1. Up drown court, England:
“Up drown court” is the most expensive house in the world. Its price is one thousand two hundred and twenty two million (12 caror 22 lac) Dollars. There are one hundred and three rooms and five swimming pools in the house. There are twenty four caret pieces of gold on the floor of study room. There are squash court, tennis court, bowling place, fifty seated cinema house, place for cars made by pieces marbles and a helipad. We can park eight LEMOZEEN cars in under ground garage.
2. Three ponds, New York:
“Three ponds” is the second expensive house in the world. Its name three ponds are due to three pools in it. Its area is twenty five thousand square feet. Its price is seventy five million (seven and half caror) Dollars. There is sixty acre farm land around the living place. There is a golf course according to the standard of American golf association, a seventy five feet long swimming pool, tennis court, fourteen gardens and different kinds of flowers.
3. Pair Hotel, New York:
The upper three floor of “Pair Hotel” is called expensive and beautiful living place. Its price is seventy million (seven caror) Dollars. The height of roof is twenty three feet. There is ball room of hotel. We can see New York from window and terrace. There are black pieces of marbles on wide stairs, twenty feet long French windows, two reception rooms and an important library.
4. Toprak mention, London ENGLAND:
A Turkish company made this house in London. Its area is twenty eight thousand square feet. Its price is sixty one million and one hundred thousand (six caror eleven lac) Dollars. There are houses for servants and rooms for guests. Its drawing room is eighty feet long. There are four kitchens, forty seated dinning room and a cold storage with one kitchen.
Monday, May 25, 2009
Sonnet
Introduction:
The sonnet is one of the poetic forms that can be found in lyric poetry from Europe. The term "sonnet" derives from the Provencal word "sonet" and the Italian word "sonetto," both meaning "little song". The word sonetto being the diminutive of "suono" mean sound. The sonetto was originally a poem recited with sound, that is, with a musical accompaniment, a short poem of the rispetto kind, sung to the strains of lute or mandolin.
By the thirteenth century, it had come to signify a poem of fourteen lines with ten syllables per line, generally written in iambic pentameter or which follows a strict rhyme scheme and specific structure is called sonnet. Iambic pentameter is a rhythmical pattern of syllables. The "iambic" part means that the rhythm goes from an unstressed syllable to a stressed one, as happens in words like diVINE, caRESS, biZARRE, and deLIGHT. It sounds sort of like a heartbeat: daDUM, daDUM, daDUM.
Each iambic unit is called a foot. The "pentameter" part means that each line has 5 feet.
Here is an example of iambic pentameter:
Shall I compare thee to a summer day?
[Shall I] [compare] [thee to] [a sum] [mer day]?
Each of the five feet has brackets around it. Within each foot, the first syllable is unstressed and the second syllable is stressed. The writers of sonnets are sometimes referred to as "sonneteers," although the term can be used derisively. 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.
The sonnet is believed to come from medieval songs. Sonnets were used extensively by well known poets like Sidney, and Shakespeare in Elizabethan times. They died off about the time of Milton but then came back with romanticism and gained back popularity because of poets like Keats and Wordsworth.
A sonnet can be helpful when writing about emotions that are difficult to articulate. It is a short poem, so there is only so much room to work in. As well, the turn forces the poet to express what may not be normally expressible. Hopefully, you'll find yourself saying things you didn't know you were going to say, didn't know you could say, but that give you’re a better understanding of the emotions that drive the writing of the poem.
History:
By the 1200's, the sonnet form (from the Italian sonneto , "little song") was set well enough to be defined as Italian poets were writing them: 14 lines are divided into an 8-line problem statement that is resolved in the last 6 lines. As in the sample at the right, a shift in tone was typical in lines 8-9 because of this structure.
In the 1500's, William Shakespeare and many others adapted the form to include two more rhymes at the ends of lines than the Italian form used. Although there is still an echo of the shift in tone in lines 8-9, the last two lines of the English sonnet rhyme together and cap off the previous 12 lines. Usually about love, sonnets often are written about beauty but also about the effects of time and mortality.
The first English sonnets were composed by Sir Thomas Wyat (1503-1542), and Henry Howard, Earl of Surrey (c. 1517-1547); and the first appearance of any in book form was in the rare publication briefly known as Tottle's Miscellany, whose full title is "Songs and Sonettes written by the ryght honourable lorde Henry Howard late Earle of Surrey, and other."
For the concise expression of an isolated poetic thought--an intellectual or sensuous "wave" keenly felt, emotionally and rhythmically--the sonnet would seem to be the best medium, the means apparently prescribed by certain radical laws of melody and harmony, in other words, of nature: even as the swallow's wing is the best for rapid Volant wheel and shift, as the heron's for mounting by wide gyrations, as that of the kite or the albatross for sustained suspension. To bring this more clearly home to the mind of the reader unacquainted with the true scope of our sonnet-literature and of the technique of the sonnet itself, and to illustrate its development and capacity, is the aim of this introductory note. It is no new ground that is here broken. The sonnet has had many apologists and critical historians, and has been considered from many points of view.
There are two leading reasons for now issuing a new collection: to show how much of the poetic thought of our own time has been cast in the mould of the sonnet, and how worthy that mould is of the honour; and to meet, by the formation of an anthology of which the first and only absolute principle is the inclusion of no sonnet that does not possess--of course in varying degree--distinct poetic value, the widespread and manifestly increasing appreciation of and liking for this metrical form. Even yet no more can with justice be said than that it is limitedly popular, for not only is there still a general ignorance of what a sonnet really is and what technical qualities are essential to a fine specimen of this poetic genus, but a perfect plague of feeble productions in fourteen-lines has done its utmost, ever since Wordsworth's influence became a recognized factor, to render the sonnet as effete a form of metrical expression as the irregular ballad-stanza with a meaningless refrain.
Shakespeare's 154 sonnets, taken together, are frequently described as a sequence, and this is generally divided into two sections. Sonnets 1-126 focus on a young man and the speaker's friendship with him, and Sonnets 127-52 focus on the speaker's relationship with a woman. However, in only a few of the poems in the first group is it clear that the person being addressed is a male. And most of the poems in the sequence as a whole are not direct addresses to another person. The two concluding sonnets, 153 and 154, are free translations or adaptations of classical verses about Cupid; some critics believe they serve a specific purpose—though they disagree about what this may be—but many others view them as perfunctory. The English sonnet sequence reached the height of its popularity in the 1590s, when the posthumous publication of Sir Philip Sidney's Astrophel and Stella (1591) was widely celebrated and led other English poets to create their own sonnet collections. All of these, including Shakespeare's, are indebted to some degree to the literary conventions established by the Canzoniere, a sonnet sequence composed by the fourteenth-century Italian poet Petrarch. By the time Shakespeare wrote his sonnets, there was also an anti-Petrarchan convention, which satirized or exploited traditional motifs and styles. Commentators on Shakespeare's sonnets frequently compare them to those of his predecessors and contemporaries, including Sidney, Sir Thomas Wyatt, Henry Howard, Earl of Surrey, Samuel Daniel, and Edmund Spenser.
