Poetry Study: The Sonnet English IV

His fingers trembled, bright with blood, like the bits of a strange flag
now found and before unseen, and him wondering what country and
what allegiance he owed to it. Holding Tom, but not knowing him
there, he touched his free hand to that blood as if it could be peeled
away, held up, turned over. Then he let go of Tom and lay on his back
with his hand up in the sky and he was a head from which his eyes
peered like sentinels through the portcullis of a strange castle out along
a bridge, his arm, to those fingers where the bright pennant of blood
quivered in the light. “You all right, Doug?” asked Tom.
His voice was at the bottom of a green moss well somewhere
underwater, secret, removed.
The grass whispered under his body. He put his arm down, feeling the
sheath of fuzz on it, and, far away, below, his toes creaking in his shoes.
The wind sighed over his shelled ears. The world slipped bright over
the glassy round of his eyeballs like images sparked in a crystal sphere.
Flowers were sun and fiery spots of sky strewn through the woodland.
Birds flickered like skipped stones across the vast inverted pond of
heaven.
His breath raked over his teeth, going in ice, coming out fire. Insects
shocked the air with electric clearness. Ten thousand individual hairs
grew a millionth of an inch on his head. He heard the twin hearts
beating in each ear, the third heart beating in his throat, the two hearts
throbbing his wrists, the real heart pounding his chest. The million
pores on his body opened.
I’m really alive! he thought. I never knew it before, or if I did I don’t
remember!
He yelled it loud but silent, a dozen times! Think of it, think of it!
Twelve years old and only now! Now discovering this rare timepiece,
this clock gold-bright and guaranteed to run threescore and ten, left
under a tree and found while wrestling.
 Sonnet Study Essential Vocabulary
I. The 3 Major Sonnet Types:
o Italian/Petrarchan o English/Shakespearean o Spenserian
II. Anatomy of a Sonnet: [closed form] – 14 Lines (140 syllables) typically divided into two “units”
 Stanza- repeated groups of two or more lines in poetry. A stanza in poetry resembles a paragraph in prose.
 Couplet- a two-line group of poetry that typically has an identical end rhyme.
EXAMPLE: “America” by Claude McKay
Beneath the touch of Time’s unerring hand,
Like priceless treasures sinking in the sand.
 Quatrain- a group of four lines of poetry that contain its own rhyme scheme.
EXAMPLE: “Anthem for Doomed Youth” by Wilfred Owen
What passing-bells for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
 Sestet- a six-line group of poetry. In an Italian sonnet it provides an answer or resolution to the problem.
 Octave – an eight-line of poetry. In an Italian sonnet it present the problem or situation
 Volta (shift) - the turn in thought in poetry such as from questions to answer or problem to solution.
III. Rhyme Patterns:
 Italian (Petrarchan) – abba abba cdecde [sestet can be many variations]
 English (Shakespearian) – abab cdcd efef gg
 Spenserian – abab bcbc cdcd ee [interlocking rhyme with internal couplets]
IV. Rhyme Types:
 Rhyme- the repetition of the same or similar sounds in accented syllables found in the same place in two or more
lines of verse; based on the same sounds, not spelling
 End Rhymes- rhymes found at the ends of lines, used to determine rhyme scheme.
 Slant Rhymes- words that have similar sounds but do not rhyme perfectly. “tackle – buckle”
 Internal Rhymes- rhyme that occurs within a line or neighboring lines of poetry.
V. Rhythm:
 Meter- the regular repetition of stressed and unstressed syllables found in some poetry.
 Iamb- an unstressed syllable followed by a stressed syllable (example: toDAY)
 Foot- a unit of syllables; the arrangement of, and number of stressed and unstressed syllables can vary.
 Iambic Foot- a unit that contains an unstressed syllable followed by a stressed syllable (example: toDAY)
 Iambic Pentameter- five iambic feet that contain a total of ten syllables
EXAMPLE: “Sonnet 75” by Edmund Spenser
Our love shall live, and later life renew.
Our loveshall liveand later liferenew.
RHYME
To mark a rhyme scheme, the reader assigns a letter to each sound. The final syllable of the first line is given
the label “a”, then the reader looks at the end of the other lines and assigns an “a” to any that rhyme with the
first line. Once done, the reader returns to the second line. If it is not marked (it typically does not rhyme with
line one), then that syllable is assigned the letter “b.” The process repeats until all lines are marked. Also worth
noting is the fact that the rhyming words at the end of the lines often contain key concepts that help the
reader unlock meaning. Complete the following rhyme scheme notations.

