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[o]" accesskey="o"> Log in</a></li> </ul> </div> </div> <div id="p-user-menu-anon-editor" class="vector-menu mw-portlet mw-portlet-user-menu-anon-editor" > <div class="vector-menu-heading"> Pages for logged out editors <a href="/wiki/Help:Introduction" aria-label="Learn more about editing">learn more</a> </div> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="pt-anoncontribs" class="mw-list-item"><a href="/wiki/Special:MyContributions" title="A list of edits made from this IP address [y]" accesskey="y">Contributions</a></li><li id="pt-anontalk" class="mw-list-item"><a href="/wiki/Special:MyTalk" title="Discussion about edits from this IP address [n]" accesskey="n">Talk</a></li> </ul> </div> </div> </div> </div> </nav> </div> </header> </div> <div class="mw-page-container"> <div class="mw-page-container-inner"> <div class="vector-sitenotice-container"> <div id="siteNotice"></div> </div> <div class="vector-column-start"> <div class="vector-main-menu-container"> <div id="mw-navigation"> <nav id="mw-panel" class="vector-main-menu-landmark" aria-label="Site"> <div id="vector-main-menu-pinned-container" class="vector-pinned-container"> </div> </nav> </div> </div> <div class="vector-sticky-pinned-container"> <nav id="mw-panel-toc" aria-label="Contents" data-event-name="ui.sidebar-toc" class="mw-table-of-contents-container vector-toc-landmark"> <div id="vector-toc-pinned-container" class="vector-pinned-container"> <div id="vector-toc" class="vector-toc vector-pinnable-element"> <div class="vector-pinnable-header vector-toc-pinnable-header vector-pinnable-header-pinned" data-feature-name="toc-pinned" data-pinnable-element-id="vector-toc" > <h2 class="vector-pinnable-header-label">Contents</h2> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-pin-button" data-event-name="pinnable-header.vector-toc.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-toc.unpin">hide</button> </div> <ul class="vector-toc-contents" id="mw-panel-toc-list"> <li id="toc-mw-content-text" class="vector-toc-list-item vector-toc-level-1"> <a href="#" class="vector-toc-link"> <div class="vector-toc-text">(Top)</div> </a> </li> <li id="toc-Romance_languages" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Romance_languages"> <div class="vector-toc-text"> 1 Romance languages </div> </a> <button aria-controls="toc-Romance_languages-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Romance languages subsection </button> <ul id="toc-Romance_languages-sublist" class="vector-toc-list"> <li id="toc-Sicilian" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sicilian"> <div class="vector-toc-text"> 1.1 Sicilian </div> </a> <ul id="toc-Sicilian-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Italian" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Italian"> <div class="vector-toc-text"> 1.2 Italian </div> </a> <ul id="toc-Italian-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Occitan" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Occitan"> <div class="vector-toc-text"> 1.3 Occitan </div> </a> <ul id="toc-Occitan-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Catalan" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Catalan"> <div class="vector-toc-text"> 1.4 Catalan </div> </a> <ul id="toc-Catalan-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Spanish" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Spanish"> <div class="vector-toc-text"> 1.5 Spanish </div> </a> <ul id="toc-Spanish-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Portuguese" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Portuguese"> <div class="vector-toc-text"> 1.6 Portuguese </div> </a> <ul id="toc-Portuguese-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-French" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#French"> <div class="vector-toc-text"> 1.7 French </div> </a> <ul id="toc-French-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Germanic_languages" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Germanic_languages"> <div class="vector-toc-text"> 2 Germanic languages </div> </a> <button aria-controls="toc-Germanic_languages-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Germanic languages subsection </button> <ul id="toc-Germanic_languages-sublist" class="vector-toc-list"> <li id="toc-English" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#English"> <div class="vector-toc-text"> 2.1 English </div> </a> <ul id="toc-English-sublist" class="vector-toc-list"> <li id="toc-Tudor_and_Stuart_period" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Tudor_and_Stuart_period"> <div class="vector-toc-text"> 2.1.1 Tudor and Stuart period </div> </a> <ul id="toc-Tudor_and_Stuart_period-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-18th–19th_centuries" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#18th–19th_centuries"> <div class="vector-toc-text"> 2.1.2 18th–19th centuries </div> </a> <ul id="toc-18th–19th_centuries-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-20th_century" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#20th_century"> <div class="vector-toc-text"> 2.1.3 20th century </div> </a> <ul id="toc-20th_century-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-In_North_America" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#In_North_America"> <div class="vector-toc-text"> 2.2 In North America </div> </a> <ul id="toc-In_North_America-sublist" class="vector-toc-list"> <li id="toc-USA" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#USA"> <div class="vector-toc-text"> 2.2.1 USA </div> </a> <ul id="toc-USA-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Canada" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Canada"> <div class="vector-toc-text"> 2.2.2 Canada </div> </a> <ul id="toc-Canada-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-In_German" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#In_German"> <div class="vector-toc-text"> 2.3 In German </div> </a> <ul id="toc-In_German-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-In_Dutch" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#In_Dutch"> <div class="vector-toc-text"> 2.4 In Dutch </div> </a> <ul id="toc-In_Dutch-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Jewish_languages" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Jewish_languages"> <div class="vector-toc-text"> 3 Jewish languages </div> </a> <button aria-controls="toc-Jewish_languages-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Jewish languages subsection </button> <ul id="toc-Jewish_languages-sublist" class="vector-toc-list"> <li