Initially, the Sonnet appeared in the early thirteenth century at the Sicilian court of Frederick II (King of Sicily (1197-1250) and Emperor of the Holy Roman Empire (1197-1250)). Sicily, the island off the south coast of Italy, is as close to the Ionian Islands as to Rome, and nearer to Tunis as to Naples. Thus it was a land where Arab, Greek, and Latin cultures interwove and influenced each other.
The Italian (or Petrarchan) Sonnet developed from the Sicilian Sonnet, by using envelope rhyme (instead of the alternating rhyme of the Sicilian Sonnet) in the octave.
Dante Alighieri (1265-1321) wrote the first Sonnet Sequence. Francesco Petrarca (1304-1374) published Canzioniere, "a narrative [made] out of a necklace of short poems" (as reported in The Making of a Poem: a Norton Anthology of Poetic Forms, Edited by Mark Strand and Eavan Boland).
The French Sonnet developed from the Italian Sonnet, by using a rhyming couplet (instead of chained rhyme) for the first two lines in the sestet.
The English (or Shakespearean) Sonnet and the Spenserian Sonnet also developed from the Italian Sonnet. The English (Shakespearean) and the Spenserian Sonnet both use alternating rhymes and conclude with a rhymed couplet. The Spenserian Sonnet is closer to the Italian, as both have the same number of rhymes, which are five.
First of the important English sequences is the 'Astrophel and Stella' of Sir Philip Sidney, written about 1580, published in 1591. 'Astrophel' is a fanciful half-Greek anagram for the poet's own name, and Stella (Star) designates Lady Penelope Devereux, who at about this time married Lord Rich. The sequence may very reasonably be interpreted as an expression of Platonic idealism, though it is sometimes taken in a sense less consistent with Sidney's high reputation. Of Spenser's 'Amoretti' we have already spoken. By far the finest of all the sonnets are the best ones (a considerable part) of Shakespeare's one hundred and fifty-four, which were not published until 1609 but may have been mostly written before 1600. Their interpretation has long been hotly debated. It is certain, however, that they do not form a connected sequence. Some of them are occupied with urging a youth of high rank, Shakespeare's patron, who may have been either the Earl of Southampton or William Herbert, Earl of Pembroke, to marry and perpetuate his race; others hint the story, real or imaginary, of Shakespeare's infatuation for a 'dark lady,' leading to bitter disillusion; and still others seem to be occasional expressions of devotion to other friends of one or the other sex. Here as elsewhere Shakespeare's genius, at its best, is supreme over all rivals; the first recorded criticism speaks of the 'sugared sweetness' of his sonnets; but his genius is not always at its best.
Like a plant of steady growth, the seedling of the sonnet, having fallen into suitable ground somewhere about the middle of the thirteenth century, gradually forced it’s obscure and tortuous way towards the light. Considerably before the close of the thirteenth century we find it in fulfilled bud, in due time to open into the mature Petrarcan flower, the perfected stock whence such a multiplicity of varieties has come.
Formation of Sonnet:
In a traditional Sonnet formations of Sonnet are:
· There are 14 lines.
· The poet introduces at least one Volta (or a jump or shift in direction of the emotions or thought), usually somewhat after the middle of the Sonnet.
· If the poet writes in the form of the Sicilian Sonnet, Italian (or Petrarchan) Sonnet, or French Sonnet, she begins with an octave and concludes with a sestet. She places the Volta between the octave and the sestet. She may indicate the Volta by a stanza break.
· In English, we are especially familiar with the English (or Shakespearean) Sonnet and the Spenserian Sonnet. In both, the poet groups lines in three quatrains followed by a closing rhymed couplet. She places a shift (a more subtle change than the Volta) between the second and third quatrains.
· In addition to the above, the English (or Shakespearean) Sonnet:
1. Has an alternating rhyme scheme in the quatrains (e.g., "a b a b").
2. Has a turn between the third quatrain and the concluding couplet. Often this marks a change from the presentation of images and the building of a case (in the quatrains). After the turn, the poet often states a conclusion, sometimes the "meaning" or "purpose" of the poem.
3. Often has its greatest power in the concluding couplet.
· Meanwhile, the Spenserian Sonnet (in addition to features shared with the English (or Shakespearean) Sonnet) has an envelope or kissing rhyme, "abba".
· The original Sicilian Sonnet arrived in the early thirteenth century at the Sicilian court of Frederick II. The Sicilian Sonnet has an octave of rima alternate ("alternating rhyme"). In the initial version, the same word was repeated instead of new words being introduced in rhyme.
Details of forms, in historical order:
The Italian (or Petrarchan) Sonnet starts with rhyming words in the pattern of rima baciata ("kissing rhyme"), which in English we call "envelope" rhyme. It ends with a sestet in "chained rhyme", which can use a variety of sequences:
a b b a a b b a - End words of lines in octet.
- Volta
c d e - First tercet for first three lines in sestet.
c d e - Second tercet for last three lines in sestet.
Variations of the last six lines include:
'c d e d c e' or 'c d c d c d'.
The English (or Shakespearean) Sonnet (16th century) contains three quatrains, each with an independent pair of alternating rhymes. Both a shift and a turn (as noted in forms of the Sonnet) occur respectively before and after the third quatrain.
Like the Spenserian Sonnet, the English Sonnet concludes with a rhymed couplet. The resulting form is: a b a b - End words of first quatrain in alternating rhyme. c d c d - End words of second quatrain in alternating rhyme. - Shift. e f e f - End words of third quatrain in alternating rhyme. - Turn. g g - Heroic couplet.
