70 Sentences With "sestet" | Random Sentence Generator

Especially when sonnets conclude with a couplet or sestet, this deft sort of closure puts us in the poets' debt.

This Italian or Petrarchan sonnet uses the last six lines (sestet) to answer the first eight lines (octave). The first eight lines (octave) are the problems and the next six (sestet) are the solution.

Most critics prefer those forms of sestet which avoid a final riming couplet.

The rhyme scheme for the octave is typically ABBAABBA. The rhyme scheme means the last word of the line should rhyme with the pattern of ABBAABBA or other variants. The sestet is more flexible. Petrarch typically used CDECDE or CDCDCD for the sestet.

The sonnet is a type of poem finding its origins in Italy around 1235 AD. While the early sonneteers experimented with patterns, Francesco Petrarca (anglicised as Petrarch) was one of the first to significantly solidify sonnet structure. The Italian or Petrarchan sonnet consists of two parts; an octave and a sestet. The octave can be broken down into two quatrains; likewise, the sestet is made up of two tercets. The octave presents an idea to be contrasted by the ending sestet.

"The Continental Origins of the Sonnet" June 2006 Accessed 24 May 2010 In a strict Petrarchan sonnet, the sestet does not end with a couplet (since this would tend to divide the sestet into a quatrain and a couplet). However, in Italian sonnets in English, this rule is not always observed, and CDDCEE and CDCDEE are also used. Additionally, the Crybin variant uses the rhyme scheme ABBA CDDC EFG EFG. The octave and sestet have special functions in a Petrarchan sonnet.

Polyptoton, the device which repeats the same word in a different grammatical case, continues to enliven the emotional interplay in the sestet.

The sonnet is split in two groups: the "octave" or "octet" (of 8 lines) and the "sestet" (of 6 lines), for a total of 14 lines. The octave (the first 8 lines) typically introduces the theme or problem using a rhyme scheme of ABBAABBA. The sestet (the last 6 lines) provides resolution for the poem and rhymes variously, but usually follows the schemes of CDECDE or CDCCDC.

An octave is a verse form consisting of eight lines of iambic pentameter (in English) or of hendecasyllables (in Italian). The most common rhyme scheme for an octave is abba abba. An octave is the first part of a Petrarchan sonnet, which ends with a contrasting sestet. In traditional Italian sonnets the octave always ends with a conclusion of one idea, giving way to another idea in the sestet.

Wyatt took subject matter from Petrarch's sonnets, but his rhyme schemes make a significant departure. Petrarch's sonnets consist of an "octave", rhyming abba abba, followed, after a turn (volta) in the sense, by a sestet with various rhyme schemes, however his poems never ended in a rhyming couplet. Wyatt employs the Petrarchan octave, but his most common sestet scheme is cddc ee. This marks the beginnings of English sonnet with 3 quatrains and a closing couplet.

Shelley's "Ozymandias" is a sonnet, written in iambic pentameter, but with an atypical rhyme scheme (ABABA CDCEDEFEF) when compared to other English-language sonnets, and without the characteristic octave-and-sestet structure.

The octave sets out the problems, the perceptions, the wishes of the poet. The sestet does something different: it makes a swift, wonderfully compact turn on the hidden meanings of but and yet and wait for a moment. The sestet answers the octave, but neither politely nor smoothly. And this simple engine of proposition and rebuttal has allowed the sonnet over centuries, in the hands of very different poets, to replicate over and over again the magic of inner argument.

Line 7's "thrallèd" is two syllables, and line 8's "th'inviting" is three. This sonnet's form, like many other of Shakespeare's sonnets, uses the two-part structure of a typical Petrarchan sonnet in which, "eight lines are logically or metaphorically set against the last six [and] an octave-generalization will be followed by a particular sestet-application, an octave question will be followed by a sestet answer or at least a quatrain answer before the summarizing couplet".Vendler, Helen. The Art of Shakespeare's Sonnets.

As the poem moves from the octave to the sestet, Frank makes note of the Speaker's "radical movement from despair to alert". This sudden emotional jump (along with the pattern of the "state") displays the Speaker's "wild mood swings". Frank believes that the last sestet, however, is not as "happy" as some may believe. Using line 10 as his example, Frank points out that the Speaker says he simply "thinks" of his beloved while he is alone which leads one to wonder if the said "sweet love" (line 13) even knows the Speaker exists.