“Sonnet 130: My Mistress’ Eyes are Nothing Like the Sun”

by William Shakespeare (1564-1616)

My mistress' eyes are nothing like the sun; _____

Coral is far more red than her lips' red; _____
If snow be white, why then her breast are dun; _____
If hairs be wires, black wires grow on her head. _____
5 I have seen roses damasked, red and white, _____
But no such roses see I in her cheeks; _____
And in some perfumes is there more delight _____
Than in the breath that from my mistress reeks. _____
I love to hear her speak, yet well I know _____
10 That music hath a far more pleasing sound; _____
I grant I never saw a goddess go; _____
My mistress, when she walks, treads on the ground. _____
And yet, by heaven, I think my love as rare _____
As any she belied with false compare.  _____

Look back over the rhyming words in this poem and identify examples of each of the following:

Device of Rhyme Line Numbers Words

End Rhyme 1/3; sun/dun;

Slant Rhyme

Internal Rhyme
SONNET TYPE: Understanding the poem’s “units” of meaning
Italian Sonnet Units English Sonnet Units
Octave (abba abba) Three quatrains
Sestet (cdecde, or cdcdcd, or (abab cdcd efef)
cdcdee) Concluding couplet (gg)
For the following sonnets, mark the units of division using different colored highlighters. If you have only two
highlighter colors, alternate their use.
“Whoso List to Hunt” by Sir Thomas Wyatt
Whoso list to hunt, I know where is an hind,
But as for me, alas, I may no more;
The vain travail hath wearied me so sore,
I am of them that furthest come behind.
Yet may I by no means my wearied mind
Draw from the deer, but as she fleeth afore
Fainting I follow; I leave off therefore,
Since in a net I seek to hold the wind.
Who list her hunt, I put him out of doubt,
As well as I, may spend his time in vain.
And graven with diamonds in letters plain,
There is written her fair neck round about,
"Noli me tangere, for Caesar's I am,
And wild for to hold, though I seem tame."
“Sonnet 18” by William Shakespeare
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 gold complexion dimm'd;
And every fair from fair sometime declines,
By chance, or nature's changing course, untrimm'd;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest;
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
METER – Recognizing and analyzing the poet’s metrical choices
Spenserian Sonnet Units
Three quatrains
(abab bcbc cdcd)
Concluding couplet (ee)
“One Day I Wrote Her Name Upon the Strand”
by Edmund Spenser
One day I wrote her name upon the strand,
But came the waves and washed it away:
Again I wrote it with a second hand,
But came the tide, and made my pains his prey.
Vain man, said she, that dost in vain assay
A mortal thing so to immortalize!
For I myself shall like to this decay,
And eek my name be wiped out likewise.
Not so (quoth I), let baser things devise
To die in dust, but you shall live by fame:
My verse your virtues rare shall eternize,
And in the heavens write your glorious name;
Where, whenas death shall all the world subdue,
Our love shall live, and later life renew.
“Sonnet 29” By William Shakespeare
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 him with friends possessed,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state
Like to the lark at break of day arising
From sullen earth sings hymns at heaven's gate;
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.
Each line of a sonnet is composed of five iambs (a unit of unstressed – stressed syllables), or a total of 10
syllables. However, on many occasions, a poet will need to be creative or combine syllables in a word to keep
the meter sound. When a syllable is combined with another or even omitted, it is called an elision. For
example, the word “over”, a two-syllable word can be adapted to the word “o’er” a one-syllable word for
poetic purposes.