Types of Sonnet:
Although there are many different varieties, the most common variations are given below:
1. Italian (Petrarchan) sonnet
2. English sonnet
3. Occitan Sonnet
4. Spenserian sonnet
5. Modern sonnet
1. Italian (Petrarchan) sonnet:
The Italian sonnet was created by Giacomo da Lentini, head of the Sicilian School under Frederick II.[1] Guittone d'Arezzo rediscovered it and brought it to Tuscany where he adapted it to his language when he founded the Neo-Sicilian School (1235–1294). He wrote almost 300 sonnets. Other Italian poets of the time, including Dante Alighieri (1265–1321) and Guido Cavalcanti (c. 1250–1300) wrote sonnets, but the most famous early sonneteer was Petrarca (known in English as Petrarch).Other fine examples were written by Michelangelo.
The Italian sonnet included two parts. First, the octave (two quatrains), which describe a problem, followed by a sestet (two tercets), which gives the resolution to it. Typically, the ninth line creates a "turn" or Volta which signals the move from proposition to resolution. Even in sonnets that don't strictly follow the problem/resolution structure, the ninth line still often marks a "turn" by signaling a change in the tone, mood, or stance of the poem.
In the sonnets of Giacomo da Lentini, the octave rhymed a-b-a-b, a-b-a-b; later, the a-b-b-a, a-b-b-a pattern became the standard for Italian sonnets. For the sestet there were two different possibilities, c-d-e-c-d-e and c-d-c-c-d-c. In time, other variants on this rhyming scheme were introduced such as c-d-c-d-c-d.
the Petrarchan sonnet is divided into an 8-line stanza, called an octave, followed by a 6-line stanza, called a sestet. This type of sonnet is constructed with a change of thought or turn between the octave and the sestet, so that the content and the form are allied. The rhyme scheme is set for the octet, but the sestet allows variants:
Octave: abbaabba
Sestet: cdecde or cdcdcd, or any combination except a scheme that ends in a rhymed couplet.
2. English sonnet:
The first known sonnets in English, written by Sir Thomas Wyatt and Henry Howard, Earl of Surrey, used this Italian scheme, as did sonnets by later English poets including John Milton, Thomas Gray, William Wordsworth and Elizabeth Barrett Browning. Early twentieth-century American poet, Edna St. Vincent Millay, also wrote most of her sonnets using the Italian form. A sonnet was famously used in Romeo and Juliet
Sonnets were introduced by Thomas Wyatt in the early 16th century. His sonnets and those of his contemporary the Earl of Surrey were chiefly translations from the Italian of Petrarch and the French of Ronsard and others. While Wyatt introduced the sonnet into English, it was Surrey who gave them the rhyme scheme, meter, and division into quatrains that now characterizes the English sonnet. Sir Philip Sidney's sequence Astrophil and Stella (1591) started a tremendous vogue for sonnet sequences: the next two decades saw sonnet sequences by William Shakespeare, Edmund Spenser, Michael Drayton, Samuel Daniel, Fulke Greville, William Drummond of Hawthornden, and many others. These sonnets were all essentially inspired by the Petrarchan tradition, and generally treat of the poet's love for some woman; the exception is Shakespeare's sequence. In the 17th century, the sonnet was adapted to other purposes, with John Donne and George Herbert writing religious sonnets, and John Milton using the sonnet as a general meditative poem. Both the Shakespearean and Petrarchan rhyme schemes were popular throughout this period, as well as many variants.
Soon after the introduction of the Italian sonnet, English poets began to develop a fully native form. These poets included Sir Philip Sidney, Michael Drayton, Samuel Daniel, the Earl of Surrey's nephew Edward de Vere, 17th Earl of Oxford and William Shakespeare. The form is often named after Shakespeare, not because he was the first to write in this form but because he became its most famous practitioner. The form consists of three quatrains and a couplet. The third quatrain generally introduces an unexpected sharp thematic or imagistic "turn" called a Volta. The usual rhyme scheme was a-b-a-b, c-d-c-d, e-f-e-f, g-g. In addition, sonnets are usually written in iambic pentameter, meaning that there are 10 or perhaps even 11 or 9 syllables per line, and that every other syllable is naturally accented. (Sonnets almost always have 10 syllable lines, but do not always have the natural accent)The sonnet must be 14 lines long, and the last two lines of the sonnet have rhyming endings (though there may be exceptions). In Shakespeare's sonnets, the couplet usually summarizes the theme of the poem or introduces a fresh new look at the theme.
The Shakespearean Sonnet, (perfected though not invented by Shakespeare), contains three quatrains and a couplet, with more rhymes (because of the greater difficulty finding rhymes in English). The most common rhyme scheme is A-B-A-B C-D-C-D E-F-E-F G-G. In Shakespeare, the couplet often undercuts the thought created in the rest of the poem.
This is the proper rhyme scheme for an English Sonnet (/ represents a new stanza): a-b-a-b / c-d-c-d / e-f-e-f / g-g
3. Occitan sonnet:
The lone surviving sonnet by an Occitan is confidently dated to 1284 and is conserved only in troubadour manuscript P, an Italian chansonnier of 1310, now XLI.42 in the Biblioteca Laurenziana in Florence.[2] It was written by Paolo Lanfranchi da Pistoia and is addressed to Peter III of Aragon. This poem is historically interesting for its information on north Italian perspectives concerning the War of the Sicilian Vespers, the conflict between the Angevins and Aragonese for Sicily.[2] Peter III and the Aragonese cause were popular in northern Italy at the time and Paolo's sonnet is a celebration of his victory over the Angevins and Capetians in the Aragonese Crusade:
4. Spenserian sonnet:
A variant on the English form is the Spenserian sonnet, named after Edmund Spenser (c.1552–1599) in which the rhyme scheme is, abab, bcbc, cdcd, ee. In a Spenserian sonnet there does not appear to be a requirement that the initial octave set up a problem that the closing sestet answers, as is the case with a Petrarchan sonnet. Instead, the form is treated as three quatrains connected by the interlocking rhyme scheme and followed by a couplet. The linked rhymes of his quatrains suggest the linked rhymes of such Italian forms as terza rima.
Like a Shakespearean sonnet, a Spenserian sonnet has three quatrains and a couplet, and the couplet introduces new rhyme sounds to the poem. It differs, however, in that the rhyme scheme interconnects the sound of the three quatrains: abab bcbc cdcd ee. The interconnection of the three quatrains may encourage a different type of connection between them than in a Shakespearean sonnet. For example, in a sonnet by Spenser himself, each stanza is a further step in a dialogue between the speaker and the sea.