id="toc-Hebrew" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Hebrew"> <div class="vector-toc-text"> 3.1 Hebrew </div> </a> <ul id="toc-Hebrew-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Yiddish" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Yiddish"> <div class="vector-toc-text"> 3.2 Yiddish </div> </a> <ul id="toc-Yiddish-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Slavic_languages" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Slavic_languages"> <div class="vector-toc-text"> 4 Slavic languages </div> </a> <button aria-controls="toc-Slavic_languages-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Slavic languages subsection </button> <ul id="toc-Slavic_languages-sublist" class="vector-toc-list"> <li id="toc-Czech" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Czech"> <div class="vector-toc-text"> 4.1 Czech </div> </a> <ul id="toc-Czech-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Polish" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Polish"> <div class="vector-toc-text"> 4.2 Polish </div> </a> <ul id="toc-Polish-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Russian" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Russian"> <div class="vector-toc-text"> 4.3 Russian </div> </a> <ul id="toc-Russian-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Slovenian" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Slovenian"> <div class="vector-toc-text"> 4.4 Slovenian </div> </a> <ul id="toc-Slovenian-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Celtic_languages" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Celtic_languages"> <div class="vector-toc-text"> 5 Celtic languages </div> </a> <button aria-controls="toc-Celtic_languages-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Celtic languages subsection </button> <ul id="toc-Celtic_languages-sublist" class="vector-toc-list"> <li id="toc-In_Irish" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#In_Irish"> <div class="vector-toc-text"> 5.1 In Irish </div> </a> <ul id="toc-In_Irish-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-In_Welsh" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#In_Welsh"> <div class="vector-toc-text"> 5.2 In Welsh </div> </a> <ul id="toc-In_Welsh-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Indian_languages" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Indian_languages"> <div class="vector-toc-text"> 6 Indian languages </div> </a> <button aria-controls="toc-Indian_languages-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Indian languages subsection </button> <ul id="toc-Indian_languages-sublist" class="vector-toc-list"> <li id="toc-In_Urdu" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#In_Urdu"> <div class="vector-toc-text"> 6.1 In Urdu </div> </a> <ul id="toc-In_Urdu-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> 7 See also </div> </a> <button aria-controls="toc-See_also-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle See also subsection </button> <ul id="toc-See_also-sublist" class="vector-toc-list"> <li id="toc-Sonnet_forms" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sonnet_forms"> <div class="vector-toc-text"> 7.1 Sonnet forms </div> </a> <ul id="toc-Sonnet_forms-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> 8 References </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> 9 Further reading </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> 10 External links </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Toggle the table of contents </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading">Sonnet</h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 88 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-88" aria-hidden="true" > 88 languages </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Sonnet" title="Sonnet – Afrikaans" lang="af" hreflang="af" data-title="Sonnet" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target">Afrikaans</a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%B3%D9%88%D9%86%D9%8A%D8%AA%D9%87" title="سونيته – Arabic" lang="ar" hreflang="ar" data-title="سونيته" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target">العربية</a></li><li class="interlanguage-link interwiki-as mw-list-item"><a href="https://as.wikipedia.org/wiki/%E0%A6%9B%E0%A6%A8%E0%A7%87%E0%A6%9F" title="ছনেট – Assamese" lang="as" hreflang="as" data-title="ছনেট" data-language-autonym="অসমীয়া" data-language-local-name="Assamese" class="interlanguage-link-target">অসমীয়া</a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Sonetu" title="Sonetu – Asturian" lang="ast" hreflang="ast" data-title="Sonetu" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target">Asturianu</a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/Sonet" title="Sonet – Azerbaijani" lang="az" hreflang="az" data-title="Sonet" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target">Azərbaycanca</a></li><li class="interlanguage-link interwiki-bn mw-list-item"><a href="https://bn.wikipedia.org/wiki/%E0%A6%9A%E0%A6%A4%E0%A7%81%E0%A6%B0%E0%A7%8D%E0%A6%A6%E0%A6%B6%E0%A6%AA%E0%A6%A6%E0%A7%80" title="চতুর্দশপদী – Bangla" lang="bn" hreflang="bn" data-title="চতুর্দশপদী" data-language-autonym="বাংলা" data-language-local-name="Bangla" class="interlanguage-link-target">বাংলা</a></li><li class="interlanguage-link interwiki-ba mw-list-item"><a href="https://ba.wikipedia.org/wiki/%D0%A1%D0%BE%D0%BD%D0%B5%D1%82" title="Сонет – Bashkir" lang="ba" hreflang="ba" data-title="Сонет" data-language-autonym="Башҡортса" data-language-local-name="Bashkir" class="interlanguage-link-target">Башҡортса</a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%A1%D0%B0%D0%BD%D0%B5%D1%82" title="Санет – Belarusian" lang="be" hreflang="be" data-title="Санет" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target">Беларуская</a></li><li class="interlanguage-link interwiki-be-x-old mw-list-item"><a href="https://be-tarask.wikipedia.org/wiki/%D0%A1%D0%B0%D0%BD%D1%8D%D1%82" title="Санэт – Belarusian (Taraškievica orthography)" lang="be-tarask" hreflang="be-tarask" data-title="Санэт" data-language-autonym="Беларуская (тарашкевіца)" data-language-local-name="Belarusian (Taraškievica orthography)" class="interlanguage-link-target">Беларуская (тарашкевіца)</a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%A1%D0%BE%D0%BD%D0%B5%D1%82" title="Сонет – Bulgarian" lang="bg" hreflang="bg" data-title="Сонет" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target">Български</a></li><li class="interlanguage-link interwiki-bs mw-list-item"><a