Sonnet

John Keats's "On the Sonnet" consists of 14 lines and is structured as an Italian sonnet, which includes an octave (8 lines) followed by a sestet (6 lines). It does not consist of quatrains, which are four-line stanzas typically found in poems like William Shakespeare's sonnets.

Yes, an Italian Sonnet consists of an octave (eight lines) followed by a sestet (six lines). The rhyme scheme typically follows the pattern ABBAABBA for the octave and either CDECDE or CDCDCD for the sestet.

"The Soul's Expression" by Elizabeth Barrett Browning is a poem that explores the idea of art as a medium for expressing one's innermost thoughts and emotions. The poem emphasizes the power of art to transcend language and convey the depth of human experience. Browning's use of vivid imagery and emotional language creates a powerful meditation on the connection between the soul and artistic expression.

The chorus asks the audience to sing, dance, and have a good time in the last two lines.

The speaker employs unusual comparisons in Sonnet 130 to critique traditional ideals of love and beauty. By using unconventional imagery to describe his beloved, he highlights that true love is not based on exaggerated flattery but rather on accepting and loving someone for who they truly are, flaws and all. This approach challenges societal norms and emphasizes the beauty of authenticity and honesty in relationships.

The Petrarchan sonnet is named after the poet Petrarch, who popularized this form of poetry in the 14th century. It consists of an octave followed by a sestet and typically explores themes of love and unrequited feelings, similar to Petrarch's own works.

In Shakespeare's England, a year was taken to commence around the 25th of March. Its four seasons started with Spring (a period of birth and growth), followed by Summer (a period of warmth, mature splendor and vitality), Autumn (transition, decline and a yielding up of Summer's riches) and Winter (coldness, sparsity and death).

It was also then common to compare the stages of a person's life to the above four seasons. When Shakespeare said "thy eternal summer shall not fade" he was saying that the glory of his subject's summer - that time when he was at the peak of his powers and attractiveness - would never decline. In his Sonnet 18 he goes on to explain that that this described glory would be preserved through the sonnet living on in the minds of men - far beyond the deaths of both poet and subject.

No, "Ballade of Worldly Wealth" is not a sonnet. It is a ballade, a type of French poetic form with a specific structure and rhyme scheme. Sonnets, on the other hand, have their own distinct structure of 14 lines and specific rhyme schemes such as Shakespearean or Petrarchan.

Like many of Shakespeare's sonnets, this poem is an expression of love. In order to express your love, you have to talk about it, define it, examine it. In telling his mistress that he loves her,

In Sonnet 130, the theme "Women and Femininity" is connected to the idea of appearances. This poem is all about female beauty and our expectations and stereotypes about the way women ought to look. You know how in magazines women pretty much tend to look the same? They all fit into a very narrow definition of what is beautiful. Essentially, the speaker in this poem is pointing out that love poetry does the same thing. It makes women into goddesses, not real human beings. He insists that his idea of beautiful femininity doesn't depend on fitting an abstract, unrealistic fantasy.

"Appearances" is a major theme in Sonnet 130, since our speaker spends a lot of the poem talking about what's wrong with his mistress's looks. He does a pretty complete dissection of her face, her body, and her smell. He doesn't say anything at all about her personality, but instead sticks to his laundry list of problems with her appearance. This gives Shakespeare a chance to poke fun at our obsession with looks and to show how ridiculous it is to ask any person to live up to some ideal of perfect beauty.

In Sonnet 79 by Edmund Spenser, the word "doe" is likely referring to a female deer. It is used as a metaphor to describe the speaker's beloved as graceful, gentle, and pure.

One characteristic that is NOT shared between Italian and Shakespearean sonnets is the type of rhyme scheme they follow. Italian sonnets typically follow an ABBA ABBA CDC DCD rhyme scheme, while Shakespearean sonnets follow an ABAB CDCD EFEF GG rhyme scheme.

i actually wrote a death poem so imma just tell yall.

take a knife and cut me up

if you hate me then you wont stop

make me feel the pain within

as your slitting through my skin

makes me feel weaker as i bleed

for your mercy make me plead

hear me screaming in the dark

as you leave your painful mark

blood is running down my face

as my beauty you erase

trying to cut through my every vein

on your shirt your leaving stains

i wish you knew i didnt care

if you cut me everywhere

you can slit my skin apart

but you cant cut

through my broken heart.

An Italian Sonnet consists of 14 lines divided into an octet (8 lines) and a sestet (6 lines). The rhyme scheme for an Italian Sonnet is typically ABBAABBA for the octet and either CDCDCD or CDECDE for the sestet.

The theme of "Sonnet-Ballad" by Gwendolyn Brooks revolves around the complexities of love and the challenges of maintaining relationships. The poem explores the idea of love as a conflicting force that brings both joy and pain, and it highlights the tension between longing for intimacy and the fear of vulnerability. Brooks uses the structure of a sonnet-ballad to convey these conflicting emotions and the bittersweet nature of love.

One example of an imagery used in the poem is "Rough winds do shake the darling buds of May". Another imagery is "So long as men can breathe or eyes can see". Imagery is the use of vivid descriptive language to add more depth and appeal to the readers.

"Once by the Pacific" is a Petrarchan sonnet, also known as an Italian sonnet, as it follows the rhyme scheme ABBAABBA CDCDCD. It was written by American poet Robert Frost.

no it is not a sonnet. A sonnet consists of 14 lines with a rhyming couplet following

In sonnet XIX, the speaker bemoans the loss of youth and beauty, expressing sorrow at the transient nature of time and the inevitable decay that comes with aging. The speaker mourns the passing of time as it diminishes physical attractiveness and youthful vigor.

