Felix Randall

Glasgow sonnet is a touching poem written by Edwin Morgan and is about how Glasgow used to be, years ago and the effects that it had on people. It deals with an important issue such as poverty and we see the reality of it and how it shouldn’t be ignored. By examining Morgans use of techniques we will be able to seen more of the effects of poverty and how and things actually are Morgans makes the poem particularly effective by the use of sonnet structure, the first 8 lines show us the area and the surroundings and the second half shows us the inside of the situation including people having to deal with this poverty.

12. A Petrarchan Sonnet has two parts, one stanza that contains 8 lines and another containing 6. It “uses a rhyme scheme that ties the first eight lines (the octave) together, followed by a rhyme scheme that unifies the last six (the sestet)” (Foster

The main theme within Clarke’s Sonnet is his distance and inability to communicate with a lover due to his alcoholism, and the way in which his coping mechanism, and alcoholism affects this relationship. In the opening octet,

The poem is separated into two parts, each with sixteen lines, and is loosely based on an iambic pentameter metre. The rhyme scheme is ABAB throughout the poem, with the noticeable exception of the last four lines of part II, in which it changes to

In "Sonnet 73", the speaker uses a series of metaphors to characterize what he perceives to be the nature of his old age. This poem is not simply a procession of interchangeable metaphors; it is the story of the speaker slowly coming to grips with the finality of his age and his impermanence in time.

Shakespeare follows the English style of sonnets, while Collins partially follows the Petrarchan style. Both sonnets include fourteen lines, a defining feature of the sonnet form. “My mistress’ eyes are…” consists of three quatrains that describes his argument on love cliches, and ends with a couplet, the turning point of English sonnets. The sonnet consists of ten syllables each line, following the rhythm of the iambic pentameter rule. Shakespeare’s sonnet follows the usual rhyme scheme of an English sonnet: abab cdcd efef gg. Collins attempts to stray from the general sonnet principles in contrast with Shakespeare. “Sonnet” loosely follows the Petrarchan style, as the lines are grouped into one octave and one sestet in structure. Collins’s “Sonnet” does not have a rhyme scheme, nor does the poem follow iambic pentameter. His sonnet does, however, present his turn in line 9, the beginning of the sestet. Collins begins poking fun at English sonnets in the octave, but then turns to joke at Petrarchan forms. Both sonnets have a lighthearted, humorous tone and parody classic styles of sonnets in different ways.

A sonnet is a poem of fourteen lines that rhyme in a particular pattern. William Shakespeare’s sonnets were the only non-dramatic poetry that he wrote. Shakespeare used sonnets within some of his plays, but his sonnets are best known as a series of one hundred and fifty-four poems. The series of one hundred and fifty-four poems tell a story about a young aristocrat and a mysterious mistress. Many people have analyzed and contemplated about the significance of these “lovers”. After analysis of the content of both the “young man” sonnets and the “dark lady sonnets”, it is clear that the poet, Shakespeare, has a great love for the young man and only lusts after his mistress.

In the poem “Unholy sonnet 5,” Mark Jarman shows us a philosophical reflection about what is worth to do in this life based on a repetition of some patters during the poem. The structure of this poem make it a Petrarchan sonnet. This kind of sonnet is composed by two arguments, the first consist on two octaves with a rhyme ABBA and ABBA. Denoting repetition of the words have, hive, mean and men; highlighting these as significant to found sense to the first argument of the sonnet. In a deeper reading of the poem, this first argument is centered in questioning que purpose and meaning of life for human beings, coinciding with the pattern of rhymes and sounds. Following this structure of a Petrarchan sonnet, the second argument is composed by a sestet. This means that the sonnet has a rhyme CDECDE, denoting repetition of the words joy, death and forget; highlighting these as significant to found sense to the second argument of the sonnet. Also, the second argument of the poem centered on a practical analysis of what is worth to do in life (enjoying) before the death, coinciding with the pattern of rhymes and sounds.

Finally, the structure of this sonnet brings the reader’s attention to what the point really is. Instead of making the narrator, full of desire for self-improvement, the hero of the sonnet, the final couplet corrals the reader’s attention back to the personality of the lunatic, who is the true focus of the poem.

For instance, there is redundancy, rhyme, imagery, symbolism, comparison, similar sounding word usage, implication, similitude, metaphor, representation and non-serious question. Be that as it may, reiteration, analogy, essence and symbolism contribute the most to the significance of the sonnet.

Gascoigne uses three quatrains and a couplet to create the English sonnet “For That He Looked Not upon Her.” The first quatrain introduces the reader to the speaker and his issues with his beloved, while also describing the speaker’s appearances after being heartbroken. In the second quatrain, the speaker builds onto his accounting of suffering and sorrow with an analogy of a “mouse” (Gascoigne

Billy Collins, in his sonnet “Sonnet,” describes the content of sonnets in general, the Elizabethan sonnet, and the Petrarchan sonnet. Collins develop this idea, by stating that “All we need is fourteen lines,” to explain to a reader that all sonnets consist of fourteen lines; secondly, he metaphorically describes how a sonnet’s purpose is to “launch a little ship on love's storm-tossed seas,” to show the reader that sonnets are normally meant to be about love and the complications that come with it; thirdly, by stating that the “iambic bongos must be played and rhymes positioned at the ends of lines,” he metaphorically describes the rhythmic and rhyming limitations of the Elizabethan or Shakespearean sonnet; fourthly, he states that “ the

Since its introduction in the 1530s, nearly every major British and American poet has made use of the form" (Sonnet xxi). In Versification, James McAuley defines that the sonnet is, "In the strict sense, a fourteen-line poem usually in iambic pentameters. The Italian or petrachan type, consists of an octet, usually rhymed cdecde or in some permutation of these. The English sonnet type consists of three quatrains plus a concluding couplet, rhymed variously, the Shakespearian form being abab cdcd efef gg. In sixteenth- and seventeenth-century use, the term was also loosely applied to any lyric poem, especially a love-poem, as in [John] Donne's (1572-1631) Songs and Sonnets" (82).

     The sonnet, being one of the most traditional and recognized forms of poetry, has been used and altered in many time periods by writers to convey different messages to the audience. The strict constraints of the form have often been used to parallel the subject in the poem. Many times, the first three quatrains introduce the subject and build on one another, showing progression in the poem. The final couplet brings closure to the poem by bringing the main ideas together. On other occasions, the couplet makes a statement of irony or refutes the main idea with a counter statement. It leaves the reader with a last impression of what the author is trying to say.

Some of the recurrent themes and motifs in Hopkins’ poetry include the idea that the world resembles a book written by God, through which he expresses himself in order to provide humans with an opportunity to understand and approach him (Gardner 11). In ‘God’s Grandeur’ Hopkins can be seen to express his concern about the spiritual crisis of the Victorian period. During this time of urbanization and industrialization, Hopkins voiced his distress about human indifference to destruction. This poem is one of the very few which he wrote during the time when he served as a priest.