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English Romantic sonnets

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A draft of Ozymandias by Percy Bysshe Shelley

The sonnet was a popular form of poetry during the Romantic period: William Wordsworth wrote 523 sonnets, John Keats 67, Samuel Taylor Coleridge 48, and Percy Bysshe Shelley 18.[1] Both the Petrarchan sonnet and the Shakespearean sonnet were employed by the Romantic poets who contributed to its revival and applied the sonnet to a wider variety of subjects.

Revival

The sonnet has become a popular literary form across Europe during the Renaissance. Adopted into English poetry during Tudor and Stuart times, it had fallen out of favour during the late 17th and early 18th century, although it had not disappeared altogether.[2] The revival of the sonnet was led by Thomas Warton and those in his circle in the second half of the 18th century. However, the emphasis on emotion in sonnets by women poets of the School of Sensibility became influential with the slightly younger poets who pioneered the Romantic style. Such writers as Mary Robinson, who revived the amatory sonnet sequence in her Sappho and Phaon, and especially the copious Charlotte Smith, were admired by Wordsworth and Coleridge, and later by Keats.[3]

The most important single influence on the revivalists was John Milton, who had expanded the subject matter of the sonnet – which hitherto had mainly been amatory – by writing about ideas, events, history and contemporary issues, as well as including more personal feelings.[2] Like Milton, the Romantics wrote relatively few love sonnets and the sonnet of the Romantic era focuses more on politics, nature, friendship, art, history, religion, life and death.[4] In fact some of the Romantic poets made a subject of the form itself in sonnets of their own. Wordsworth's "Scorn not the Sonnet"[5] and "Nuns fret not at their convent's narrow room"[6] are examples of this, as well as Keats' suggested formal improvements in "If by dull rhymes our English must be chain'd".[7]

In Wordsworth's opinion, poets should write sonnets to add variety to their work and keep them out of the trap of routine.[8] John Clare, too, believed the sonnet gave him scope to annotate the natural themes that took his fancy in a disciplined way. A later editor has surmised that its compact form represented for him "a kind of self-discipline, forcing him to concentrate and obtain his effects with economy, where in other poems he allowed himself to wander a little aimlessly".[9] But younger poets meanwhile took advantage of the form's restriction to engage in friendly competition. At the end of 1816, John Keats and Leigh Hunt set themselves the task of each writing a sonnet "On the Grasshopper and Cricket" in a quarter of an hour.[10] In the following year Shelley and Horace Smith competed together after visiting the British Museum, from which sonnets on Ozymandias resulted.[11] And early in 1818, Shelley, Keats and Hunt took "The Nile" as their subject for sonnets published separately soon after.[12]

But the sonnet form presented a different kind of challenge to the older Romantic authors, who are usually noted for their strong "I" assertion in lyric narratives. Coleridge confessed of his own performance that "The sonnet has ever been a favourite species of composition with me; but I am conscious that I have not succeeded in it".[13]

Nature

Although the Romantics wrote sonnets about a variety of subjects, one of the most common was nature. Petrarch, indeed, had included descriptions of nature in his sonnets, as did Shakespeare, this was generally incidental to the main theme relating to love or as part of an analogy.[14] For the Romantics, however, Nature is a master theme.[15] Many of the sonnets and poems of the era describe the calm, beauty, power or sublimity of the natural scene and Nature is often personified to emphasise the closeness in the human relationship to it.[citation needed] For example, the analogy between man and nature is drawn in Keats' "The Human Seasons",[16] where the changes in the seasons are compared with the stages of human life.[17]

Form

The two classic forms that the Romantics used the most were the Petrarchan sonnet and the Shakespearean sonnet. The Petrarchan or Italian form usually follows a rhyme scheme of ABBA ABBA CDE CDE. The poem is usually divided into two sections with the first eight lines, an octave, and the last six, a sestet. There is usually a turn in the poem around line nine.[4] The Shakespearean form has a rhyme scheme of ABAB CDCD EFEF GG. The end rhyming couplet is often used to turn the idea that has been building through the poem.