One definition of alliteration being: "The repetition of the beginning sounds of words;" there is certainly alliteration in the 11th line: I grant I never saw a goddess go;

with the repetition of the "g" in grant/goddess/go.

The tone of Edmund Spenser's sonnet 67 is one of longing and desire. The speaker expresses his yearning for the beloved's presence and affection, highlighting their separation and the pain it causes.

"Grief" by Elizabeth Barrett Browning is a poem that explores the depth and complexity of sorrow and loss. The speaker reflects on their grief and expresses the agony of parting from a loved one. Browning uses vivid imagery and emotions to convey the intensity of the individual's mourning. The poem captures the universal experience of grappling with sorrow and the struggle to find solace in the midst of profound loss.

Iambic pentameter is a meter in poetry, consisting of lines with five feet (hence "pentameter") in which the iamb (or "iambus") is the dominant foot (hence "Iambic"). Iambic rhythms are quite easy to write in English and iambic pentameter is among the most common metrical forms in English poetry. Like other meters, it has its origins in Greek poetry. William Shakespeare, like many of his contemporaries, wrote poetry and drama in iambic pentameter. Here is an example from his Sonnet XVIII: 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: When read aloud, such verse naturally follows a beat. There is some debate over whether works such as Shakespeare's was originally performed with the rhythm prominent, or whether it was disguised by the patterns of normal speech as is common today. In written form, the rhythm looks like this: da-DUM da-DUM da-DUM da-DUM da-DUM (weak STRONG / weak STRONG / weak STRONG / weak STRONG / weak STRONG) Shall I com - PARE thee TO a SUM mer's DAY Although strictly speaking, iambic pentameter refers to five iambs in a row (as above), in practice, most poets vary their iambic pentameter a great deal, while maintaining the iamb as the most common foot. The second foot of a line of iambic pentameter is almost never altered. The first foot, on the other hand, is the most likely to be changed, often in order to highlight a particular word or mark a shift in a poem. An iambic inversion, in which a trochee is substituted for an iamb in the first foot, is perhaps the most common alteration of the iambic pentameter pattern. Here is the first quatrain of a sonnet by John Donne that demonstrates how poets use variations in their iambic pentameter: Batter my heart three-personed God, for you as yet but knock, breathe, shine and seek to mend. That I may rise and stand o'erthrow me and bend Your force to break, blow, burn and make me new. The rhythm is: DUM da | da DUM | da DUM | da DUM | da DUM da DUM | da DUM | DUM DUM | da DUM | da DUM da DUM | da DUM | da DUM | DUM DUM |dada DUM da DUM | da DUM | DUM DUM | da DUM | da DUM Donne uses a trochaic inversion in the first line to stress the key verb, "batter," and then sets up a clear iambic pattern with the rest of the line (da DUM da DUM da DUM da DUM). He uses spondees in the third foot to slow down the rhythm when he lists verbs in lines 2 and 4. The parallel rhythm and grammar of these lines highlights the comparison Donne sets up between what God does to him "as yet" (knock, breathe, shine and seek to mend"), and what he asks God to do ("break, blow, burn and make me new"). Donne also uses enjambment between lines 3 and 4 to speed up the flow as he builds to his desire to be made new. To further the quickening effect of the enjambment, Donne puts an anapest (dada DUM) in the final foot, carrying you to the next line. The other common departure from standard iambic pentameter is the addition of a final unstressed syllable. This is known as a weak or feminine ending. The most famous line of iambic pentameter of them all is hendecasyllabic (eleven syllables): To be, or not to be: that is the question. Here, the rhythm is : da DUM | da DUM | da DUM | DUM da | da DUM | da Also note the trochaic inversion of the fourth foot, helped by the caesura following the second 'to be.' Most poets who have a great facility for iambic pentameter frequently vary the rhythm of their poetry as Donne and Shakespeare do here, both to create a more interesting overall rhythm and to highlight important thematic elements. In fact, the skillful variation of iambic pentameter, rather than the consistent use of it, may well be what distinguishes the rhythmic artistry of poets like Donne, Shakespeare, Milton, and the 20th century sonneteer Edna St. Vincent Millay. The answer is: 'Henry Howard, Earl of Surrey, introduced the metre, along with the sonnet and other Italian humanist verse forms, to England in the early 16th century. Thomas Sackville and Thomas Norton used blank verse for the first English tragic drama, Gorboduc (first performed 1561), and Christopher Marlowe developed its musical qualities and emotional power in Tamburlaine, Doctor Faustus, and Edward II.' from http://www.britannica.com/shakespeare/article-9015598 Although this is a description of blank verse, blank verse is in iambic pentameter and Henry Howard, Earl of Surrey is the first person to use it as an adaptation of the alexandrine meter. See also http://theliterarylink.com/versification.html ------------ Chaucer used iambic pentameter in the 14th century!

The rhyme scheme for Love Sonnet XVII by Pablo Neruda is ABBA CDDC EFG FEG.

A slant sonnet is not an actual sonnet, but a rhyme scheme of a sonnet.

A rhyme scheme for a Shakespearean Sonnet is ABABCDCDEFEFGG.

This means that every other line (ABAB) will rhyme.

A slant rhyme though deviates from this slightly. While you are still rhyming, the sounds of the two rhyming words may sound different.

Ex from Shakespere's Sonnet 18: "Thou art more lovely and more temperate: / And summer's lease has all too short a date:"

The words Temperate and Date rhyme, but you can tell that they don't rhyme 100%.