Sonnet 1 has the traditional characteristics of a Shakespearean sonnet—three quatrains and a couplet written in iambic pentameter with an ABAB CDCD EFEF GG rhyme scheme. Many of Shakespeare's sonnets also reflect the two-part structure of the Italian Petrarchan Sonnet. In this type of sonnet (though not in Sonnet 1) "the first eight lines are logically or metaphorically set against the last six [and] an octave-generalization will be followed by a particular sestet- application, an octave question will be followed by a sestet answer or at least a quatrain answer before the summarizing couplet".Vendler, Helen.

It is likely that, in addition to Wyatt's work, Locke also had access to the sonnets of the Earl of Surrey, as she uses Surrey's rhyme scheme, ', now best known as the Shakespearean rhyme scheme. Wyatt's Psalm translations may also have introduced her to Surrey's work, as his volume contains a prefatory sonnet by Surrey. Locke seems to have drawn upon the arrangement of this particular poem, which does not contain the Petrarchan break between octave and sestet. In using this form consistently, Locke sets herself apart from other early English sonnet writers, who generally ascribed to the traditional Petrarchan octave/sestet pair.

"Crash" is a song by the Irish alternative rock sestet, Royseven, found on their debut album, The Art of Insincerity. The song was released as their debut single in Germany in January 2007 and in Ireland as their fourth single on September 14, 2007.

Cambridge: Harvard University Press. Lines nine through fourteen form a rhetorical sestet concerning the decay of the beloved. The first line is often cited as (appropriately) displaying a metronomic regularity: × / × / × / × / × / When I do count the clock that tells the time, :/ = ictus, a metrically strong syllabic position. × = nonictus.

"Older" is a song by the Irish alternative rock sestet, Royseven, found on their debut album, The Art of Insincerity. The song was released as their debut Irish single in September 2006, entering the Irish Singles Chart on September 14 where it reached #6 for two weeks.

5 Dec. 2015. Because of the structure of Italian, the rhyme scheme of the Petrarchan sonnet is more easily fulfilled in that language than in English. The original Italian sonnet form divides the poem's fourteen lines into two parts, the first part being an octave and the second being a sestet.

The speaker here talks about himself as bethrothed unto God's enemy. Shawcross claims that, unlike the octave begging "for the mind" and "for the heart to be freed of sin," the sestet "involves both of the preceding by pleading for the body to be freed."qtd. in Stringer and Parrish 2005, pp. 246-7.

Some other possibilities for the sestet include CDDCDD, CDDECE, or CDDCCD (as in Wordsworth's "Nuns Fret Not at Their Convent's Narrow Room" [a sonnet about sonnets]). This form was used in the earliest English sonnets by Wyatt and others. For background on the pre-English sonnet, see Robert Canary's web page, The Continental Origins of the Sonnet.Canary, Robert.

Robinson critic Warner Berthoff had said that "Robinson is the poet of casualties; of broken lives and exhausted consciences", and Regan saw Reuben Bright as the best example of this quality. Unlike a regular sonnet of this form whose dramatic turn can be expected to come between the octet and the sestet, "Reuben Bright" has no such dramatic change in "mood or attitude", just a narrative development. An ironic twist does not come until the last line, which, as Milton R. Stern noted, is a device frequently found in Robinson's poetry. Poet and critic Donald Hall also commented on the structure, and did note a kind of conclusion at the end of the octave: "Robinson's octave ends with wild grief; but the active imagination of the sestet is his genius--the cow-killer converted".

Written with fourteen lines in a Petrarchan/Italian sonnet form, the poem is divided into an opening octet, and then followed by a concluding sestet. As far as rhyme scheme, the octet is rhymed after the Shakespearean/Elizabethan (ABAB CDCD) form, while the sestet follows the Petrarchan/Italian (EFG EFG) form. The volta, the shift or point of dramatic change, occurs after the fourth line where Brooke goes from describing the death of the soldier, to his life accomplishments winning of the First World War in 1914, as part of a series of sonnets written by Rupert Brooke. Brooke himself, predominantly a prewar poet, died the year before "The Soldier" was published. "The Soldier", being the conclusion and the finale to Brooke’s 1914 war sonnet series, deals with the death and accomplishments of a soldier.