The Romantics played with these forms. Since the general topic and focus of the sonnet shifted in this era, it makes sense that the form would also change to mirror the content. A sonnet like Shelley’s Ozymandias uses neither a complete Shakespearian nor Petrarchan rhyme scheme.[18] The pattern of ab ab ac dc ed ef ef, is no less a sonnet than those of conventional patterns. The movement away from set structures could be to mirror the feelings of detachment in the poem.[19]

The ode had been a favorite form for all the Romantics because its irregular lineation adapted in many ways to the speaker and subject.[20] However, Shelley's adaptation into his "Ode to the West Wind" of the sonnet form gave him the best of both worlds, allowing him emotional and grammatical shifts that typify the blowing wind while holding its energy in check by the discipline of a regular form. In this case there is a double adaptation, using the terza rima pattern of successive tercets brought to a disciplined close in a rhyming couplet: ABA BCB CDC DED EE; this novel form is then deployed in the five sonnet-like stanzas of which the poem is constructed.[21][22]

References

  1. ^ Bhattacharyya, Arunodoy (1976). The Sonnet and the Major English Romantic Poets. Firma KLM Private Limited. p. 1.
  2. ^ a b Kallich, Martin; Gray, Jack; Rodney, Robert, eds. (1973). "Preface". A Book of the Sonnet. New York: Twayne Publishers, Inc.
  3. ^ Feldman, Paula; Robinson, Daniel, eds. (1999). A Century of Sonnets. New York: Oxford University Press. p. 3. ISBN 0-19-511561-9.
  4. ^ a b Feldman, Paula; Robinson, Daniel, eds. (1999). A Century of Sonnets. New York: Oxford University Press. p. 4. ISBN 0-19-511561-9.
  5. ^ Poetry Foundation
  6. ^ Poetry Foundation
  7. ^ Poetry Foundation
  8. ^ Bhattacharyya, Arunodoy (1976). The Sonnet and the Major English Romantic Poets. Firma KLM Private Limited. p. 32.
  9. ^ Eric Robinson, Clare: Selected Poems and Prose, Oxford University Press 1966, p.34
  10. ^ Keats Bicentennial
  11. ^ M. K. Bequette, "Shelley and Smith: Two Sonnets on Ozymandias", Keats-Shelley Journal, Vol. 26 (1977), pp. 29-31
  12. ^ Mona Salah El-Din Hassanein, "Poetry, Poetics, and Politics in the Nile Sonnets", Occasional Papers in the Development of English Education 66.2 (2019), pp.101-132
  13. ^ Bhattacharyya, Arunodoy (1976). The Sonnet and the Major English Romantic Poets. Firma KLM Private Limited. p. 8.
  14. ^ Bhattacharyya, Arunodoy (1976). The Sonnet and the Major English Romantic Poets. Firma KLM Private Limited. p. 39.
  15. ^ Levin, Phillis, ed. (2001). The Penguin Book of the Sonnet [500 Years of A Classic Tradition in English]. New York: Penguin Books. p. xiv.
  16. ^ Poetry Foundation
  17. ^ Bhattacharyya, Arunodoy (1976). The Sonnet and the Major English Romantic Poets. Firma KLM Private Limited. p. 43.
  18. ^ Gupta, Sen (1978). "Some Sonnets of Shelley". In Hogg, Dr. James (ed.). Studies in the Romantics. Institut für Anglistik und Amerikanistik, Universität Salzburg. p. 55.
  19. ^ Gupta, Sen (1978). "Some Sonnets of Shelley". In Hogg, Dr. James (ed.). Studies in the Romantics. Institut für Anglistik und Amerikanistik, Universität Salzburg. p. 56.
  20. ^ Wu, Duncan, ed. (1994). Romanticism [An Anthology]. Cambridge: Blackwell. p. 165. ISBN 0-631-19196-8.
  21. ^ Helen E. Hanworth, "Ode to the West Wind and the sonnet form", Keats-Shelley Journal 20 (1971), p.74
  22. ^ Antje Kurzmann, GRIN Verlag 2004, "Analysis of Shelley’s Ode to the West Wind"
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