The Sonnet








Advanced Studies: Meter

Assignments

* Journal: Sonnet Analysis
  • Find one Italian sonnet.  Locate the line of the turn (volta) and copy that line down.  Explain how the meaning of the poem shifts at that line. 
  • Find one English sonnet.  Locate the line of the turn (volta) and copy that line down down.  Explain how the meaning of the poem shifts at that line.  

* Journal: Sonnet Imitation
  • Find and hand copy one sonnet written before 1800 (this could be one above or another you find and like).  
  • Find and hand copy one sonnet written after 1800 (this could be one above or another you find and like). 
  • Now you will create your own sonnet using one of the poems you copied.  
    1. Model your poem after one or the other that you copied. 
    2. So, you need to have the same rhyme scheme (end-rhyme pattern). 
    3. You also need to try to write it in a similar kind of meter, but you will not lose points if can't meet this requirement perfectly.  This is challenging for many people to do. 
    4. You could choose the same theme or a different theme as that shown in your model. 
    5. Your turn or volta should occur in the same line that your model does, which means your meaning should shift in the same line as your model.  


"Another Tattoo" by Weird Al Yankovic

Beautiful tats, all over my back
Makes me so proud, I'm gonna shout it out loud
I got another tattoo, baby 
Another tattoo, baby 
 
No part of me's blank, I'm really ink-obsessed
It's like an art show the moment that I get undressed (Check it!)
At every job interview, they're just so impressed (Really?)
'Cause I got all my ex-wives on my chest! (Ha, ha!)

Over here is Clay Aiken, there's a side of bacon,
And a Minotaur pillow fightin' with Satan (Yes!)
Next to Hello Kitty and a zombie ice skatin' (Yah!)
Wait... it's Ronald Regan

I've got these dragons, (Yo!) I've got these dolphins (Yo!)
All inscribed on me indelibly (Indelibly!)
I've had bad reactions, (Yeah!) Bad infections, (Yeah!)
Even Hepatitis C ('Titis C)

My friends think that I need therapy (Therapy)
Maybe some laser surgery (Surgery)
For the flaming goat skull on my knee
(Knee) Knee (Knee) Knee
(Hey!)

Beautiful tats, (Yeah!) all over my back (All over!)
And I've got some space here on the side of my face here 
For another tattoo, baby 
Another tattoo, baby 

No, I'm not high, (High) I'm really okay (Okay!)
I just love these scribbles (Ha, ha!) that won't go away (Yes)
I've got another tattoo, baby 
Another tattoo, baby 
Yeah...

Yes, there were a few, I got from losin' a bet.
I misspelled a word or two, still there's nothin' I regret.
My shoppin' trips are no sweat, there's never stuff I forget.
Check out this rad Boba Fett. He's playin' clarinet!

Beautiful tats (Yeah!) all over my back (All over!)
And what the heck, (Ha, ha!) there's still some room on my neck 
I'll get another tattoo, baby 
Another tattoo, baby 

I don't know why, (Why?) but every day, (Day!)
Whenever folks see me, they just back away (Woo!)
I've got another tattoo, baby 
Another tattoo, baby 
Yeah...

[Tattoo gun noises]
D'ow! Duh... 
Okay, right there by my elbow.
You see? Yeah. I got a couple square inches left.
Uh... maybe a squid, or a tarantula, or somethin', 
I don't know. Surprise me.
[Bzzzzz!]
D'ow!

"Blackberry-Picking" by Seamus Heaney


Late August, given heavy rain and sun
For a full week, the blackberries would ripen.
At first, just one, a glossy purple clot
Among others, red, green, hard as a knot.
You ate that first one and its flesh was sweet
Like thickened wine: summer’s blood was in it
Leaving stains upon the tongue and lust for
Picking. Then red ones inked up and that hunger
Sent us out with milk cans, pea tins, jam-pots
Where briars scratched and wet grass bleached our boots.
Round hayfields, cornfields and potato-drills
We trekked and picked until the cans were full
Until the tinkling bottom had been covered
With green ones, and on top big dark blobs burned
Like a plate of eyes. Our hands were peppered
With thorn pricks, our palms sticky as Bluebeard’s.

We hoarded the fresh berries in the byre.
But when the bath was filled we found a fur,
A rat-grey fungus, glutting on our cache.
The juice was stinking too. Once off the bush
The fruit fermented, the sweet flesh would turn sour.
I always felt like crying. It wasn’t fair
That all the lovely canfuls smelt of rot.
Each year I hoped they’d keep, knew they would not.

George Gordon (Lord Byron)

"She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that's best of dark and bright
Meet in her aspect and her eyes:
Thus mellow'd to that tender light
Which heaven to gaudy day denies."