href="https://bs.wikipedia.org/wiki/Sonet" title="Sonet – Bosnian" lang="bs" hreflang="bs" data-title="Sonet" data-language-autonym="Bosanski" data-language-local-name="Bosnian" class="interlanguage-link-target">Bosanski</a></li><li class="interlanguage-link interwiki-br mw-list-item"><a href="https://br.wikipedia.org/wiki/Sonedenn" title="Sonedenn – Breton" lang="br" hreflang="br" data-title="Sonedenn" data-language-autonym="Brezhoneg" data-language-local-name="Breton" class="interlanguage-link-target">Brezhoneg</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Sonet" title="Sonet – Catalan" lang="ca" hreflang="ca" data-title="Sonet" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cv mw-list-item"><a href="https://cv.wikipedia.org/wiki/%D0%A1%D0%BE%D0%BD%D0%B5%D1%82" title="Сонет – Chuvash" lang="cv" hreflang="cv" data-title="Сонет" data-language-autonym="Чӑвашла" data-language-local-name="Chuvash" class="interlanguage-link-target">Чӑвашла</a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Sonet" title="Sonet – Czech" lang="cs" hreflang="cs" data-title="Sonet" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target">Čeština</a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Soned" title="Soned – Welsh" lang="cy" hreflang="cy" data-title="Soned" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target">Cymraeg</a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Sonet" title="Sonet – Danish" lang="da" hreflang="da" data-title="Sonet" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target">Dansk</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Sonett" title="Sonett – German" lang="de" hreflang="de" data-title="Sonett" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-dsb mw-list-item"><a href="https://dsb.wikipedia.org/wiki/Sonet" title="Sonet – Lower Sorbian" lang="dsb" hreflang="dsb" data-title="Sonet" data-language-autonym="Dolnoserbski" data-language-local-name="Lower Sorbian" class="interlanguage-link-target">Dolnoserbski</a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Sonett" title="Sonett – Estonian" lang="et" hreflang="et" data-title="Sonett" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target">Eesti</a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%A3%CE%BF%CE%BD%CE%AD%CF%84%CE%BF" title="Σονέτο – Greek" lang="el" hreflang="el" data-title="Σονέτο" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target">Ελληνικά</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Soneto" title="Soneto – Spanish" lang="es" hreflang="es" data-title="Soneto" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Soneto" title="Soneto – Esperanto" lang="eo" hreflang="eo" data-title="Soneto" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target">Esperanto</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Hamalaudun" title="Hamalaudun – Basque" lang="eu" hreflang="eu" data-title="Hamalaudun" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%B3%D9%88%D9%86%D8%AA" title="سونت – Persian" lang="fa" hreflang="fa" data-title="سونت" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Sonnet" title="Sonnet – French" lang="fr" hreflang="fr" data-title="Sonnet" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-fy mw-list-item"><a href="https://fy.wikipedia.org/wiki/Sonnet" title="Sonnet – Western Frisian" lang="fy" hreflang="fy" data-title="Sonnet" data-language-autonym="Frysk" data-language-local-name="Western Frisian" class="interlanguage-link-target">Frysk</a></li><li class="interlanguage-link interwiki-ga mw-list-item"><a href="https://ga.wikipedia.org/wiki/Soin%C3%A9ad" title="Soinéad – Irish" lang="ga" hreflang="ga" data-title="Soinéad" data-language-autonym="Gaeilge" data-language-local-name="Irish" class="interlanguage-link-target">Gaeilge</a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Soneto" title="Soneto – Galician" lang="gl" hreflang="gl" data-title="Soneto" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target">Galego</a></li><li class="interlanguage-link interwiki-gan mw-list-item"><a href="https://gan.wikipedia.org/wiki/%E5%8D%81%E5%9B%9B%E8%A1%8C%E8%A9%A9" title="十四行詩 – Gan" lang="gan" hreflang="gan" data-title="十四行詩" data-language-autonym="贛語" data-language-local-name="Gan" class="interlanguage-link-target">贛語</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%86%8C%EB%84%A4%ED%8A%B8" title="소네트 – Korean" lang="ko" hreflang="ko" data-title="소네트" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-ha mw-list-item"><a href="https://ha.wikipedia.org/wiki/Sonnet" title="Sonnet – Hausa" lang="ha" hreflang="ha" data-title="Sonnet" data-language-autonym="Hausa" data-language-local-name="Hausa" class="interlanguage-link-target">Hausa</a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D5%8D%D5%B8%D5%B6%D5%A5%D5%BF" title="Սոնետ – Armenian" lang="hy" hreflang="hy" data-title="Սոնետ" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target">Հայերեն</a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Sonet" title="Sonet – Croatian" lang="hr" hreflang="hr" data-title="Sonet" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target">Hrvatski</a></li><li class="interlanguage-link interwiki-io mw-list-item"><a href="https://io.wikipedia.org/wiki/Soneto" title="Soneto – Ido" lang="io" hreflang="io" data-title="Soneto" data-language-autonym="Ido" data-language-local-name="Ido" class="interlanguage-link-target">Ido</a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Soneta" title="Soneta – Indonesian" lang="id" hreflang="id" data-title="Soneta" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target">Bahasa Indonesia</a></li><li class="interlanguage-link interwiki-os mw-list-item"><a href="https://os.wikipedia.org/wiki/%D0%A1%D0%BE%D0%BD%D0%B5%D1%82" title="Сонет – Ossetic" lang="os" hreflang="os" data-title="Сонет" data-language-autonym="Ирон" data-language-local-name="Ossetic" class="interlanguage-link-target">Ирон</a></li><li class="interlanguage-link interwiki-is mw-list-item"><a href="https://is.wikipedia.org/wiki/Sonnetta" title="Sonnetta – Icelandic" lang="is" hreflang="is" data-title="Sonnetta" data-language-autonym="Íslenska" data-language-local-name="Icelandic" class="interlanguage-link-target">Íslenska</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Sonetto" title="Sonetto – Italian" lang="it" hreflang="it" data-title="Sonetto" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%A1%D7%95%D7%A0%D7%98%D7%94" title="סונטה – Hebrew" lang="he" hreflang="he" data-title="סונטה" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-kn mw-list-item"><a href="https://kn.wikipedia.org/wiki/%E0%B2%B8%E0%B2%BE%E0%B2%A8%E0%B3%86%E0%B2%9F%E0%B3%8D" title="ಸಾನೆಟ್ – Kannada" lang="kn" hreflang="kn" data-title="ಸಾನೆಟ್" data-language-autonym="ಕನ್ನಡ" data-language-local-name="Kannada" class="interlanguage-link-target">ಕನ್ನಡ</a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%A1%E1%83%9D%E1%83%9C%E1%83%94%E1%83%A2%E1%83%98" title="სონეტი – Georgian" lang="ka" hreflang="ka" data-title="სონეტი" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target">ქართული</a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%A1%D0%BE%D0%BD%D0%B5%D1%82" title="Сонет – Kazakh" lang="kk" hreflang="kk" data-title="Сонет" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target">Қазақша</a></li><li class="interlanguage-link interwiki-ku mw-list-item"><a href="https://ku.wikipedia.org/wiki/Sone" title="Sone – Kurdish" lang="ku" hreflang="ku" data-title="Sone" data-language-autonym="Kurdî" data-language-local-name="Kurdish" class="interlanguage-link-target">Kurdî</a></li><li class="interlanguage-link interwiki-ky mw-list-item"><a href="https://ky.wikipedia.org/wiki/%D0%A1%D0%BE%D0%BD%D0%B5%D1%82" title="Сонет – Kyrgyz" lang="ky" hreflang="ky" data-title="Сонет" data-language-autonym="Кыргызча" data-language-local-name="Kyrgyz" class="interlanguage-link-target">Кыргызча</a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Sonettum" title="Sonettum – Latin" lang="la" hreflang="la" data-title="Sonettum" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target">Latina</a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/Sonets" title="Sonets – Latvian" lang="lv" hreflang="lv" data-title="Sonets" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target">Latviešu</a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/Sonetas" title="Sonetas – Lithuanian" lang="lt" hreflang="lt" data-title="Sonetas" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target">Lietuvių</a></li><li class="interlanguage-link interwiki-li mw-list-item"><a href="https://li.wikipedia.org/wiki/Sonn%C3%A8t" title="Sonnèt – Limburgish" lang="li" hreflang="li" data-title="Sonnèt" data-language-autonym="Limburgs" data-language-local-name="Limburgish" class="interlanguage-link-target">Limburgs</a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Szonett" title="Szonett – Hungarian" lang="hu" hreflang="hu" data-title="Szonett" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%A1%D0%BE%D0%BD%D0%B5%D1%82" title="Сонет – Macedonian" lang="mk" hreflang="mk" data-title="Сонет" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target">Македонски</a></li><li class="interlanguage-link interwiki-ml mw-list-item"><a href="https://ml.wikipedia.org/wiki/%E0%B4%97%E0%B5%80%E0%B4%A4%E0%B4%95%E0%B4%82" title="ഗീതകം – Malayalam" lang="ml" hreflang="ml" data-title="ഗീതകം" data-language-autonym="മലയാളം" data-language-local-name="Malayalam" class="interlanguage-link-target">മലയാളം</a></li><li class="interlanguage-link interwiki-mr mw-list-item"><a href="https://mr.wikipedia.org/wiki/%E0%A4%B8%E0%A5%81%E0%A4%A8%E0%A5%80%E0%A4%A4" title="सुनीत – Marathi" lang="mr" hreflang="mr" data-title="सुनीत" data-language-autonym="मराठी" data-language-local-name="Marathi" class="interlanguage-link-target">मराठी</a></li><li class="interlanguage-link interwiki-xmf mw-list-item"><a href="https://xmf.wikipedia.org/wiki/%E1%83%A1%E1%83%9D%E1%83%9C%E1%83%94%E1%83%A2%E1%83%98" title="სონეტი – Mingrelian" lang="xmf" hreflang="xmf" data-title="სონეტი" data-language-autonym="მარგალური" data-language-local-name="Mingrelian" class="interlanguage-link-target">მარგალური</a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Soneta" title="Soneta – Malay" lang="ms" hreflang="ms" data-title="Soneta" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target">Bahasa Melayu</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Sonnet" title="Sonnet – Dutch" lang="nl" hreflang="nl" data-title="Sonnet" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%BD%E3%83%8D%E3%83%83%E3%83%88" title="ソネット – Japanese" lang="ja" hreflang="ja" data-title="ソネット" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Sonett" title="Sonett – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Sonett" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target">Norsk bokmål</a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Sonett" title="Sonett – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Sonett" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target">Norsk nynorsk</a></li><li class="interlanguage-link interwiki-nrm mw-list-item"><a href="https://nrm.wikipedia.org/wiki/Sonnet" title="Sonnet – Norman" lang="nrf" hreflang="nrf" data-title="Sonnet" data-language-autonym="Nouormand" data-language-local-name="Norman" class="interlanguage-link-target">Nouormand</a></li><li class="interlanguage-link interwiki-oc mw-list-item"><a href="https://oc.wikipedia.org/wiki/Sonet" title="Sonet – Occitan" lang="oc" hreflang="oc" data-title="Sonet" data-language-autonym="Occitan" data-language-local-name="Occitan" class="interlanguage-link-target">Occitan</a></li><li class="interlanguage-link interwiki-uz mw-list-item"><a href="https://uz.wikipedia.org/wiki/Sonet" title="Sonet – Uzbek" lang="uz" hreflang="uz" data-title="Sonet" data-language-autonym="Oʻzbekcha / ўзбекча" data-language-local-name="Uzbek" class="interlanguage-link-target">Oʻzbekcha / ўзбекча</a></li><li class="interlanguage-link interwiki-jam mw-list-item"><a href="https://jam.wikipedia.org/wiki/Sanit" title="Sanit – Jamaican Creole English" lang="jam" hreflang="jam" data-title="Sanit" data-language-autonym="Patois" data-language-local-name="Jamaican Creole English" class="interlanguage-link-target">Patois</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Sonet" title="Sonet – Polish" lang="pl" hreflang="pl" data-title="Sonet" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Soneto" title="Soneto – Portuguese" lang="pt" hreflang="pt" data-title="Soneto" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Sonet" title="Sonet – Romanian" lang="ro" hreflang="ro" data-title="Sonet" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%A1%D0%BE%D0%BD%D0%B5%D1%82" title="Сонет – Russian" lang="ru" hreflang="ru" data-title="Сонет" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-scn mw-list-item"><a href="https://scn.wikipedia.org/wiki/Sunettu" title="Sunettu – Sicilian" lang="scn" hreflang="scn" data-title="Sunettu" data-language-autonym="Sicilianu" data-language-local-name="Sicilian" class="interlanguage-link-target">Sicilianu</a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Sonnet" title="Sonnet – Simple