"I'm Revived" is a song by the Irish alternative rock sestet, Royseven, found on their debut album, The Art of Insincerity. The song was released as their third Irish single (following the limited edition double A-side, "Happy Ever Afters/Roy") in February 2007, entering the Irish Singles Chart on February 15 where it reached #26 and spent one week.

Of the numerous sonnets he wrote, the twenty-eight of the sonnet sequence Diana, and the four prefixed to Sir Philip Sidney's An Apology for Poetry, contain his best work. In My lady's presence makes the roses red, he is able to capture Spenser's charm. His rhyme scheme is mixed Italian and English, like Sidney's, the octave being Italian and the sestet English.

Sonnet 30 follows (as do almost all of the 154 sonnets of Shakespeare's collection) the Shakespearean Sonnet form, based on the 'English' or 'Surreyan' sonnet. These sonnets are made up of fourteen lines in three quatrains and a couplet, with the rhyme scheme ABAB CDCD EFEF GG. While using the rhyming and metrical structure of the 'English' or 'Surreyan' sonnet, Shakespeare often also reflected the rhetorical form of the Italian form also known as the Petrarchan sonnet. It divides the sonnet into two parts: the octet (the first eight lines) usually states and develops the subject, while the sestet (the last six lines) winds up to a climax. Thus a change in emphasis, known as the volta, occurs between the end of the eighth and the beginning of the ninth lines — between the octet and sestet.

Psalm 23 applies an unconventional rhyme scheme. While the first stanza does not follow the next in rhythmic pattern, the second, third and fourth present an "ABBACC" rhyme scheme similar to an English sestet. Sidney seems to have aimed at a lyricism not found in the original translations such as the King James Version. However, it adds a sense of poetic lyricism to David's original.

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.

Like a traditional Petrarchan sonnet, the poem is divided into an octave and sestet. However, its rhyme scheme is neither that of a Petrarchan nor English sonnet, but irregular: ABABCDCD:EFFEGG. Even its indentations are irregular, not following its own rhyme scheme. Much of the second half of the poem is dedicated to funeral rituals suffered by those families deeply affected by the First World War.

The sonnet's rhyme scheme combines the octave and sestet structure of a Petrarchan sonnet with the concluding rhyming couplet of a Shakespearean sonnet. This gives it a first volta after line 8, where the poem's speaker turns from observing the destruction of the waves to the skeletons of the village dead, and a second volta after line 12, when the poem turns "inwards" to the speaker's own emotional experience.

In 1972, the quartet acquired the status of the state ensemble by the decision of the Soviet Unions's government. In this very year “Gaya” decided to create its own show-program and invited Mark Rozovskiy and Yuli Gusman to write a script. “Jesus Christ Superstar” suite of a rock-opera was included to the program. For that reason was created a sestet-Tamilla Aghamiyeva and Galina Barinova was invited to the group.

A rondel is a verse form originating in French lyrical poetry of the 14th century. It was later used in the verse of other languages as well, such as English and Romanian. It is a variation of the rondeau consisting of two quatrains followed by a quintet (13 lines total) or a sestet (14 lines total). It is not to be confused with the roundel, a similar verse form with repeating refrain.

Baer 2006, p. 130. The tercet also forms part of the villanelle, where the initial five stanzas are tercets, followed by a concluding quatrain. A tercet may also form the separate halves of the ending sestet in a Petrarchan sonnet, where the rhyme scheme is ABBAABBACDCCDC, as in Longfellow's "Cross of Snow". For example, while "Cross of Snow" is indeed a Petrarchan sonnet, it does not follow the form of ABBAABBA CDCCDC.

The repeated rhyme scheme within the octave strengthens the idea. The sestet, with either two or three different rhymes, uses its first tercet to reflect on the theme and the last to conclude. William Shakespeare utilized the sonnet in love poetry of his own, employing the sonnet structure conventionalized by English poets Wyatt and Surrey. This structure, known as the English or Shakespearean sonnet, consists of three quatrains and a concluding couplet.

