The Development of the Sonnet: An IntroductionRoutledge, 2 Eyl 2003 - 252 sayfa In this indispensible introductory study of the sonnet, Michael R.G. Spiller takes the reader on an illuminating guided tour. He begins with the invention of the sonnet in thirteenth-century Italy and traces its progress through to the time of Milton, showing how the form has developed and acquired the capacity to express lyrically 'the nature of the desiring self'. In doing so he provides a concise critical account of the major British sonnet writers in relation to the sonnet's history. Tailor-made for students' needs, this will be an essential purchase for anyone studying this enduring poetic form. Poets covered include: Petrarch, Wyatt, Sidney, Shakespeare, Spenser, Milton and Dante. |
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... the sonnet gives the writer more choice where to begin the ending than has the limerick writer: poets using the Italian form (4+4+3+3) showno particular preference amongthelast three lines for a point at which to begin to end;
... the sonnet gives the writer more choice where to begin the ending than has the limerick writer: poets using the Italian form (4+4+3+3) showno particular preference amongthelast three lines for a point at which to begin to end;
Sayfa
... gives an impression of immediacy, asif itproceeded directlyand confessionally or conversationally from thespeaker, and thereforefrom the creator of thatspeaker. Sinceithasfor so long appeared to offer a stage or arena on whichthe /I ...
... gives an impression of immediacy, asif itproceeded directlyand confessionally or conversationally from thespeaker, and thereforefrom the creator of thatspeaker. Sinceithasfor so long appeared to offer a stage or arena on whichthe /I ...
Sayfa
... gives this poetic voice biblical wisdom and universal applicability; nevertheless this remains a fairly primitive composition, for the octave is just an assembly of single lines, though the sestet manages amore complicated syntax which ...
... gives this poetic voice biblical wisdom and universal applicability; nevertheless this remains a fairly primitive composition, for the octave is just an assembly of single lines, though the sestet manages amore complicated syntax which ...
Sayfa
... gives the last line an extra twist! It is sonnets in this vein that led Rosalie Colie to accuse Cecco of 'some secret instinct for slumming...a nostalgie de la boue on the part ofthe usuallyairy sonnet'; 21 butthere is nothingsecret ...
... gives the last line an extra twist! It is sonnets in this vein that led Rosalie Colie to accuse Cecco of 'some secret instinct for slumming...a nostalgie de la boue on the part ofthe usuallyairy sonnet'; 21 butthere is nothingsecret ...
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ABAB ABBA ABBA amore Amoretti andthe asthe Astrophel and Stella atthe beauty Bembo canzone Cecco Cecco Angiolieri conceit couplet courtier courtly Dante Dante’s desire discourse Donne Donne’s doth Drummond edition English enjambment eyes Faerie Queene favour fromthe George Gascoigne George Puttenham Guittone Hawthornden Herbert hisown inhis inthe invention Italian Italy itis kind Lady Laura Lentino lines literary lover lyric metafictional metaphor Michael Drayton Milton Miscellany narrative Neoplatonic octave ofhis ofthe sonnet one’s onthe passionate Petrarch Petrarchan poems Poesie poetic poetry poets praise printed Provençal quatorzain quatrain Queen reader Renaissance rhetoric rhyme rhymescheme Rime seems sense sestet Shakespeare Shakespeare’s sonnets Sidney Sidney’s sighs sixteenth century song sonnet form sonnet sequence sonnetwriting speak speaker speech Spenser Spenserian sonnet stanza stilnovisti strambotto suggest Surrey sweet tercet thatthe thee thesonnet thou tobe tohave tothe Tottel’s utterance vernacular verse Vita Nuova voice witha word writing written Wyatt