I. Essential Questions
  • How does the composition (literary elements) support the meaning (content and theme)? 
II. Background

Take Some Notes on Gordon from Encyclopedia.com and Poets' Graves:
  • Years
  • Troubles
  • Death 
For more on Byron: Poetry Foundation 

III. Terms

  • Bryonic Hero
  • Review caesura (and its antithesis, emjambment) 

IV. Reading

    V. Journal: George Gordon  
    "The Destruction of Sennacherib"
    • 1. Describe the rhythm (in your own words; one to two sentences).  Now, which of the following is the dominant type of foot?  How does this rhythm support the content of the poem?
     
    •   2.  Identify, describe, and explain two key stylistic elements that support the poem's message (besides the rhythm above).

    "She Walks in Beauty"
    •  3.  Change one line of the poem by substituting a synonym or related word for the word in the poem.  Explain how the meaning of the poems is tarnished by your substitution. 


      


     


         "Lord Byron and Percy Shelley were described as 'monsters of lying, meanness, cruelty and treachery' in a memoir by their ex-lover.  Claire Clairmont's memoir was discovered by Cambridge graduate Dr Daisy Hay as she researched her first book in New York Public Library. Ms Clairmont's book accuses the poets of ruining lives - including her own, it was reported in the Observer.

    Ms Clairmont was the step-sister of Percy's wife Mary Shelley and is thought to have had a child with Percy Shelley, as well as being made pregnant and then dumped, by Byron.  She wrote: 'Under the influence of the doctrine and belief of free love, I saw the two first poets of England... become monsters.'  Ms Clairmont wrote [that] she hoped her memoir would show 'what evil passion free love assured, what tenderness it dissolves; how it abused affections that should be the solace and balm of life, into a destroying scourge....The worshippers of free love not only preyed upon one another but also on themselves, turning their existence into a perfect hell.'

    Ms Clairmont started a relationship with Lord Byron when she was just 18, but the writer quickly grew tired of her. After she had daughter Allegra by Byron, she was denied access to the child by the poet, who then sent his daughter to a convent where she died aged five. Byron also questioned whether he was the child's real father, and labelled her a brat."

    --From The Daily Mail, March 2010

    Pride and Prejudice by Jane Austen






    Basic Notes

    The Novel:
    First Half of the Novel:

    Second half of the novel:




    Prayer
    Writers on Jane Austen

    Essays (and such) on Jane Austen:
    • Jennifer Farrara in Touchstone Magazine (March 2006): "Austen's Powers"
      • Examples of Heathcliff from Wuthering Heights
      • Respond: Take up one idea from Farrara's article to expand upon.  You may agree, disagree, or consider multiple angles of the idea.  Please begin your response with a quotation, then analyze from there. (Please compose one paragraph.)
         
      • OR Show how two fictional characters (besides Darcy and Heathcliff) show two very different visions of ideal love.
       
    • Camillia Nelson in The Conversation (March 17, 2015): "Jane Austen Faces Death By Popularity

     Jane Austen Society
    • Elaine Bander: "Neither Sex, Money, or Power: Why Elizabeth Finally Says "Yes!"


    Journal: Pride and Prejudice
    • You will find our study guide on Focus. 
    • Your journal assignment for this novel is to answer at least one question for every three chapters of your reading from the guide.  
    • With 61 chapters, that means you will have 21 entries that span the course of your reading (at least one response every third chapter you read). 
    • These must be handwritten and in your composition book.  Answer all parts of the question and always write in complete sentences. 
    • At least one in every five responses must be a paragraph of response (5-7 sentences or more).  
    • You will not receive credit if you simply find the easiest question and answer in the simplest fashion.  
    • Answers that have grammatical errors will not count toward the 21 total. 

    2008, Form B, Passage Focus
    Questions Scoring Samples and Commentary Grade Distributions
    Free-Response Questions Scoring Guidelines Sample Responses Q1
    Sample Responses Q2
    Sample Responses Q3

     

    "Sonnet to Stilton Cheese" by G. K. Chesterton

    Stilton, thou shouldst be living at this hour
    And so thou art. Nor losest grace thereby;
    England has need of thee, and so have I-
    She is a Fen. Far as the eye can scour,
    League after grassy league from Lincoln tower
    To Stilton in the fields, she is a Fen.
    Yet this high cheese, by choice of fenland men,
    Like a tall green volcano rose in power.
    Plain living and long drinking are no more,
    And pure religion reading ‘Household Words’,
    And sturdy manhood sitting still all day
    Shrink, like this cheese that crumbles to its core;
    While my digestion, like the House of Lords,
    The heaviest burdens on herself doth lay.