Wordsworth begins the poem by wishing that Milton were still alive, for "England hath need of thee." This is because it is his opinion that England has stagnated morally by comparison to Milton's period. To this end, Wordsworth pleads for Milton to rather messianically "raise us up, return to us again; / And give us manners, virtue, freedom, power." In the six subsequent lines (the sestet) following the first eight lines (the octave), Wordsworth explains why Milton could improve the English condition.

Wyatt's professed object was to experiment with the English language, to civilise it, to raise its powers to equal those of other European languages. A significant amount of his literary output consists of translations and imitations of sonnets by Italian poet Petrarch; he also wrote sonnets of his own. He took subject matter from Petrarch's sonnets, but his rhyme schemes are significantly different. Petrarch's sonnets consist of an "octave" rhyming abba abba, followed by a "sestet" with various rhyme schemes.

Apart from rhyme, and considering only the arrangement of ideas, and the placement of the volta, a number of sonnets maintain the two-part organization of the Italian sonnet. In that case the term "octave" and "sestet" are commonly used to refer to the sonnet’s first eight lines followed by the remaining six lines. There are other line- groupings as well, as Shakespeare finds inventive ways with the content of the fourteen line poems.Vendler, Helen. The Art of Shakespeare’s Sonnets.

In form Sidney usually adopts the Petrarchan octave (ABBAABBA), with variations in the sestet which include the English final couplet. His artistic contacts were more peaceful and more significant for his lasting fame. During his absence from court, he wrote Astrophel and Stella (1591) and the first draft of The Arcadia and The Defence of Poesy. His pastoral romance The Arcadia (1598) is an intricate love story, emboding the ideals of the medieval chivalry, so congenial to Sidney's own spirit.

The form originated in Italy, and the word derives from "sonetto", which is Italian for "little song". The Italian sonnet or Petrarchan sonnet follows a rhyme scheme of ABBA ABBA CDE CDE, ABBA ABBA CD CD CD, ABBA ABBA CCE DDE, or ABBA ABBA CDD CEE. In each of these, a group of eight lines (the octave) is followed by a group of six (the sextet). Typically, the octave introduces a situation, idea, or problem to which the sestet provides a response or resolution.

"Reuben Bright" is a sonnet with decasyllabic lines of iambic pentameter. Its structure is that of the Petrarchan sonnet according to Stephen Regan; its rhyme scheme is abba abba cdcd ee. In other words, the octet has two quatrains of enclosed rhyme, and the sestet has a quatrain of alternating rhyme and a concluding couplet. The poem tells of a butcher, Reuben Bright, who might be supposed to be rough and unfeeling because of his profession, but when news is brought that his wife is to die, he cries like a baby.

The Shadorma is a poetic form consisting of a six-line stanza (or sestet). The form is alleged to have originated in Spain. Each stanza has a syllable count of three syllables in the first line, five syllables in the second line, three syllables in the third and fourth lines, seven syllables in the fifth line, and five syllables in the sixth line (3/5/3/3/7/5) for a total of 26 syllables. A poem may consist of one stanza, or an unlimited number of stanzas (a series of shadormas).

Wyatt employs the Petrarchan octave, but his most common sestet scheme is cddc ee. This marks the beginning of an English contribution to sonnet structure of three quatrains and a closing couplet.The Norton Anthology of English Literature: Sixteenth/Early Seventeenth Century, Volume B, 2012, pg. 647 Wyatt experimented in stanza forms including the rondeau, epigrams, terza rima, ottava rima songs, and satires, as well as with monorime, triplets with refrains, quatrains with different length of line and rhyme schemes, quatrains with codas, and the French forms of douzaine and treizaine.

The particular quatrains and tercets are divided by change in rhyme. Petrarch typically used an ABBA ABBA pattern for the octave, followed by either CDE CDE or CDC DCD rhymes in the sestet. (The symmetries (ABBA vs. CDC) of these rhyme schemes have also been rendered in musical structure in the late 20th century composition Scrivo in Vento inspired by Petrarch's Sonnet 212, Beato in Sogno.) The rhyme scheme and structure of Petrarch's sonnets work together to emphasize the idea of the poem: the first quatrain presents the theme and the second expands on it.