For the following poems, mark the meter including foot divisions.
Use the following symbols:
 for marking unstressed syllables
 for marking stressed syllables
 for marking foot divisions
Example:             
Our love shall live and later life renew.

“Holy Baptism” by George Herbert (1593-1633) “Loving in Truth” by Sir Philip Sidney (1554-1586)

As he that sees a dark and shady grove, Loving in truth, and fain in verse my love to show,

Stays not, but looks beyond it on the sky That the dear she might take some pleasure of my pain,

So when I view my sins, mine eyes remove Pleasure might cause her read, reading might make her know,

More backward still, and to that water fly, Knowledge might pity win, and pity grace obtain,

Which is above the heav'ns, whose spring and rent I sought fit words to paint the blackest face of woe:

Is in my dear Redeemer's pierced side. Studying inventions fine, her wits to entertain,

O blessed streams! either ye do prevent Oft turning others' leaves, to see if thence would flow

And stop our sins from growing thick and wide, Some fresh and fruitful showers upon my sunburned brain.

Or else give tears to drown them, as they grow. But words came halting forth, wanting Invention's stay;

In you Redemption measures all my time, Invention, Nature's child, fled stepdame Study's blows;

And spreads the plaster equal to the crime: And others' feet still seemed but strangers in my way.

You taught the book of life my name, that so, Thus, great with child to speak, and helpless in my throes,

Whatever future sins should me miscall, Biting my truant pen, beating myself for spite:

Your first acquaintance might discredit all. "Fool," said my Muse to me, "look in thy heart, and write."

[hint: this “sonnet” is not written in pentameter]

DICTION – Understanding and analyzing an author’s word choices

Sonneteers have only 140 syllables to establish a situation and convey meaning; therefore, every word counts.
The reader must attend to every word carefully considering multiple meanings of words, looking for patterns of
diction, and noting contrasts and repetition. For the reader, this is often the first layer of meaning to unlock.

Read the following poems and underline particularly impactful or strong connotative word choices. Take
note of the patterns, contrasts, etc. that you notice and write a short explanation of why you believe the
words are important to the poem.

“Sonnet 130” William Shakespeare My chosen words matter in the poem because…

My mistress' eyes are nothing like the sun;

Coral is far more red than her lips' red;
If snow be white, why then her breast are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.

“The Harlem Dancer” Claude McKay My chosen words matter in the poem because…

Applauding youths laughed with young prostitutes

And watched her perfect, half-clothed body sway;
Her voice was like the sound of blended flutes
Blown by black players upon a picnic day.
She sang and danced on gracefully and calm,
The light gauze hanging loose about her form;
To me she seemed a proudly-swaying palm
Grown lovelier for passing through a storm.
Upon her swarthy neck black shiny curls
Luxuriant fell; and tossing coins in praise,
The wine-flushed, bold-eyed boys, and even the girls,
Devoured her shape with eager, passionate gaze;
But looking at her falsely-smiling face,
I knew her self was not in that strange place.
PARAPHRASE – Putting the poem in your own words.
After a reader has examined the key words in the poem, he should seek to understand the dramatic situation
and literal meaning. The best way to do this is to state the poem in your own words, sentence by sentence.
Hint: A dictionary would be helpful.

Paraphrase the following poems, sentence by sentence.

“Sonnet 130” William Shakespeare Rewrite the poem sentence by sentence:

My mistress' eyes are nothing like the sun; Sentence One: (lines 1-4)
Coral is far more red than her lips' red;
If snow be white, why then her breast are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white, Sentence Two: (lines 5-8)
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know Sentence Three: (lines 9-12)
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare Sentence Four: (lines 13-14)
As any she belied with false compare.