5. Modern sonnet:
With the advent of free verse, the sonnet came to be seen as somewhat old-fashioned and fell out of use for a time among some schools of poets. However, a number of 20th-century poets, including Wilfred Owen, John Berryman, Edwin Morgan, Robert Frost, Edna St. Vincent Millay, E.E. Cummings, Jorge Luis Borges, Pablo Neruda, Joan Brossa, Rainer Maria Rilke, and Seamus Heaney continued to use the form. The advent of the New Formalism movement in the United States has also contributed to contemporary interest in the sonnet.
Parts of Sonnet:
There are two parts of sonnet an octave and sestet. Which are
describing below:
1. Octave:
An octave is a verse form consisting of eight lines of iambic pentameter (in English) or of hendecasyllables (in Italian). The most common rhyme scheme for an octave is abba abba.
An octave is the first part of a Petrarchan sonnet, which ends with a contrasting sestet. In traditional Italian sonnets the octave always ends with a conclusion of one idea, giving way to another idea in the sestet. Some English sonnets break that rule, often to striking effect. For example in Milton's Sonnet 19, the sestet begins early, halfway through the last line of the octave:
When I consider how my light is spent
Ere half my days in this dark world and wide,
And that one talent which is death to hide
Lodg'd with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide,
"Doth God exact day-labour, light denied?"
I fondly ask. But Patience, to prevent
Patience's too-quick reply intrudes upon the integrity of the octave. Since "prevent" also means "anticipate" it is as if Patience is giving the answer before the question is finished.
2. Sestet:
A sestet is the name given to the second division of a sonnet, which must consist of an octave, of eight lines, succeeded by a sestet, of six lines. The first documented user of this poetical form was the Italian poet, Petrarch. In the usual course the rhymes are arranged abc abc, but this is not necessary. Early Italian sonnets, and in particular those of Dante, often close with the rhyme-arrangement abc cba; but in languages where the sonority of syllables is not so great as it is in Italian, it is dangerous to leave a period of five lines between one rhyme and another. In the quatorzain, there is, properly speaking, no sestet, but a quatrain followed by a couplet, as in the case of English Sonnets. Another form of sestet has only two rhymes, ab ab I ab; as is the case in Gray's famous sonnet On the Death of Richard West. The sestet should mark the turn of emotion in the sonnet; as a rule it may be said, that the octave having been more or less objective, in the sestet reflection should make its appearance, with a tendency to the subjective manner. For example, in Matthew Arnold's The Better Part, the rough inquirer, who has had his own way in the octave, is replied to as soon as the sestet commences:
So answerest thou; but why not rather say:
"Hath man no second life? - Pitch this one high!
Sits there no judge in Heaven, our sin to see? -
More strictly, then, the inward judge obey!
Was Christ a man like us? Ah! let us try
If we then, too, can be such men as he!"
Wordsworth and Milton are both remarkable for the dignity with which they conduct the downward wave of the sestet in their sonnet. The French sonneteers of the 16th century, with Ronsard at their head, preferred the softer sound of the arrangement aab ccb I. The German poets have usually wavered between the English and the Italian forms. A sestet is also six lines of poetry forming a stanza or complete poem.
Rhyme scheme:
A rhyme scheme is the pattern of rhyming lines in a poem or song. It is usually referred to by using letters to indicate which lines rhyme. In other words, it is the pattern of end rhymes.
For example "A,B,A,B," indicates a four-line stanza in which the first and third lines rhyme, as do the second and fourth. Here is an example of this rhyme scheme from To Anthea, Who May Command Him Any Thing by Robert Herrick:
Bid me to weep, and I will weep, "A"
While I have eyes to see; "B"
And having none, and yet I will keep "A"
A heart to weep for thee. "B"
There are many different such forms, each with its own associations and resonances to cause a particular effect on the reader. A basic distinction is between rhyme schemes that apply to a single stanza, and those that continue their pattern throughout an entire poem. There are also more elaborate related forms, like the sestina - which requires repetition of exact words in a complex pattern.
In English, highly repetitive rhyme schemes are unusual. English has more vowel sounds than Italian, for example, meaning that such a scheme would be far more restrictive for an English writer than an Italian one - there are fewer suitable words to match a given pattern. Even such schemes as the terza rima ("aba bcb cdc ded..."), used by Dante Alighieri in The Divine Comedy, have been considered too difficult for English.
Some rhyme schemes:
Sonnet
Petrarchan sonnet: "abba abba cde cde" or "abba abba cdc dcd".
Shakespearean sonnet: "abab cdcd efef gg".
Simple 4-line: "abcb"
Spenserian sonnet: "abab bcbc cdcd ee".
Onegin stanzas: "aBaBccDDeFFeGG" with the lowercase letters representing feminine rhymes and the uppercase representing masculine rhymes, written in iambic tetrameter.
Spenserian stanza: "ababbcbcc".
Tanaga: traditional Tagalog tanaga is aaaa
Terza rima: "aba bcb cdc ...", ending on "yzy z" or "yzy zz".
Triplet: "aaa", often repeating like the couplet.
Villanelle: A1bA2 abA1 abA2 abA1 abA2 abA1A2, where A1 and A2 are lines repeated exactly which rhyme with the lines.
Sestina: abcdef faebdc cfdabe ecbfad deacfb bdfeca , the seventh stanza is a tercet where line 1 has a in it but ends with d, line 2 has b in it but ends with e, line 3 has c in it but ends with f
Chant royal: Five stanzas of "ababccddedE" followed by either "ddedE" or "ccddedE". (The capital letters indicate a line repeated verbatim.)
Cinquain: "A,B,A,B,B".
Clerihew: "A,A,B,B,".
Couplet: "A,A", but usually occurs as "A,A, B,B C,C D,D ...".
Enclosed rhyme (or enclosing rhyme): "abba".
Limerick: "aabba".
Monorhyme: "A,A,A,A,A...", an identical rhyme on every line, common in Latin and Arabic
Ottava rima: "A,B,A,B,A,B,C,C".
Rhyme royal: "ababbcc".
Scottish Stanza: "AAABAB", as used by Robert Burns in works such as To a Mouse
Rondelet: "AbAabbA".
Rubaiyat: "aaba".
To figure out a rhyme scheme, mark the ends of lines of poetry with letters of the alphabet. Ending sounds that rhyme should all be given the same letter.