"Pierrot lunaire: Cyclic Coherence in Giraud and Schoenberg", in Delaere and Herman, p. 130. He adheres to the sparer of the rondel forms, concluding each poem with a quintet rather than a sestet and working within rather strictly observed eight-syllable lines. As is customary, each poem is restricted to two rhymes alone, one masculine, the other feminine, resulting in a scheme of ABba abAB abbaA, in which the capital letters represent the refrains, or repeated lines. Within this austere structure, however, the language is—to use Vilain's words—"suggestive" and the imaginative penetration beneath the "here-and-now" daring and provocative.

Keats broke from the traditional use of ekphrasis found in Theocritus's Idyll, a classical poem that describes a design on the sides of a cup. While Theocritus describes both motion found in a stationary artwork and underlying motives of characters, "Ode on a Grecian Urn" replaces actions with a series of questions and focuses only on external attributes of the characters.Kelley 2001 pp. 172–173 "Ode on a Grecian Urn" is organized into ten-line stanzas, beginning with an ABAB rhyme scheme and ending with a Miltonic sestet (1st and 5th stanzas CDEDCE, 2nd stanza CDECED, and 3rd and 4th stanzas CDECDE).

The ballad ends as a group of "ugly fiends" (line 134) come to take Aeneas's body away. The form of the ballad, while maintaining some conventions of ballad meter, does not perfectly conform to it and instead appears to be more of a variant of ballad meter than its epitome. "The Wandering Prince of Troy" is a ballad of twenty-three stanzas, all six lines long (see sestet), and all following iambic tetrameter. Each stanza follows a general ABABCC rhyme scheme, although a number of stanzas permit the first and third lines not to rhyme (a convention for which ballad meter allowed).

The muse (line 4) makes room for another poet, or another muse. When the speaker desperately and unexpectedly refers (line 7) to the rival poet as "thy poet", it is clear that loyalties have shifted. The sestet turns the rival poet's effort to find appropriate metaphors into a materialistic endeavor ("He robs thee … he lends … he stole …") regarding merely skin-deep attractiveness ("found it in thy cheek”). The poet suggests a poem by a rival that has little to add, but proclaims the youth is as virtuous as his virtue, his cheek is as lovely as his cheek, and requires no “thanks".

That meant no interchangeable lines as in troubadour poetry and fewer repetitions: for a French jongleur who sang his poems these were necessary, but they sounded redundant to the Sicilian authors. Their poetry was music to the eye, not to the ear, and their legacy is also apparent in Dante and Petrarch's lyrics. The sonnet is even more exacting on this point: the separation between the octave and the sestet is purely a logical one, the rimes drawing a visual line between the first and last part. However, the fact that Italian poetry was being made for the reading public may have facilitated its circulation.

This casts a new light on the typically Shakespearean resonance of the words in line 1, "set me light" (bet against me at scornful odds) and line 6, "set down". Fred Blick has also shown that after sonnet 88 the speaker of the sonnets becomes more critical of the addressee and less subservient to him. Sonnet 126, at the end of the Fair Youth sequence, finally condemns to mortality the "lovely boy" as a mere human, no more than an equal of the mortal speaker. Helen Vendler notes that the "doubling vantage that is the theme of the sestet of 88 helps to organize the whole Sonnet".

The octave's purpose is to introduce a problem, express a desire, reflect on reality, or otherwise present a situation that causes doubt or a conflict within the speaker's soul and inside an animal and object in the story. It usually does this by introducing the problem within its first quatrain (unified four-line section) and developing it in the second. The beginning of the sestet is known as the volta, and it introduces a pronounced change in tone in the sonnet; the change in rhyme scheme marks the turn. The sestet's purpose as a whole is to make a comment on the problem or to apply a solution to it.

He has been made "sick of welfare" but finds it appropriate ("a kind of meetness", with echoes of 'meat') that he has become ill ("To be diseased"), before there was any cause to be so ("ere that there was true needing"). The sestet applies the emetical trope to love: a "policy" is a course of prudent action. Love, to be prudent and to forestall future ailings ("to anticipate / The ills that were, not"), acquainted itself early with transgressions ("grew to faults assured") that operate like a curative vomit. In so doing, love submitted to medicine ("brought to medicine") "a healthful state", a state reeking of goodness ("rank of goodness").