“Sonnet 29” William Shakespeare Rewrite the poem sentence by sentence:

When, in disgrace with Fortune and men's eyes, Sentence One: (lines 1-14)
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 him with friends possessed,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state
Like to the lark at break of day arising
From sullen earth sings hymns at heaven's gate;
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.
JOURNALISTIC QUESTIONS – Understanding and analyzing the narrative situation of the poem
One VERY important rule of poetry is never to assume that the speaker is the poet. The narrative voice in a sonnet will
always be referred to, then, as “the speaker” not Shakespeare, Keats, or Browning.
Even though in some cases we know the poet is indeed the speaker in the poem, students still need to refer to the
narrative voice as “the speaker.”

For the following poem, complete the journalistic questions in the right column. * You will not always find direct
answers for all the questions, if that is the case, reply with a likely answer based on what you do know.

“Sonnet 130” William Shakespeare

My mistress' eyes are nothing like the sun; Who (is the speaker)?
Coral is far more red than her lips' red;
If snow be white, why then her breast are dun;
If hairs be wires, black wires grow on her head. What (is going on)?
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight When (is/could this be taking place)?
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound; Where (is/could this be taking place)?
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare Why (is the speaker saying what he’s saying)?

As any she belied with false compare.

“Glory of Women” by Siegfried Sassoon

You love us when we're heroes, home on leave, Who?

Or wounded in a mentionable place.
You worship decorations; you believe
That chivalry redeems the war's disgrace. What?
You make us shells. You listen with delight,
By tales of dirt and danger fondly thrilled.
You crown our distant ardours while we fight, When?
And mourn our laurelled memories when we're killed.
You can't believe that British troops 'retire'
When hell's last horror breaks them, and they run, Where?
Trampling the terrible corpses--blind with blood.
O German mother dreaming by the fire,
While you are knitting socks to send your son Why?
His face is trodden deeper in the mud.

SOUND DEVICES - Analyzing the manipulation of language (part one)

Poetry is meant to heard and read aloud; it is, after all, an outgrowth of the songs sung by the ancient scops. Much like
music lyrics today, the words of a poem are chosen to create a euphonious sound that is pleasing to the ear, (and, in
some cases, a cacophonous-unpleasing- sound)
Highlight and label sound devices such as alliteration, assonance, and consonance in the following poem.

“Sonnet 29” William Shakespeare

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,
5 Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
10 Haply I think on thee, and then my state
Like to the lark at break of day arising
From sullen earth sings hymns at heaven's gate;
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.

Device of Sound Line Numbers Words

Alliteration 11; like/lark;

Assonance 7; man’s/man’s

Consonance 11; like/lark/break

Examples:
(The highlighted letters indicate the matching sounds.)
FIGURES OF SPEECH AND LITERARY DEVICES –Analyzing the manipulation of language (part two)
Poetry is compact language, like frozen concentrated orange juice. The very craft and manipulation of the language is
what creates the art. Readers should be on high alert for figures of speech and other literary devices. More often than
not, the images in the poem are not just for aesthetics, but actually create the meaning.

For the following poems, highlight and label imagery, metaphor, simile, and other literary devices. Also provide a
brief description of the literary device, (e.g., this metaphor compares…)

“Sonnet 130” William Shakespeare

My mistress' eyes are nothing like the sun;

Coral is far more red than her lips' red;
If snow be white, why then her breast are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.

“Anthem for a Doomed Youth” by Wilfred Owen

What passing-bells for these who die as cattle?

Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells,
Nor any voice of mourning save the choirs,--
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.
What candles may be held to speed them all?
Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of good-byes.
The pallor of girls' brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds.
TONE – Understanding the complexity of the sonnet
Most well-written sonnets can be divided into two basic units. In the Italian sonnet, the octave introduces the situation,
poses a question, establishes a mood, etc. and the sestet answers or concludes, sometimes contrasting the octave,
sometimes increasing the degree of emotion. The English sonnet’s three quatrains may establish different metaphors,
serve as examples, establish a mood, etc. to prepare the reader for the concluding couplet. Occasionally, as in “Sonnet
29” the turn will occur in line 9, but more often than not, the couplet indicates this shift and reveals the meaning of the
poem as a whole.