English" lang="en-simple" hreflang="en-simple" data-title="Sonnet" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target">Simple English</a></li><li class="interlanguage-link interwiki-sd mw-list-item"><a href="https://sd.wikipedia.org/wiki/%D8%B3%D8%A7%D9%86%D9%8A%D9%BD" title="سانيٽ – Sindhi" lang="sd" hreflang="sd" data-title="سانيٽ" data-language-autonym="سنڌي" data-language-local-name="Sindhi" class="interlanguage-link-target">سنڌي</a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Sonet" title="Sonet – Slovak" lang="sk" hreflang="sk" data-title="Sonet" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target">Slovenčina</a></li><li class="interlanguage-link interwiki-sl mw-list-item"><a href="https://sl.wikipedia.org/wiki/Sonet" title="Sonet – Slovenian" lang="sl" hreflang="sl" data-title="Sonet" data-language-autonym="Slovenščina" data-language-local-name="Slovenian" class="interlanguage-link-target">Slovenščina</a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/%D0%A1%D0%BE%D0%BD%D0%B5%D1%82" title="Сонет – Serbian" lang="sr" hreflang="sr" data-title="Сонет" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target">Српски / srpski</a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Sonet" title="Sonet – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Sonet" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target">Srpskohrvatski / српскохрватски</a></li><li class="interlanguage-link interwiki-su mw-list-item"><a href="https://su.wikipedia.org/wiki/Soneta" title="Soneta – Sundanese" lang="su" hreflang="su" data-title="Soneta" data-language-autonym="Sunda" data-language-local-name="Sundanese" class="interlanguage-link-target">Sunda</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Sonetti" title="Sonetti – Finnish" lang="fi" hreflang="fi" data-title="Sonetti" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Sonett" title="Sonett – Swedish" lang="sv" hreflang="sv" data-title="Sonett" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-tl mw-list-item"><a href="https://tl.wikipedia.org/wiki/Soneto" title="Soneto – Tagalog" lang="tl" hreflang="tl" data-title="Soneto" data-language-autonym="Tagalog" data-language-local-name="Tagalog" class="interlanguage-link-target">Tagalog</a></li><li class="interlanguage-link interwiki-ta mw-list-item"><a href="https://ta.wikipedia.org/wiki/%E0%AE%88%E0%AE%B0%E0%AF%87%E0%AE%B4%E0%AF%8D%E0%AE%B5%E0%AE%B0%E0%AE%BF%E0%AE%AA%E0%AF%8D%E0%AE%AA%E0%AE%BE" title="ஈரேழ்வரிப்பா – Tamil" lang="ta" hreflang="ta" data-title="ஈரேழ்வரிப்பா" data-language-autonym="தமிழ்" data-language-local-name="Tamil" class="interlanguage-link-target">தமிழ்</a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%8B%E0%B8%AD%E0%B8%99%E0%B9%80%E0%B8%99%E0%B9%87%E0%B8%95" title="ซอนเน็ต – Thai" lang="th" hreflang="th" data-title="ซอนเน็ต" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target">ไทย</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Sone" title="Sone – Turkish" lang="tr" hreflang="tr" data-title="Sone" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%A1%D0%BE%D0%BD%D0%B5%D1%82" title="Сонет – Ukrainian" lang="uk" hreflang="uk" data-title="Сонет" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-ur mw-list-item"><a href="https://ur.wikipedia.org/wiki/%D8%B3%D8%A7%D9%86%DB%8C%D9%B9" title="سانیٹ – Urdu" lang="ur" hreflang="ur" data-title="سانیٹ" data-language-autonym="اردو" data-language-local-name="Urdu" class="interlanguage-link-target">اردو</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Sonnet" title="Sonnet – Vietnamese" lang="vi" hreflang="vi" data-title="Sonnet" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target">Tiếng Việt</a></li><li class="interlanguage-link interwiki-wa mw-list-item"><a href="https://wa.wikipedia.org/wiki/Xhiltea" title="Xhiltea – Walloon" lang="wa" hreflang="wa" data-title="Xhiltea" data-language-autonym="Walon" data-language-local-name="Walloon" class="interlanguage-link-target">Walon</a></li><li class="interlanguage-link interwiki-wuu mw-list-item"><a href="https://wuu.wikipedia.org/wiki/%E5%95%86%E7%B1%81" title="商籁 – Wu" lang="wuu" hreflang="wuu" data-title="商籁" data-language-autonym="吴语" data-language-local-name="Wu" class="interlanguage-link-target">吴语</a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E5%8D%81%E5%9B%9B%E8%A1%8C%E8%A9%A9" title="十四行詩 – Cantonese" lang="yue" hreflang="yue" data-title="十四行詩" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target">粵語</a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%8D%81%E5%9B%9B%E8%A1%8C%E8%AF%97" title="十四行诗 – Chinese" lang="zh" hreflang="zh" data-title="十四行诗" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target">中文</a></li> </ul> <div class="after-portlet after-portlet-lang"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q80056#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></div> </div> </div> </div> </header> <div class="vector-page-toolbar"> <div class="vector-page-toolbar-container"> <div id="left-navigation"> <nav aria-label="Namespaces"> <div id="p-associated-pages" class="vector-menu vector-menu-tabs mw-portlet mw-portlet-associated-pages" > <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="ca-nstab-main" class="selected vector-tab-noicon mw-list-item"><a href="/wiki/Sonnet" title="View the content page [c]" accesskey="c">Article</a></li><li id="ca-talk" class="vector-tab-noicon mw-list-item"><a href="/wiki/Talk:Sonnet" rel="discussion" title="Discuss improvements to the content page [t]" accesskey="t">Talk</a></li> </ul> </div> </div> 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data-file-width="1016" data-file-height="560" /></a></td></tr><tr><th class="sidebar-heading" style="background:#ddddff;"> <a href="/wiki/Oral_literature" title="Oral literature">Oral literature</a></th></tr><tr><td class="sidebar-content hlist"> <ul><li><a href="/wiki/Folklore" title="Folklore">Folklore</a> <ul><li><a href="/wiki/Fable" title="Fable">fable</a></li> <li><a href="/wiki/Fairy_tale" title="Fairy tale">fairy tale</a></li> <li><a href="/wiki/Folk_play" title="Folk play">folk play</a></li> <li><a href="/wiki/Folksong" class="mw-redirect" title="Folksong">folksong</a></li> <li><a href="/wiki/Epic_poetry" title="Epic poetry">heroic epic</a></li> <li><a href="/wiki/Legend" title="Legend">legend</a></li> <li><a href="/wiki/Myth" title="Myth">myth</a></li> <li><a href="/wiki/Proverb" title="Proverb">proverb</a></li></ul></li> <li><a href="/wiki/Public_speaking" title="Public speaking">Oration</a></li> <li><a href="/wiki/Performance" title="Performance">Performance</a> <ul><li><a href="/wiki/Audiobook" title="Audiobook">audiobook</a></li> <li><a