    G. K. Chesterton: Cheese

          My forthcoming work in five volumes, "The Neglect of Cheese in European Literature" is a work of such unprecedented and laborious detail that it is doubtful if I shall live to finish it. Some overflowings from such a fountain of information may therefore be permitted to springle these pages. I cannot yet wholly explain the neglect to which I refer. Poets have been mysteriously silent on the subject of cheese. Virgil, if I remember right, refers to it several times, but with too much Roman restraint. He does not let himself go on cheese. The only other poet I can think of just now who seems to have had some sensibility on the point was the nameless author of the nursery rhyme which says: "If all the trees were bread and cheese"*--which is, indeed a rich and gigantic vision of the higher gluttony. If all the trees were bread and cheese there would be considerable deforestation in any part of England where I was living. Wild and wide woodlands would reel and fade before me as rapidly as they ran after Orpheus. Except Virgil and this anonymous rhymer, I can recall no verse about cheese. Yet it has every quality which we require in exalted poetry. It is a short, strong word; it rhymes to "breeze" and "seas" (an essential point); that it is emphatic in sound is admitted even by the civilization of the modern cities. For their citizens, with no apparent intention except emphasis, will often say, "Cheese it!" or even "Quite the cheese." The substance itself is imaginative. It is ancient--sometimes in the individual case, always in the type and custom. It is simple, being directly derived from milk, which is one of the ancestral drinks, not lightly to be corrupted with soda-water. You know, I hope (though I myself have only just thought of it), that the four rivers of Eden were milk, water, wine, and ale. Aerated waters only appeared after the Fall.

         But cheese has another quality, which is also the very soul of song. Once in endeavouring to lecture in several places at once, I made an eccentric journey across England, a journey of so irregular and even illogical shape that it necessitated my having lunch on four successive days in four roadside inns in four different counties. In each inn they had nothing but bread and cheese; nor can I imagine why a man should want more than bread and cheese, if he can get enough of it. In each inn the cheese was good; and in each inn it was different. There was a noble Wensleydale cheese in Yorkshire, a Cheshire cheese in Cheshire, and so on. Now, it is just here that true poetic civilization differs from that paltry and mechanical civilization which holds us all in bondage. Bad customs are universal and rigid, like modern militarism. Good customs are universal and varied, like native chivalry and self-defence. Both the good and bad civilization cover us as with a canopy, and protect us from all that is outside. But a good civilization spreads over us freely like a tree, varying and yielding because it is alive. A bad civilization stands up and sticks out above us like an umbrella--artificial, mathematical in shape; not merely universal, but uniform. So it is with the contrast between the substances that vary and the substances that are the same wherever they penetrate. By a wise doom of heaven men were commanded to eat cheese, but not the same cheese. Being really universal it varies from valley to valley. But if, let us say, we compare cheese with soap (that vastly inferior substance), we shall see that soap tends more and more to be merely Smith's Soap or Brown's Soap, sent automatically all over the world. If the Red Indians have soap it is Smith's Soap. If the Grand Lama has soap it is Brown's soap. There is nothing subtly and strangely Buddhist, nothing tenderly Tibetan, about his soap. I fancy the Grand Lama does not eat cheese (he is not worthy), but if he does it is probably a local cheese, having some real relation to his life and outlook. Safety matches, tinned foods, patent medicines are sent all over the world; but they are not produced all over the world. Therefore there is in them a mere dead identity, never that soft play of slight variation which exists in things produced everywhere out of the soil, in the milk of the kine, or the fruits of the orchard. You can get a whisky and soda at every outpost of the Empire: that is why so many Empire-builders go mad. But you are not tasting or touching any environment, as in the cider of Devonshire or the grapes of the Rhine. You are not approaching Nature in one of her myriad tints of mood, as in the holy act of eating cheese.

         When I had done my pilgrimage in the four wayside public-houses I reached one of the great northern cities, and there I proceeded, with great rapidity and complete inconsistency, to a large and elaborate restaurant, where I knew I could get many other things besides bread and cheese. I could get that also, however; or at least I expected to get it; but I was sharply reminded that I had entered Babylon, and left England behind. The waiter brought me cheese, indeed, but cheese cut up into contemptibly small pieces; and it is the awful fact that, instead of Christian bread, he brought me biscuits. Biscuits--to one who had eaten the cheese of four great countrysides! Biscuits--to one who had proved anew for himself the sanctity of the ancient wedding between cheese and bread! I addressed the waiter in warm and moving terms. I asked him who he was that he should put asunder those whom Humanity had joined. I asked him if he did not feel, as an artist, that a solid but yielding substance like cheese went naturally with a solid, yielding substance like bread; to eat it off biscuits is like eating it off slates. I asked him if, when he said his prayers, he was so supercilious as to pray for his daily biscuits. He gave me generally to understand that he was only obeying a custom of Modern Society. I have therefore resolved to raise my voice, not against the waiter, but against Modern Society, for this huge and unparalleled modern wrong.


    * Nursery rhyme (three versions):

    If all the world were paper,
    And all the sea were ink,
    And all the trees were bread and cheese,
    What should we have to drink?

    Source: Songs the Children Love to Sing (1916)

    If all the world were apple pie,
    And all the sea were Ink;
    If all the trees were bread and cheese,
    How should we doe for drink.

    Source: GG’s Garland (1810)

    If all the world were apple pie,
    And all the sea were ink,
    And all the trees were bread and cheese,
    What should we have to drink?
    It’s enough to make an old man,
    Scratch his head and think.

    Source: Harry’s Ladder to Learning (c. 1850)