Sonnet 14 is an English or Shakespearean sonnet, which consists of three quatrains followed by a couplet. It follows the traditional rhyme scheme of the form: ABAB CDCD EFEF GG. Like many of the others in the sequence, it is written in a type of metre called iambic pentameter, which is based on five pairs of metrically weak/strong syllabic positions per line. Typically English sonnets present a problem or argument in the quatrains, and a resolution in the final couplet. This sonnet suggests this pattern, but its rhetorical structure is more closely modeled upon the older Petrarchan sonnet which arranges the octave (the first eight lines) in contrast to the sestet (the final six lines).

Shakespeare's sonnets conform to the English or Shakespearean sonnet form. The form consists of fourteen lines structured as three quatrains and a couplet, rhyming abab cdcd efef gg and written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. While Shakespeare's versification maintains the English sonnet form, Shakespeare often rhetorically alludes to the form of Petrarchan sonnets with an octave (two quatrains) followed by a sestet (six lines), between which a "turn" or volta occurs, which signals a change in the tone, mood, or stance of the poem. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / Those pretty wrongs that liberty commits, (41.1) :/ = ictus, a metrically strong syllabic position.

By convention, sonnets in English typically use iambic pentameter, while in the Romance languages, the hendecasyllable and Alexandrine are the most widely used meters. Sonnets of all types often make use of a volta, or "turn," a point in the poem at which an idea is turned on its head, a question is answered (or introduced), or the subject matter is further complicated. This volta can often take the form of a "but" statement contradicting or complicating the content of the earlier lines. In the Petrarchan sonnet, the turn tends to fall around the division between the first two quatrains and the sestet, while English sonnets usually place it at or near the beginning of the closing couplet.

The same overall pattern is used in "Ode on Indolence", "Ode on Melancholy", and "Ode to a Nightingale" (though their sestet rhyme schemes vary), which makes the poems unified in structure as well as theme. The word "ode" itself is of Greek origin, meaning "sung". While ode-writers from antiquity adhered to rigid patterns of strophe, antistrophe, and epode, the form by Keats's time had undergone enough transformation that it represented a manner rather than a set method for writing a certain type of lyric poetry. Keats's odes seek to find a "classical balance" between two extremes, and in the structure of "Ode on a Grecian Urn", these extremes are the symmetrical structure of classical literature and the asymmetry of Romantic poetry.

Dumb Instrument is the title given to the posthumous 1976The collection was announced in 1973, and in a footnote to Chevalier's commentary on the first publication of "At Sir Moorcalm Lalli's" in The Contemporary Review of March 1974, publication is suggested as imminent; for whatever reason another two years elapsed before it was issued. anthology of poetry by the English writer and artist Denton Welch. It derives from the fifth line of a sestet which appears on the title page of the anthology only. Compiled by Jean-Louis Chevalier from Welch's papers held at the Harry Ransom Center at the University of Texas at Austin, and published by the Enitharmon Press, the anthology contains 58 poems, none of which had appeared in print before.

These poets do not necessarily restrict themselves to the metrical or rhyme schemes of the traditional Petrarchan form; some use iambic hexameter, while others do not observe the octave-sestet division created by the traditional rhyme scheme. Whatever the changes made by poets exercising artistic license, no "proper" Italian sonnet has more than five different rhymes in it. Sir Thomas Wyatt and Henry Howard, Earl of Surrey are both known for their translations of Petrarch's sonnets from Italian into English. While Surrey tended to use the English sonnet form in his own work, reserving the Petrarchan form for his translations of Petrarch, Wyatt made extensive use of the Italian sonnet form in the poems of his that were not translation and adaptation work.

"Ode on Indolence" relies on ten line stanzas with a rhyme scheme that begins with a Shakespearian quatrain (ABAB) and ends with a Miltonic sestet (CDECDE). This pattern is used in "Ode on Melancholy", "Ode to a Nightingale" and "Ode on a Grecian Urn", which further unifies the poems in their structure in addition to their themes. The poem contains a complicated use of assonance (the repetition of vowel sounds), as evident in line 19, "O why did ye not melt, and leave my sense", where the pairs ye/leave and melt/sense share vowel sounds. A more disorganized use of assonance appears in line 31, "A third time pass'd they by, and, passing, turn'd", in which the pairs third/turn'd, time/by, and pass'd/passing share vowel sounds.