Here is an example of you would label a rhyme scheme:
Tyger! Tyger! Burning bright aIn the forests of the night, aWhat immortal hand or eye bCould frame thy fearful symmetry? b
In what distant deeps or skies cBurnt the fire of thine eyes? cOn what wings dare he aspire? dWhat the hand dare seize the fire? d
The rhyme scheme in the above poem is aabb, ccdd. In a sonnet, the rhyme scheme is abab, cdcd, efef, gg
Where do the sentences end? In this sonnet, they end halfway through or at the end of each quatrain. Since the couplet varies the rhyming pattern of the first twelve lines, it stands out; it also stands out because it's the end, the climax emotionally for the poem.
So the ends of lines 4, 8, 12, and 14 should be louder than other syllables--and filled with relatively more important words. Certainly, "doom" (death) and "loved" are crucial to this sonnet's theme.
The rhyme scheme of a sonnet refers to the pattern formed by the rhyming words at the end of each line. Each end-rhyme is assigned a letter, and the fourteen letters assigned to the sonnet describe the rhyme scheme. Different kinds of sonnets have different rhyme schemes.
The sonnet is one of the poetic forms that can be found in lyric poetry from Europe. The term "sonnet" derives from the Provencal word "sonet" and the Italian word "sonetto," both meaning "little song". The word sonetto being the diminutive of "suono" mean sound. The sonetto was originally a poem recited with sound, that is, with a musical accompaniment, a short poem of the rispetto kind, sung to the strains of lute or mandolin.
By the thirteenth century, it had come to signify a poem of fourteen lines with ten syllables per line, generally written in iambic pentameter or which follows a strict rhyme scheme and specific structure is called sonnet. Iambic pentameter is a rhythmical pattern of syllables. The "iambic" part means that the rhythm goes from an unstressed syllable to a stressed one, as happens in words like diVINE, caRESS, biZARRE, and deLIGHT. It sounds sort of like a heartbeat: daDUM, daDUM, daDUM.
Each iambic unit is called a foot. The "pentameter" part means that each line has 5 feet.
Here is an example of iambic pentameter:
Shall I compare thee to a summer day?
[Shall I] [compare] [thee to] [a sum] [mer day]?
Each of the five feet has brackets around it. Within each foot, the first syllable is unstressed and the second syllable is stressed. The writers of sonnets are sometimes referred to as "sonneteers," although the term can be used derisively. 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.
The sonnet is believed to come from medieval songs. Sonnets were used extensively by well known poets like Sidney, and Shakespeare in Elizabethan times. They died off about the time of Milton but then came back with romanticism and gained back popularity because of poets like Keats and Wordsworth.
A sonnet can be helpful when writing about emotions that are difficult to articulate. It is a short poem, so there is only so much room to work in. As well, the turn forces the poet to express what may not be normally expressible. Hopefully, you'll find yourself saying things you didn't know you were going to say, didn't know you could say, but that give you’re a better understanding of the emotions that drive the writing of the poem.
History:
By the 1200's, the sonnet form (from the Italian sonneto , "little song") was set well enough to be defined as Italian poets were writing them: 14 lines are divided into an 8-line problem statement that is resolved in the last 6 lines. As in the sample at the right, a shift in tone was typical in lines 8-9 because of this structure.
In the 1500's, William Shakespeare and many others adapted the form to include two more rhymes at the ends of lines than the Italian form used. Although there is still an echo of the shift in tone in lines 8-9, the last two lines of the English sonnet rhyme together and cap off the previous 12 lines. Usually about love, sonnets often are written about beauty but also about the effects of time and mortality.
The first English sonnets were composed by Sir Thomas Wyat (1503-1542), and Henry Howard, Earl of Surrey (c. 1517-1547); and the first appearance of any in book form was in the rare publication briefly known as Tottle's Miscellany, whose full title is "Songs and Sonettes written by the ryght honourable lorde Henry Howard late Earle of Surrey, and other."
For the concise expression of an isolated poetic thought--an intellectual or sensuous "wave" keenly felt, emotionally and rhythmically--the sonnet would seem to be the best medium, the means apparently prescribed by certain radical laws of melody and harmony, in other words, of nature: even as the swallow's wing is the best for rapid Volant wheel and shift, as the heron's for mounting by wide gyrations, as that of the kite or the albatross for sustained suspension. To bring this more clearly home to the mind of the reader unacquainted with the true scope of our sonnet-literature and of the technique of the sonnet itself, and to illustrate its development and capacity, is the aim of this introductory note. It is no new ground that is here broken. The sonnet has had many apologists and critical historians, and has been considered from many points of view.
There are two leading reasons for now issuing a new collection: to show how much of the poetic thought of our own time has been cast in the mould of the sonnet, and how worthy that mould is of the honour; and to meet, by the formation of an anthology of which the first and only absolute principle is the inclusion of no sonnet that does not possess--of course in varying degree--distinct poetic value, the widespread and manifestly increasing appreciation of and liking for this metrical form. Even yet no more can with justice be said than that it is limitedly popular, for not only is there still a general ignorance of what a sonnet really is and what technical qualities are essential to a fine specimen of this poetic genus, but a perfect plague of feeble productions in fourteen-lines has done its utmost, ever since Wordsworth's influence became a recognized factor, to render the sonnet as effete a form of metrical expression as the irregular ballad-stanza with a meaningless refrain.
Shakespeare's 154 sonnets, taken together, are frequently described as a sequence, and this is generally divided into two sections. Sonnets 1-126 focus on a young man and the speaker's friendship with him, and Sonnets 127-52 focus on the speaker's relationship with a woman. However, in only a few of the poems in the first group is it clear that the person being addressed is a male. And most of the poems in the sequence as a whole are not direct addresses to another person. The two concluding sonnets, 153 and 154, are free translations or adaptations of classical verses about Cupid; some critics believe they serve a specific purpose—though they disagree about what this may be—but many others view them as perfunctory. The English sonnet sequence reached the height of its popularity in the 1590s, when the posthumous publication of Sir Philip Sidney's Astrophel and Stella (1591) was widely celebrated and led other English poets to create their own sonnet collections. All of these, including Shakespeare's, are indebted to some degree to the literary conventions established by the Canzoniere, a sonnet sequence composed by the fourteenth-century Italian poet Petrarch. By the time Shakespeare wrote his sonnets, there was also an anti-Petrarchan convention, which satirized or exploited traditional motifs and styles. Commentators on Shakespeare's sonnets frequently compare them to those of his predecessors and contemporaries, including Sidney, Sir Thomas Wyatt, Henry Howard, Earl of Surrey, Samuel Daniel, and Edmund Spenser.