For the following sonnets, determine and identify the tone prior to the volta, and determine and identify the tone
after the volta as well. Use the list below to choice the exact word you need to describe the tone.

“Sonnet 130” William Shakespeare “Sonnet 29” William Shakespeare

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breast are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.
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 him with friends possessed,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state
Like to the lark at break of day arising
From sullen earth sings hymns at heaven's gate;
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.

The speaker’s tone prior to the volta is The speaker’s tone prior to the volta is
_______________, but after the volta the speaker’s _______________, but after the volta the speaker’s
tone becomes _______________. tone becomes _______________.

POSITIVE TONE WORDS NEUTRAL NEGATIVE TONE WORDS

admiring ebullient hilarious relaxed commanding abhorring desolate hostile reticent
adoring ecstatic hopeful respectful direct acerbic despairing impatient sarcastic
affectionate effusive humorous reverent impartial ambiguous desperate incredulous sardonic
appreciative elated interested romantic indirect ambivalent detached indifferent scornful
approving empathetic introspective sanguine meditative angry diabolic indignant self-deprecating
bemused encouraging jovial scholarly objective annoyed disappointed inflammatory selfish
benevolent euphoric joyful self-assured questioning antagonistic disliking insecure serious
blithe excited laudatory sentimental speculative anxious disrespectful insolent severe
calm exhilarated light serene unambiguous apathetic doubtful irreverent sinister
casual expectant lively silly unconcerned apprehensive embarrassed lethargic skeptical
celebratory facetious mirthful sprightly understated belligerent enraged melancholy sly
cheerful fervent modest straightforward bewildered evasive mischievous solemn
comforting flippant nostalgic sympathetic biting fatalistic miserable somber
comic forthright optimistic tender bitter fearful mocking stern
compassionate friendly passionate tranquil blunt forceful mournful stolid
complimentary funny placid whimsical bossy foreboding nervous stressful
conciliatory gleeful playful wistful cold frantic ominous strident
confident gushy poignant worshipful conceited frightened outraged suspicious
contented happy proud zealous condescending frustrated paranoid tense
delightful reassuring confused furious pathetic threatening
earnest reflective contemptuous gloomy patronizing tragic
curt grave pedantic uncertain
cynical greedy pensive uneasy
demanding grim pessimistic unfriendly
depressed harsh pretentious unsympathetic
derisive haughty psychotic upset
derogatory hopeless resigned violent
POETRY FOCUS STATEMENTS
A poetry focus statement is a one to two-sentence summary of the narrative situation, theme, and tone of a poem. It
serves as a concise note about a poem and can be used also as a potential thesis statement.

CRITICAL ATTRIBUTES:
  Includes the title of the poem and the name of the poet
 Is written in literary present tense
 Specifies the narrative situation of the poem
 Includes a thoughtful but concise indication of theme
 Identifies the tone(s) of the poem. These may be differing but complementary. Shifts in tone may be identified as well.
 The syntax of poetry focus statements is compound or complex because you are addressing both the literal (the narrative
situation) and the thematic.

Model:

Title Poet Tone(s)

In “Sonnet 29,” William Shakespeare creates a depressed and despairing speaker who

Narrative Situation
serendipitously reflects upon the love of a close friend in order to prove to the reader that

Theme
no matter how difficult life becomes, we can be content in the blessings of love.

Read the following poems and write a poetry focus statement for each.

“Sonnet 130” William Shakespeare “Sonnet 29” William Shakespeare

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breast are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.
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 him with friends possessed,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state
Like to the lark at break of day arising
From sullen earth sings hymns at heaven's gate;
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.
Poetry Focus Statements

“Sonnet 130”

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

“Sonnet 29”

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________