Bloomsbury Arden 2010. . p. 262 The sonnet seems to be sincerely self-denigrating about the poet's lack of variety, and lack of incorporating the latest fashions, but at the same time there is a sense that the self-effacing pose doesn't ring true. There is instead a self-asserting quality being implied: that when the poet compares himself with others in the first quatrain they appear to be mere followers of fashion, and (in the second quatrain) that his way of writing is a way for a writer to achieve a style that is distinct. There is also the assertion implied in the sestet that the poet requires fidelity to his subject in order to arrive at a proper style, as opposed to the fickle valuing of constantly changing fashions.Hammond.

This poem is a Petrarchan sonnet, also known as an Italian sonnet, divided into an octave and a sestet, with a rhyme scheme of a-b-b-a-a-b-b-a-c-d-c-d-c-d. After the main idea has been introduced and the image played upon in the octave, the poem undergoes a volta, a change in the persona's train of thought. The volta, typical of Italian sonnets, is put very effectively to use by Keats as he refines his previous idea. While the octave offers the poet as a literary explorer, the volta brings in the discovery of Chapman's Homer, the subject of which is further expanded through the use of imagery and comparisons which convey the poet's sense of awe at the discovery.

Handwritten draft of Donne's Sonnet XIV, "Batter my heart, three-person'd God", likely in the hand of Donne's friend, Rowland Woodward, from the Westmoreland manuscript (circa 1620) The Holy Sonnets—also known as the Divine Meditations or Divine Sonnets—are a series of nineteen poems by the English poet John Donne (1572–1631). The sonnets were first published in 1633—two years after Donne's death. They are written predominantly in the style and form prescribed by Renaissance Italian poet Petrarch (or Francesco Petrarca) (1304–1374) in which the sonnet consisted of two quatrains (four-line stanzas) and a sestet (a six-line stanza). However, several rhythmic and structural patterns as well as the inclusion of couplets are elements influenced by the sonnet form developed by English poet and playwright William Shakespeare (1564–1616).

There is no scholarly consensus regarding the structure of Holy Sonnet XIV; different critics refer to particular parts of this poem either as an octave and a sestet (following the style of the Petrarchan sonnet, with a prominent example being Robert H. Ray's argumentRay 2014, pp. 46-8.), three quatrains and a couplet (the division established by the English sonnet, an example being an article by Purificación RibesRibes 1996, pp. 164-8 .), or decide to avoid definite pronouncements on this issue by referring to line numbers only (seen in James Winny’s A Preface to DonneWinny 2014). This supposed difficulty has been circumvented here, with critics dividing the poem as they see fit in their readings, although there are instances where the style of this poem is addressed directly (especially when it comes to the imagery of the poem).

The speaker is like a usurped town during a siege, imprisoned by the enemy (Satan and sin), but is awaiting God to use his force and to liberate him. George Herman notes that this expected role of the "three- person'd God" brings together the poem with the image of a bigger force needed for redemption: Herman proposes that "God the Father needs to break rather than knock at the heart, God the Holy Ghost to blow rather than breathe, and God the Son to burn rather than shine on the 'heart-town-woman.'"qtd. in Stringer and Parrish 2005, p. 243. The amorous discourse surfaces heavily in the sestet of the poem, asserted by words and phrases such as: dearly I love you, loved, bethroth'd, divorce me, untie or break that knot, enthrall me, chaste, ravish.

His "duty" is "so great" and his ability "so poore", that his language may seem "bare", lacking "words" and adornment. Except that ("But that") the poet's hope is that the youth's "good conceit", his fine 'thought' or 'fancy' or even his 'opinion,' which can be found in his "soul's thought", will dress up the poet's "all naked" or "bare" missive of love. The sestet picks up the astrological motif of the previous sonnet, where the poet's love, unlike those who boast of the "favour of the stars", is at sufficient "remove" to be impervious to stellar influence. The youth's is required until such time as the poet's personal star, that which "guides" his "moving", shines favourably upon him ("points on me graciously with fair aspect"); "points" means 'directs' or 'influences' the poet, but was used of the zodiacal signs.