href="/wiki/Spoken_word" title="Spoken word">spoken word</a></li></ul></li> <li><a href="/wiki/Saying" title="Saying">Saying</a></li></ul></td> </tr><tr><th class="sidebar-heading" style="background:#ddddff;"> Major written forms</th></tr><tr><td class="sidebar-content-with-subgroup hlist"> <ul><li><a href="/wiki/Drama" title="Drama">Drama</a> <ul><li><a href="/wiki/Closet_drama" title="Closet drama">closet drama</a></li></ul></li> <li><a href="/wiki/Poetry" title="Poetry">Poetry</a> <ul><li><a href="/wiki/Lyric_poetry" title="Lyric poetry">lyric</a></li> <li><a href="/wiki/Narrative_poetry" title="Narrative poetry">narrative</a></li></ul></li> <li><a href="/wiki/Prose" title="Prose">Prose</a></li> <li><a href="/wiki/Literary_nonsense" title="Literary nonsense">Nonsense</a> <ul><li><a href="/wiki/Nonsense_verse" title="Nonsense verse">verse</a></li></ul></li> <li><a href="/wiki/Ergodic_literature" title="Ergodic literature">Ergodic</a></li> <li><a href="/wiki/Electronic_literature" title="Electronic literature">Electronic</a></li></ul> <table class="sidebar-subgroup"><tbody><tr><th class="sidebar-heading"> Long prose fiction</th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Anthology" title="Anthology">Anthology</a></li> <li><a href="/wiki/Serial_(literature)" title="Serial (literature)">Serial</a></li> <li><a href="/wiki/Novel" title="Novel">Novel</a>/<a href="/wiki/Romance_(prose_fiction)" title="Romance (prose fiction)">romance</a></li></ul></td> </tr><tr><th class="sidebar-heading"> Short prose fiction</th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Novella" title="Novella">Novella</a></li> <li><a href="/wiki/Novelette_(literature)" class="mw-redirect" title="Novelette (literature)">Novelette</a></li> <li><a href="/wiki/Short_story" title="Short story">Short story</a></li> <li><a href="/wiki/Drabble" title="Drabble">Drabble</a></li> <li><a href="/wiki/Sketch_story" title="Sketch story">Sketch</a></li> <li><a href="/wiki/Flash_fiction" title="Flash fiction">Flash fiction</a></li> <li><a href="/wiki/Parable" title="Parable">Parable</a></li> <li><a href="/wiki/Religious_text" title="Religious text">Religious</a></li> <li><a href="/wiki/Wisdom_literature" title="Wisdom literature">Wisdom</a></li></ul></td> </tr></tbody></table></td> </tr><tr><th class="sidebar-heading" style="background:#ddddff;"> Prose genres</th></tr><tr><td class="sidebar-content-with-subgroup hlist"> <table class="sidebar-subgroup"><tbody><tr><th class="sidebar-heading"> <a href="/wiki/Fiction" title="Fiction">Fiction</a></th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Speculative_fiction" title="Speculative fiction">Speculative</a></li> <li><a href="/wiki/Realist_literature" class="mw-redirect" title="Realist literature">Realist</a></li> <li><a href="/wiki/Children%27s_literature" title="Children's literature">Children's</a></li> <li><a href="/wiki/Genre_fiction" title="Genre fiction">Genre</a> <ul><li><a href="/wiki/Adventure_fiction" title="Adventure fiction">adventure</a></li> <li><a href="/wiki/Coming-of-age_story" title="Coming-of-age story">coming-of-age</a></li> <li><a href="/wiki/Crime_fiction" title="Crime fiction">crime</a></li> <li><a href="/wiki/Erotic_literature" title="Erotic literature">erotic</a></li> <li><a href="/wiki/Fantasy_literature" title="Fantasy literature">fantasy</a></li> <li><a href="/wiki/Military_fiction" title="Military fiction">military</a></li> <li><a href="/wiki/Paranormal_fiction" title="Paranormal fiction">paranormal</a></li> <li><a href="/wiki/Romance_novel" title="Romance novel">romance</a></li> <li><a href="/wiki/Science_fiction" title="Science fiction">science fiction</a></li> <li><a href="/wiki/Supernatural_fiction" title="Supernatural fiction">supernatural</a></li> <li><a href="/wiki/Western_(genre)" title="Western (genre)">western</a></li> <li><a href="/wiki/Horror_fiction" title="Horror fiction">horror</a></li></ul></li> <li><a href="/wiki/Historical_fiction" title="Historical fiction">Historical</a></li> <li><a href="/wiki/Encyclopedic_novel" title="Encyclopedic novel">Encyclopedic</a></li></ul></td> </tr><tr><th class="sidebar-heading"> <a href="/wiki/Non-fiction" title="Non-fiction">Non-fiction</a></th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Academic_publishing" title="Academic publishing">Academic</a> <ul><li><a href="/wiki/History" title="History">history</a></li> <li><a href="/wiki/Philosophy" title="Philosophy">philosophy</a></li></ul></li> <li><a href="/wiki/Anecdote" title="Anecdote">Anecdote</a></li> <li><a href="/wiki/Epistle" title="Epistle">Epistle</a></li> <li><a href="/wiki/Essay" title="Essay">Essay</a></li> <li><a href="/wiki/Journalism" title="Journalism">Journalism</a></li> <li><a href="/wiki/Letter_(message)" title="Letter (message)">Letter</a></li> <li><a href="/wiki/Life_writing" title="Life writing">Life</a></li> <li><a href="/wiki/Nature_writing" title="Nature writing">Nature</a></li> <li><a href="/wiki/Persuasive_writing" title="Persuasive writing">Persuasive</a></li> <li><a href="/wiki/Travel_literature" title="Travel literature">Travelogue</a></li></ul></td> </tr></tbody></table></td> </tr><tr><th class="sidebar-heading" style="background:#ddddff;"> Poetry genres</th></tr><tr><td class="sidebar-content-with-subgroup hlist"> <table class="sidebar-subgroup"><tbody><tr><th class="sidebar-heading"> <a href="/wiki/Narrative_poetry" title="Narrative poetry">Narrative</a></th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Children%27s_poetry" title="Children's poetry">Children</a></li> <li><a href="/wiki/Epic_poetry" title="Epic poetry">Epic</a></li> <li><a href="/wiki/Verse_drama_and_dramatic_verse" title="Verse drama and dramatic verse">Dramatic</a></li> <li><a href="/wiki/Verse_novel" title="Verse novel">Verse novel</a></li> <li><a href="/wiki/National_poetry" title="National poetry">National</a></li></ul></td> </tr><tr><th class="sidebar-heading"> <a href="/wiki/Lyric_poetry" title="Lyric poetry">Lyric</a></th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Ballad" title="Ballad">Ballad</a></li> <li><a href="/wiki/Elegy" title="Elegy">Elegy</a></li> <li><a href="/wiki/Epigram" title="Epigram">Epigram</a></li> <li><a href="/wiki/Ghazal" title="Ghazal">Ghazal</a></li> <li><a href="/wiki/Haiku" title="Haiku">Haiku</a></li> <li><a href="/wiki/Hymn" title="Hymn">Hymn</a></li> <li><a href="/wiki/Limerick_(poetry)" title="Limerick (poetry)">Limerick</a></li> <li><a href="/wiki/Ode" title="Ode">Ode</a></li> <li><a href="/wiki/Qasida" title="Qasida">Qasida</a></li> <li><a class="mw-selflink selflink">Sonnet</a></li> <li><a href="/wiki/Villanelle" title="Villanelle">Villanelle</a></li></ul></td> </tr><tr><th class="sidebar-heading"> Lists</th></tr><tr><td class="sidebar-content"> <ul><li><a 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decoding="async" width="16" height="14" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Books-aj.svg_aj_ashton_01.svg/24px-Books-aj.svg_aj_ashton_01.