Initially, the Sonnet appeared in the early thirteenth century at the Sicilian court of Frederick II (King of Sicily (1197-1250) and Emperor of the Holy Roman Empire (1197-1250)). Sicily, the island off the south coast of Italy, is as close to the Ionian Islands as to Rome, and nearer to Tunis as to Naples. Thus it was a land where Arab, Greek, and Latin cultures interwove and influenced each other.
The Italian (or Petrarchan) Sonnet developed from the Sicilian Sonnet, by using envelope rhyme (instead of the alternating rhyme of the Sicilian Sonnet) in the octave.
Dante Alighieri (1265-1321) wrote the first Sonnet Sequence. Francesco Petrarca (1304-1374) published Canzioniere, "a narrative [made] out of a necklace of short poems" (as reported in The Making of a Poem: a Norton Anthology of Poetic Forms, Edited by Mark Strand and Eavan Boland).
The French Sonnet developed from the Italian Sonnet, by using a rhyming couplet (instead of chained rhyme) for the first two lines in the sestet.
The English (or Shakespearean) Sonnet and the Spenserian Sonnet also developed from the Italian Sonnet. The English (Shakespearean) and the Spenserian Sonnet both use alternating rhymes and conclude with a rhymed couplet. The Spenserian Sonnet is closer to the Italian, as both have the same number of rhymes, which are five.
First of the important English sequences is the 'Astrophel and Stella' of Sir Philip Sidney, written about 1580, published in 1591. 'Astrophel' is a fanciful half-Greek anagram for the poet's own name, and Stella (Star) designates Lady Penelope Devereux, who at about this time married Lord Rich. The sequence may very reasonably be interpreted as an expression of Platonic idealism, though it is sometimes taken in a sense less consistent with Sidney's high reputation. Of Spenser's 'Amoretti' we have already spoken. By far the finest of all the sonnets are the best ones (a considerable part) of Shakespeare's one hundred and fifty-four, which were not published until 1609 but may have been mostly written before 1600. Their interpretation has long been hotly debated. It is certain, however, that they do not form a connected sequence. Some of them are occupied with urging a youth of high rank, Shakespeare's patron, who may have been either the Earl of Southampton or William Herbert, Earl of Pembroke, to marry and perpetuate his race; others hint the story, real or imaginary, of Shakespeare's infatuation for a 'dark lady,' leading to bitter disillusion; and still others seem to be occasional expressions of devotion to other friends of one or the other sex. Here as elsewhere Shakespeare's genius, at its best, is supreme over all rivals; the first recorded criticism speaks of the 'sugared sweetness' of his sonnets; but his genius is not always at its best.
Like a plant of steady growth, the seedling of the sonnet, having fallen into suitable ground somewhere about the middle of the thirteenth century, gradually forced it’s obscure and tortuous way towards the light. Considerably before the close of the thirteenth century we find it in fulfilled bud, in due time to open into the mature Petrarcan flower, the perfected stock whence such a multiplicity of varieties has come.
Formation of Sonnet:
In a traditional Sonnet formations of Sonnet are:
· There are 14 lines.
· The poet introduces at least one Volta (or a jump or shift in direction of the emotions or thought), usually somewhat after the middle of the Sonnet.
· If the poet writes in the form of the Sicilian Sonnet, Italian (or Petrarchan) Sonnet, or French Sonnet, she begins with an octave and concludes with a sestet. She places the Volta between the octave and the sestet. She may indicate the Volta by a stanza break.
· In English, we are especially familiar with the English (or Shakespearean) Sonnet and the Spenserian Sonnet. In both, the poet groups lines in three quatrains followed by a closing rhymed couplet. She places a shift (a more subtle change than the Volta) between the second and third quatrains.
· In addition to the above, the English (or Shakespearean) Sonnet:
1. Has an alternating rhyme scheme in the quatrains (e.g., "a b a b").
2. Has a turn between the third quatrain and the concluding couplet. Often this marks a change from the presentation of images and the building of a case (in the quatrains). After the turn, the poet often states a conclusion, sometimes the "meaning" or "purpose" of the poem.
3. Often has its greatest power in the concluding couplet.
· Meanwhile, the Spenserian Sonnet (in addition to features shared with the English (or Shakespearean) Sonnet) has an envelope or kissing rhyme, "abba".
· The original Sicilian Sonnet arrived in the early thirteenth century at the Sicilian court of Frederick II. The Sicilian Sonnet has an octave of rima alternate ("alternating rhyme"). In the initial version, the same word was repeated instead of new words being introduced in rhyme.
Details of forms, in historical order:
The Italian (or Petrarchan) Sonnet starts with rhyming words in the pattern of rima baciata ("kissing rhyme"), which in English we call "envelope" rhyme. It ends with a sestet in "chained rhyme", which can use a variety of sequences:
a b b a a b b a - End words of lines in octet.
- Volta
c d e - First tercet for first three lines in sestet.
c d e - Second tercet for last three lines in sestet.
Variations of the last six lines include:
'c d e d c e' or 'c d c d c d'.
The English (or Shakespearean) Sonnet (16th century) contains three quatrains, each with an independent pair of alternating rhymes. Both a shift and a turn (as noted in forms of the Sonnet) occur respectively before and after the third quatrain.
Like the Spenserian Sonnet, the English Sonnet concludes with a rhymed couplet. The resulting form is: a b a b - End words of first quatrain in alternating rhyme. c d c d - End words of second quatrain in alternating rhyme. - Shift. e f e f - End words of third quatrain in alternating rhyme. - Turn. g g - Heroic couplet.
Types of Sonnet:
Although there are many different varieties, the most common variations are given below:
1. Italian (Petrarchan) sonnet
2. English sonnet
3. Occitan Sonnet
4. Spenserian sonnet
5. Modern sonnet
1. Italian (Petrarchan) sonnet:
The Italian sonnet was created by Giacomo da Lentini, head of the Sicilian School under Frederick II.[1] Guittone d'Arezzo rediscovered it and brought it to Tuscany where he adapted it to his language when he founded the Neo-Sicilian School (1235–1294). He wrote almost 300 sonnets. Other Italian poets of the time, including Dante Alighieri (1265–1321) and Guido Cavalcanti (c. 1250–1300) wrote sonnets, but the most famous early sonneteer was Petrarca (known in English as Petrarch).Other fine examples were written by Michelangelo.
The Italian sonnet included two parts. First, the octave (two quatrains), which describe a problem, followed by a sestet (two tercets), which gives the resolution to it. Typically, the ninth line creates a "turn" or Volta which signals the move from proposition to resolution. Even in sonnets that don't strictly follow the problem/resolution structure, the ninth line still often marks a "turn" by signaling a change in the tone, mood, or stance of the poem.