In Sonnet 78, Shakespeare has a mock debate between the young man and himself: "The mock-debate of the sonnet is: should the young man be prouder of Shakespeare's poem compiled out of rude ignorance, or of those of his more learned admirers?" This question is followed by a mock answer: "The mock answer is that the young man should be prouder of having taught a hitherto dumb admirer to sing, and of having advanced ignorance as high as learning, because these achievements on his part testify more impressively to his originally power than his (slighter) accomplishments with respect to his learned poets — he but mends their style and graces their arts." The debate that Shakespeare presents is "in a Petrarchan logical structure, with a clearly demarcated octave and sestet." Shakespeare exhibits his present art as at least equal to that of his rivals.

It is said that Donne's sonnets were heavily influenced by his connections to the Jesuits through his uncle Jasper Heywood, and from the works of the founder of the Jesuit Order, Ignatius Loyola.Martz, Louis L. The Poetry of Meditation: A Study in English Religious Literature of the 17th Century (New Haven: Yale University Press, 1954), 107–112, 221–235; and "John Donne in Meditation: The Anniversaries," English Literary History 14(4) (December 1947), 248–62. Donne chose the sonnet because the form can be divided into three parts (two quatrains, one sestet) similar to the form of meditation or spiritual exercise described by Loyola in which (1) the penitent conjures up the scene of meditation before him (2) the penitent analyses, seeking to glean and then embrace whatever truths it may contain; and (3) after analysis, the penitent is ready to address God in a form of petition or resign himself to divine will that the meditation reveals.Capps, Donald.

Shakespeare Among the most common forms of poetry, popular from the Late Middle Ages on, is the sonnet, which by the 13th century had become standardized as fourteen lines following a set rhyme scheme and logical structure. By the 14th century and the Italian Renaissance, the form had further crystallized under the pen of Petrarch, whose sonnets were translated in the 16th century by Sir Thomas Wyatt, who is credited with introducing the sonnet form into English literature. A traditional Italian or Petrarchan sonnet follows the rhyme scheme ABBA, ABBA, CDECDE, though some variation, perhaps the most common being CDCDCD, especially within the final six lines (or sestet), is common. The English (or Shakespearean) sonnet follows the rhyme scheme ABAB, CDCD, EFEF, GG, introducing a third quatrain (grouping of four lines), a final couplet, and a greater amount of variety with regard to rhyme than is usually found in its Italian predecessors.

For example, consider Henry Wadsworth Longfellow's "The Sound of the Sea": :The sea awoke at midnight from its sleep, :And round the pebbly beaches far and wide :I heard the first wave of the rising tide :Rush onward with uninterrupted sweep; :A voice out of the silence of the deep, :A sound mysteriously multiplied :As of a cataract from the mountain's side, :Or roar of winds upon a wooded steep. :So comes to us at times, from the unknown :And inaccessible solitudes of being, :The rushing of the sea-tides of the soul; :And inspirations, that we deem our own, :Are some divine foreshadowing and foreseeing :Of things beyond our reason or control. The octave presents the speaker's experience of the sound of the sea, coming to him from some distance. In the sestet, this experience mutates into a meditation on the nature of inspiration and man's connection to creation and his experience of the numinous.

Einstein, vol. II p. 598Bridges, Grove online Conversi rarely (if ever) set verse by living poets, preferring writers such as Petrarch, Pietro Bembo, Castiglione, and Luca Contile. Nowhere is his tendency to use sharp contrasts to underline and enhance his texts more apparent than in his setting of Petrarch's Zefiro torna, a setting which was evidently known to Claudio Monteverdi, whose own version in his Sixth Book of Madrigals is considerably more famous. The form of the poem is a Petrarchan sonnet, and Conversi sets the octave, which celebrates the return of springtime, with a quick and light patter of notes drawn from the pastoral Neapolitan canzona; and the sestet, in which the lover mourns the loss of his beloved, arrives in a sombre and slow G minor.Einstein, vol. II p. 598-9Bridges, Grove online Some of Conversi's vocal textures show the influence of instrumental music, as they have homophonic and dancelike sections easily playable on instruments without changing a note. Orazio Vecchi was likely familiar with these works, as is evident from his own compositions in the style.