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Books-aj.svg_aj_ashton_01.svg/32px-Books-aj.svg_aj_ashton_01.svg.png 2x" data-file-width="309" data-file-height="274" /> <a href="/wiki/Portal:Literature" title="Portal:Literature">Literature portal</a></td></tr><tr><td class="sidebar-navbar"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1239400231">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Literature" title="Template:Literature"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Literature" title="Template talk:Literature"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Literature" title="Special:EditPage/Template:Literature"><abbr title="Edit this template">e</abbr></a></li></ul></div></td></tr></tbody></table> The term sonnet refers to a <a href="/wiki/Fixed_verse" class="mw-redirect" title="Fixed verse">fixed verse</a> <a href="/wiki/Poetic_form" class="mw-redirect" title="Poetic form">poetic form</a>, traditionally consisting of fourteen lines adhering to a set <a href="/wiki/Rhyme_scheme" title="Rhyme scheme">rhyming scheme</a>.<a href="#cite_note-1">[1]</a> It derives from the Italian word sonetto (<abbr style="font-size:85%" title="literal translation">lit.</abbr> 'little song', from the Latin word sonus, <abbr style="font-size:85%" title="literal translation">lit.</abbr> 'sound'). Originating in 13th-century <a href="/wiki/Sicily" title="Sicily">Sicily</a>, the sonnet was in time taken up in many European-language areas, mainly to express <a href="/wiki/Romantic_love" class="mw-redirect" title="Romantic love">romantic love</a> at first, although eventually any subject was considered acceptable. Many formal variations were also introduced, including abandonment of the <a href="/wiki/Quatorzain" title="Quatorzain">quatorzain</a> limit – and even of rhyme altogether in modern times. <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Romance_languages">Romance languages</h2>[<a href="/w/index.php?title=Sonnet&action=edit&section=1" title="Edit section: Romance languages">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Sicilian">Sicilian</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=2" title="Edit section: Sicilian">edit</a>]</div> <a href="/wiki/Giacomo_da_Lentini" title="Giacomo da Lentini">Giacomo da Lentini</a> is credited with the sonnet's invention at the Court of <a href="/wiki/Frederick_II,_Holy_Roman_Emperor" title="Frederick II, Holy Roman Emperor">Frederick II</a> in the Sicilian city of <a href="/wiki/Palermo" title="Palermo">Palermo</a>. The <a href="/wiki/Sicilian_School" title="Sicilian School">Sicilian School</a> of poets who surrounded Lentini then spread the form to the mainland. Those earliest sonnets no longer survive in the original <a href="/wiki/Sicilian_language" title="Sicilian language">Sicilian language</a>, however, but only after being translated into <a href="/wiki/Tuscan_dialect" title="Tuscan dialect">Tuscan dialect</a>. The form consisted of a pair of <a href="/wiki/Quatrain" title="Quatrain">quatrains</a> followed by a pair of <a href="/wiki/Tercet" title="Tercet">tercets</a> with the symmetrical rhyme scheme ABABABAB CDCDCD, where the sense is carried forward in a new direction after the <a href="/wiki/Volta_(literature)" title="Volta (literature)">midway break</a>. <a href="/wiki/Peter_Dronke" title="Peter Dronke">Peter Dronke</a> has commented that there was something intrinsic to its flexible form that contributed to the sonnet's survival far beyond its region of origin.<a href="#cite_note-2">[2]</a> <a href="/wiki/William_Baer_(writer)" title="William Baer (writer)">William Baer</a> suggests that the first eight lines of the earliest Sicilian sonnets are identical to the eight-line Sicilian folksong stanza known as the Strambotto. To this, da Lentini (or whoever else invented the form) added two tercets to the Strambotto in order to create the new 14-line sonnet form.<a href="#cite_note-3">[3]</a> In contrast, Hassanally Ladha<a href="#cite_note-4">[4]</a> has argued that the Sicilian sonnet's structure and content drew upon <a href="/wiki/Arabic_poetry" title="Arabic poetry">Arabic poetry</a> and cannot be explained as the "invention" of the Sicilian School of poets. Ladha notes that "in its Sicilian beginnings, the sonnet evinces literary and epistemological contact with the <a href="/wiki/Qasida" title="Qasida">qasida</a>",<a href="#cite_note-5">[5]</a> and emphasizes that the sonnet did not emerge simultaneously with its supposedly defining 14-line structure. "Tellingly, attempts to close off the sonnet from its Arabic predecessors depend upon a definition of the new lyric to which Giacomo's poetry does not conform: surviving in thirteenth-century recensions, his poems appear not in fourteen, but rather six lines, including four rows, each with two <a href="/wiki/Hemistich" title="Hemistich">hemistiches</a> and two 'tercets' each in a line extending over two rows."<a href="#cite_note-6">[6]</a> In Ladha's view, the sonnet emerges as the continuation of a broader tradition of love poetry throughout the Mediterranean world and relates to such other forms as the Sicilian strambotto, the <a href="/wiki/Proven%C3%A7al_language" class="mw-redirect" title="Provençal language">Provençal</a> <a href="/wiki/Canso_(song)" title="Canso (song)">canso</a>, the <a href="/wiki/Andalusi_Arabic" title="Andalusi Arabic">Andalusi Arabic</a> <a href="/wiki/Muwashshah" title="Muwashshah">muwashshah</a> and <a href="/wiki/Zajal" title="Zajal">zajal</a>, as well as the qasida.<a href="#cite_note-7">[7]</a> <div class="mw-heading mw-heading3"><h3 id="Italian">Italian</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=3" title="Edit section: Italian">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Petrarch_canzoniere.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/43/Petrarch_canzoniere.jpg/200px-Petrarch_canzoniere.jpg" decoding="async" width="200" height="272" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/43/Petrarch_canzoniere.jpg/300px-Petrarch_canzoniere.