the remover to remove:
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O, no! it is an ever-fixed mark,
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That looks on tempests and is never
shaken;
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It is the star to every wandering bark,
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Whose worth’s unknown, although his
height be taken.
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Love ’s not Time’s fool, though rosy
lips and cheeks
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Within his bending sickle’s compass
come;
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Love alters not with his brief hours
and weeks,
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But bears it out even to the edge of
doom.
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If this be error, and upon
me prov’d,
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I never writ, nor no man
ever lov’d.
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William Shakespeare
[Sonnet 130
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MY
mistress’ eyes are nothing like the sun
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Coral is far more red than her lips’
red:
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If snow be white, why then her breasts
are dun;
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If hairs be wires, black wires grow on
her head.
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I have seen roses damask’d, red and
white,
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But no such roses see I in her cheeks;
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And in some perfumes is there more
delight
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Than in the breath that from my
mistress reeks.
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I love to hear her speak, yet well I
know
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That music hath a far more pleasing
sound:
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I grant I never saw a goddess go,—
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My mistress, when she walks, treads on
the ground:
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And yet, by heaven, I
think my love as rare
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As any she belied with
false compare.
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John
Milton
[On His Blindness]
(~1652)
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WHEN
I consider how my light is spent
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Ere half my days in this
dark world and wide,
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And that one Talent which
is death to hide
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Lodged with me useless,
though my soul more bent
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To serve therewith my Maker, and
present
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My true account, lest He
returning chide,
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“Doth God exact
day-labour, light denied?”
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I fondly ask. But
Patience, to prevent
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That murmur, soon replies, “God doth
not need
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Either man’s work or his
own gifts. Who best
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Bear his mild yoke, they
serve him best. His state
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Is kingly: thousands at his bidding
speed,
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And post o’er land and
ocean without rest;
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They also serve who only
stand and wait.”
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John
Keats
[When I have fears...]
(1818)
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WHEN
I have fears that I may cease to be
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Before my pen has glean’d
my teeming brain,
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Before high piled books, in charact’ry,
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Hold like rich garners the
full-ripen’d grain;
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When I behold, upon the night’s
starr’d face,
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Huge cloudy symbols of a
high romance,
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And think that I may never live to
trace
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Their shadows, with the
magic hand of chance;
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And when I feel, fair creature of an
hour!
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That I shall never look
upon thee more,
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Never have relish in the faery power
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Of unreflecting love!—then
on the shore
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Of the wide world I stand alone, and
think
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Till Love and Fame to nothingness do
sink.
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Gerard
Manley Hopkins
[Carrion Comfort]
(published 1918)
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NOT,
I’ll not, carrion comfort, Despair, not feast on thee;
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Not untwist—slack they may be—these
last strands of man
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In me ór, most weary, cry I
can no more. I can;
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Can something, hope, wish day come,
not choose not to be.
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But ah, but O thou terrible, why
wouldst thou rude on me
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Thy wring-world right foot rock? lay a
lionlimb against me? scan
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With darksome devouring eyes my
bruisèd bones? and fan,
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O in turns of tempest, me heaped
there; me frantic to avoid thee and flee?
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Why? That my chaff might
fly; my grain lie, sheer and clear.
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Nay in all that toil, that coil, since
(seems) I kissed the rod,
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Hand rather, my heart lo! lapped
strength, stole joy, would laugh, chéer.
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Cheer whom though? the hero whose
heaven-handling flung me, fóot tród
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Me? or me that fought him? O which
one? is it each one? That night, that year
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Of now done darkness I wretch lay
wrestling with (my God!) my God.
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Gerard Manley Hopkins
The Windhover
for Christ our Lord
(published 1918)
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I CAUGHT
this morning morning’s minion, king-
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dom of daylight’s dauphin,
dapple-dawn-drawn Falcon, in his riding
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Of the rolling level
underneath him steady air, and striding
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High there, how he rung upon the rein
of a wimpling wing
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In his ecstasy! then off, off forth on
swing,
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As a skate’s heel sweeps
smooth on a bow-bend: the hurl and gliding
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Rebuffed the big wind. My
heart in hiding
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Stirred for a bird,—the achieve of;
the mastery of the thing!
|
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Brute beauty and valour and act, oh,
air, pride, plume, here
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Buckle! AND the fire that
breaks from thee then, a billion
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Times told lovelier, more dangerous, O
my chevalier!
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No wonder of it:
shéer plód makes plough down sillion
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Shine, and blue-bleak embers, ah my
dear,
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Fall, gall themselves, and
gash gold-vermillion.
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Edna
St. Vincent Millay
[I shall forget you presently]
(published 1923 or earlier)
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I shall forget you presently, my dear,
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So make the most of this, your little
day,
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Your little month, your little half a
year,
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Ere I forget, or die, or move away,
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And we are done forever; by and by
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I shall forget you, as I said, but now,
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If you entreat me with your loveliest
lie
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I will protest you with my favorite
vow.
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I would indeed that love were longer
-lived,
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And vows were not so brittle as they
are,
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But so it is, and nature has contrived
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To struggle on without a break thus
far, --
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Whether or not we find what we are
seeking
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Is idle, biologically speaking.
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a few more sonnets are discussed here
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