In the sonnets of Giacomo da Lentini, the octave rhymed a-b-a-b, a-b-a-b; later, the a-b-b-a, a-b-b-a pattern became the standard for Italian sonnets. For the sestet there were two different possibilities, c-d-e-c-d-e and c-d-c-c-d-c. In time, other variants on this rhyming scheme were introduced such as c-d-c-d-c-d.
the Petrarchan sonnet is divided into an 8-line stanza, called an octave, followed by a 6-line stanza, called a sestet. This type of sonnet is constructed with a change of thought or turn between the octave and the sestet, so that the content and the form are allied. The rhyme scheme is set for the octet, but the sestet allows variants:
Octave: abbaabba
Sestet: cdecde or cdcdcd, or any combination except a scheme that ends in a rhymed couplet.
2. English sonnet:
The first known sonnets in English, written by Sir Thomas Wyatt and Henry Howard, Earl of Surrey, used this Italian scheme, as did sonnets by later English poets including John Milton, Thomas Gray, William Wordsworth and Elizabeth Barrett Browning. Early twentieth-century American poet, Edna St. Vincent Millay, also wrote most of her sonnets using the Italian form. A sonnet was famously used in Romeo and Juliet
Sonnets were introduced by Thomas Wyatt in the early 16th century. His sonnets and those of his contemporary the Earl of Surrey were chiefly translations from the Italian of Petrarch and the French of Ronsard and others. While Wyatt introduced the sonnet into English, it was Surrey who gave them the rhyme scheme, meter, and division into quatrains that now characterizes the English sonnet. Sir Philip Sidney's sequence Astrophil and Stella (1591) started a tremendous vogue for sonnet sequences: the next two decades saw sonnet sequences by William Shakespeare, Edmund Spenser, Michael Drayton, Samuel Daniel, Fulke Greville, William Drummond of Hawthornden, and many others. These sonnets were all essentially inspired by the Petrarchan tradition, and generally treat of the poet's love for some woman; the exception is Shakespeare's sequence. In the 17th century, the sonnet was adapted to other purposes, with John Donne and George Herbert writing religious sonnets, and John Milton using the sonnet as a general meditative poem. Both the Shakespearean and Petrarchan rhyme schemes were popular throughout this period, as well as many variants.
Soon after the introduction of the Italian sonnet, English poets began to develop a fully native form. These poets included Sir Philip Sidney, Michael Drayton, Samuel Daniel, the Earl of Surrey's nephew Edward de Vere, 17th Earl of Oxford and William Shakespeare. The form is often named after Shakespeare, not because he was the first to write in this form but because he became its most famous practitioner. The form consists of three quatrains and a couplet. The third quatrain generally introduces an unexpected sharp thematic or imagistic "turn" called a Volta. The usual rhyme scheme was a-b-a-b, c-d-c-d, e-f-e-f, g-g. In addition, sonnets are usually written in iambic pentameter, meaning that there are 10 or perhaps even 11 or 9 syllables per line, and that every other syllable is naturally accented. (Sonnets almost always have 10 syllable lines, but do not always have the natural accent)The sonnet must be 14 lines long, and the last two lines of the sonnet have rhyming endings (though there may be exceptions). In Shakespeare's sonnets, the couplet usually summarizes the theme of the poem or introduces a fresh new look at the theme.
The Shakespearean Sonnet, (perfected though not invented by Shakespeare), contains three quatrains and a couplet, with more rhymes (because of the greater difficulty finding rhymes in English). The most common rhyme scheme is A-B-A-B C-D-C-D E-F-E-F G-G. In Shakespeare, the couplet often undercuts the thought created in the rest of the poem.
This is the proper rhyme scheme for an English Sonnet (/ represents a new stanza): a-b-a-b / c-d-c-d / e-f-e-f / g-g
3. Occitan sonnet:
The lone surviving sonnet by an Occitan is confidently dated to 1284 and is conserved only in troubadour manuscript P, an Italian chansonnier of 1310, now XLI.42 in the Biblioteca Laurenziana in Florence.[2] It was written by Paolo Lanfranchi da Pistoia and is addressed to Peter III of Aragon. This poem is historically interesting for its information on north Italian perspectives concerning the War of the Sicilian Vespers, the conflict between the Angevins and Aragonese for Sicily.[2] Peter III and the Aragonese cause were popular in northern Italy at the time and Paolo's sonnet is a celebration of his victory over the Angevins and Capetians in the Aragonese Crusade:
4. Spenserian sonnet:
A variant on the English form is the Spenserian sonnet, named after Edmund Spenser (c.1552–1599) in which the rhyme scheme is, abab, bcbc, cdcd, ee. In a Spenserian sonnet there does not appear to be a requirement that the initial octave set up a problem that the closing sestet answers, as is the case with a Petrarchan sonnet. Instead, the form is treated as three quatrains connected by the interlocking rhyme scheme and followed by a couplet. The linked rhymes of his quatrains suggest the linked rhymes of such Italian forms as terza rima.
Like a Shakespearean sonnet, a Spenserian sonnet has three quatrains and a couplet, and the couplet introduces new rhyme sounds to the poem. It differs, however, in that the rhyme scheme interconnects the sound of the three quatrains: abab bcbc cdcd ee. The interconnection of the three quatrains may encourage a different type of connection between them than in a Shakespearean sonnet. For example, in a sonnet by Spenser himself, each stanza is a further step in a dialogue between the speaker and the sea.
5. Modern sonnet:
With the advent of free verse, the sonnet came to be seen as somewhat old-fashioned and fell out of use for a time among some schools of poets. However, a number of 20th-century poets, including Wilfred Owen, John Berryman, Edwin Morgan, Robert Frost, Edna St. Vincent Millay, E.E. Cummings, Jorge Luis Borges, Pablo Neruda, Joan Brossa, Rainer Maria Rilke, and Seamus Heaney continued to use the form. The advent of the New Formalism movement in the United States has also contributed to contemporary interest in the sonnet.
Parts of Sonnet:
There are two parts of sonnet an octave and sestet. Which are
describing below:
1. Octave:
An octave is a verse form consisting of eight lines of iambic pentameter (in English) or of hendecasyllables (in Italian). The most common rhyme scheme for an octave is abba abba.
An octave is the first part of a Petrarchan sonnet, which ends with a contrasting sestet. In traditional Italian sonnets the octave always ends with a conclusion of one idea, giving way to another idea in the sestet. Some English sonnets break that rule, often to striking effect. For example in Milton's Sonnet 19, the sestet begins early, halfway through the last line of the octave:
When I consider how my light is spent
Ere half my days in this dark world and wide,
And that one talent which is death to hide
Lodg'd with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide,
"Doth God exact day-labour, light denied?"
I fondly ask. But Patience, to prevent
Patience's too-quick reply intrudes upon the integrity of the octave. Since "prevent" also means "anticipate" it is as if Patience is giving the answer before the question is finished.
2. Sestet:
A sestet is the name given to the second division of a sonnet, which must consist of an octave, of eight lines, succeeded by a sestet, of six lines. The first documented user of this poetical form was the Italian poet, Petrarch. In the usual course the rhymes are arranged abc abc, but this is not necessary. Early Italian sonnets, and in particular those of Dante, often close with the rhyme-arrangement abc cba; but in languages where the sonority of syllables is not so great as it is in Italian, it is dangerous to leave a period of five lines between one rhyme and another. In the quatorzain, there is, properly speaking, no sestet, but a quatrain followed by a couplet, as in the case of English Sonnets. Another form of sestet has only two rhymes, ab ab I ab; as is the case in Gray's famous sonnet On the Death of Richard West. The sestet should mark the turn of emotion in the sonnet; as a rule it may be said, that the octave having been more or less objective, in the sestet reflection should make its appearance, with a tendency to the subjective manner. For example, in Matthew Arnold's The Better Part, the rough inquirer, who has had his own way in the octave, is replied to as soon as the sestet commences:
So answerest thou; but why not rather say:
"Hath man no second life? - Pitch this one high!
Sits there no judge in Heaven, our sin to see? -
More strictly, then, the inward judge obey!
Was Christ a man like us? Ah! let us try
If we then, too, can be such men as he!"
Wordsworth and Milton are both remarkable for the dignity with which they conduct the downward wave of the sestet in their sonnet. The French sonneteers of the 16th century, with Ronsard at their head, preferred the softer sound of the arrangement aab ccb I. The German poets have usually wavered between the English and the Italian forms. A sestet is also six lines of poetry forming a stanza or complete poem.
Rhyme scheme:
A rhyme scheme is the pattern of rhyming lines in a poem or song. It is usually referred to by using letters to indicate which lines rhyme. In other words, it is the pattern of end rhymes.
For example "A,B,A,B," indicates a four-line stanza in which the first and third lines rhyme, as do the second and fourth. Here is an example of this rhyme scheme from To Anthea, Who May Command Him Any Thing by Robert Herrick:
Bid me to weep, and I will weep, "A"
While I have eyes to see; "B"
And having none, and yet I will keep "A"
A heart to weep for thee. "B"
There are many different such forms, each with its own associations and resonances to cause a particular effect on the reader. A basic distinction is between rhyme schemes that apply to a single stanza, and those that continue their pattern throughout an entire poem. There are also more elaborate related forms, like the sestina - which requires repetition of exact words in a complex pattern.
In English, highly repetitive rhyme schemes are unusual. English has more vowel sounds than Italian, for example, meaning that such a scheme would be far more restrictive for an English writer than an Italian one - there are fewer suitable words to match a given pattern. Even such schemes as the terza rima ("aba bcb cdc ded..."), used by Dante Alighieri in The Divine Comedy, have been considered too difficult for English.
Some rhyme schemes:
Sonnet
Petrarchan sonnet: "abba abba cde cde" or "abba abba cdc dcd".
Shakespearean sonnet: "abab cdcd efef gg".
Simple 4-line: "abcb"
Spenserian sonnet: "abab bcbc cdcd ee".
Onegin stanzas: "aBaBccDDeFFeGG" with the lowercase letters representing feminine rhymes and the uppercase representing masculine rhymes, written in iambic tetrameter.
Spenserian stanza: "ababbcbcc".
Tanaga: traditional Tagalog tanaga is aaaa
Terza rima: "aba bcb cdc ...", ending on "yzy z" or "yzy zz".
Triplet: "aaa", often repeating like the couplet.
Villanelle: A1bA2 abA1 abA2 abA1 abA2 abA1A2, where A1 and A2 are lines repeated exactly which rhyme with the lines.
Sestina: abcdef faebdc cfdabe ecbfad deacfb bdfeca , the seventh stanza is a tercet where line 1 has a in it but ends with d, line 2 has b in it but ends with e, line 3 has c in it but ends with f
Chant royal: Five stanzas of "ababccddedE" followed by either "ddedE" or "ccddedE". (The capital letters indicate a line repeated verbatim.)
Cinquain: "A,B,A,B,B".
Clerihew: "A,A,B,B,".
Couplet: "A,A", but usually occurs as "A,A, B,B C,C D,D ...".
Enclosed rhyme (or enclosing rhyme): "abba".
Limerick: "aabba".
Monorhyme: "A,A,A,A,A...", an identical rhyme on every line, common in Latin and Arabic
Ottava rima: "A,B,A,B,A,B,C,C".
Rhyme royal: "ababbcc".
Scottish Stanza: "AAABAB", as used by Robert Burns in works such as To a Mouse
Rondelet: "AbAabbA".
Rubaiyat: "aaba".
To figure out a rhyme scheme, mark the ends of lines of poetry with letters of the alphabet. Ending sounds that rhyme should all be given the same letter.
Here is an example of you would label a rhyme scheme:
Tyger! Tyger! Burning bright aIn the forests of the night, aWhat immortal hand or eye bCould frame thy fearful symmetry? b
In what distant deeps or skies cBurnt the fire of thine eyes? cOn what wings dare he aspire? dWhat the hand dare seize the fire? d
The rhyme scheme in the above poem is aabb, ccdd. In a sonnet, the rhyme scheme is abab, cdcd, efef, gg
Where do the sentences end? In this sonnet, they end halfway through or at the end of each quatrain. Since the couplet varies the rhyming pattern of the first twelve lines, it stands out; it also stands out because it's the end, the climax emotionally for the poem.
So the ends of lines 4, 8, 12, and 14 should be louder than other syllables--and filled with relatively more important words. Certainly, "doom" (death) and "loved" are crucial to this sonnet's theme.
The rhyme scheme of a sonnet refers to the pattern formed by the rhyming words at the end of each line. Each end-rhyme is assigned a letter, and the fourteen letters assigned to the sonnet describe the rhyme scheme. Different kinds of sonnets have different rhyme schemes.
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