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/43/Petrarch_canzoniere.jpg/400px-Petrarch_canzoniere.jpg 2x" data-file-width="1323" data-file-height="1800" /></a><figcaption>The first five sonnets of <a href="/wiki/Petrarch" title="Petrarch">Petrarch</a>'s Il Canzoniere</figcaption></figure> <a href="/wiki/Guittone_d%27Arezzo" title="Guittone d'Arezzo">Guittone d'Arezzo</a> rediscovered the sonnet form and brought it to <a href="/wiki/Tuscany" title="Tuscany">Tuscany</a>, where he adapted it to <a href="/wiki/Tuscan_dialect" title="Tuscan dialect">Tuscan dialect</a> when he founded the Siculo-Tuscan, or Guittonian school of poetry (1235–1294). He wrote almost 250 sonnets.<a href="#cite_note-8">[8]</a> Among the host of other Italian poets that followed, the sonnets of <a href="/wiki/Dante_Alighieri" title="Dante Alighieri">Dante Alighieri</a> and <a href="/wiki/Guido_Cavalcanti" title="Guido Cavalcanti">Guido Cavalcanti</a> stand out, but later the most famous and widely influential was <a href="/wiki/Petrarch" title="Petrarch">Petrarch</a>. The structure of a typical Italian sonnet as it developed included two parts that together formed a compact form of "argument". First, the <a href="/wiki/Octave_(poetry)" title="Octave (poetry)">octave</a> forms the "proposition", which describes a "problem" or "question", followed by a <a href="/wiki/Sestet" title="Sestet">sestet</a> (two <a href="/wiki/Tercet" title="Tercet">tercets</a>) that proposes a "resolution". Typically, the ninth line initiates what is called the "turn", or "<a href="/wiki/Volta_(literature)" title="Volta (literature)">volta</a>", which signals the move from proposition to resolution. Even in sonnets that do not strictly follow the problem/resolution structure, the ninth line still often marks a "turn" by signaling a change in the tone, mood, or stance of the poem. Later, the ABBA ABBA pattern became the standard for Italian sonnets. For the sestet, there were two different possibilities: CDE CDE and CDC CDC. In time, other variants on this rhyming scheme were introduced, such as CDC DCD or CDE DCE. Petrarch typically used an ABBA ABBA pattern for the octave, followed by either CDE CDE or CDC CDC rhymes in the sestet. At the turn of the 14th century there arrive early examples of the <a href="/wiki/Sonnet_sequence" title="Sonnet sequence">sonnet sequence</a> unified about a single theme. This is represented by <a href="/wiki/Folgore_da_San_Geminiano" class="mw-redirect" title="Folgore da San Geminiano">Folgore da San Geminiano</a>'s series on the months of the year,<a href="#cite_note-9">[9]</a> followed by his sequence on the days of the week.<a href="#cite_note-10">[10]</a> At a slightly earlier date, Dante had published his <a href="/wiki/La_Vita_Nuova" title="La Vita Nuova">La Vita Nuova</a>, a narrative commentary in which appear sonnets and other lyrical forms centred on the poet's love for Beatrice.<a href="#cite_note-11">[11]</a> Most of the sonnets there are Petrarchan (here used as a purely stylistic term since Dante predated Petrarch). Chapter VII gives the sonnet "O voi che per la via", with two sestets (AABAAB AABAAB) and two quatrains (CDDC CDDC), and Ch. VIII, "Morte villana", with two sestets (AABBBA AABBBA) and two quatrains (CDDC CDDC). Petrarch followed in his footsteps later in the next century with the 366 sonnets of the Canzionere, which chronicle his life-long love for <a href="/wiki/Petrarch#Laura_and_poetry" title="Petrarch">Laura</a>.<a href="#cite_note-12">[12]</a> Widespread as sonnet writing became in Italian society, among practitioners were to be found some better known for other things: the painters <a href="/wiki/Giotto" title="Giotto">Giotto</a> and <a href="/wiki/Michelangelo" title="Michelangelo">Michelangelo</a>, for example, and the astronomer <a href="/wiki/Galileo_Galilei" title="Galileo Galilei">Galileo</a>. The academician <a href="/wiki/Giovanni_Mario_Crescimbeni" title="Giovanni Mario Crescimbeni">Giovanni Mario Crescimbeni</a> lists 661 poets just in the 16th century.<a href="#cite_note-13">[13]</a> So common were they that eventually, in the words of a literary historian: "No event was so trivial, none so commonplace, a tradesman could not open a larger shop, a government clerk could not obtain a few additional <a href="/wiki/Scudi" class="mw-redirect" title="Scudi">scudi</a> of salary, but all his friends and acquaintance must celebrate the event, and clothe their congratulations in a copy of verses, which almost invariably assumed this shape."<a href="#cite_note-14">[14]</a> <div class="mw-heading mw-heading3"><h3 id="Occitan">Occitan</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=4" title="Edit section: Occitan">edit</a>]</div> The sole confirmed surviving sonnet in the <a href="/wiki/Occitan_language" title="Occitan language">Occitan language</a> is by <a href="/wiki/Paolo_Lanfranchi_da_Pistoia" title="Paolo Lanfranchi da Pistoia">Paolo Lanfranchi da Pistoia</a> and confidently dated to 1284.<a href="#cite_note-bertoni119-15">[15]</a> This employs the rhyme scheme ABAB ABAB CDCDCD and has a political theme, as do some others of dubious authenticity or merit ascribed to "William of Almarichi" and <a href="/wiki/Dante_de_Maiano" class="mw-redirect" title="Dante de Maiano">Dante de Maiano</a>. <div class="mw-heading mw-heading3"><h3 id="Catalan">Catalan</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=5" title="Edit section: Catalan">edit</a>]</div> One of the earliest sonnets in <a href="/wiki/Catalan_language" title="Catalan language">Catalan</a> was written by Pere Torroella (1436–1486).<a href="#cite_note-16">[16]</a> In the 16th century, the most prolific and subtle Catalan writer of sonnets was Pere Serafí,<a href="#cite_note-17">[17]</a> author of over 60 published between 1560 and 1565. <div class="mw-heading mw-heading3"><h3 id="Spanish">Spanish</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=6" title="Edit section: Spanish">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Spanish_poetry" title="Spanish poetry">Spanish poetry</a></div> The poet <a href="/wiki/%C3%8D%C3%B1igo_L%C3%B3pez_de_Mendoza,_1st_Marquis_of_Santillana" title="Íñigo López de Mendoza, 1st Marquis of Santillana">Íñigo López de Mendoza, 1st Marquis of Santillana</a> is credited as among the foremost to attempt "sonnets written in the Italian manner" (sonetos fechos al itálico modo) towards the middle of the 15th century. Since the <a href="/wiki/Castilian_Spanish" title="Castilian Spanish">Castilian language</a> and prosody were in a transitional state at the time, the experiment was unsuccessful.<a href="#cite_note-18">[18]</a> It was therefore not until after 1526 that the form was reintroduced by <a href="/wiki/Juan_Bosc%C3%A1n" class="mw-redirect" title="Juan Boscán">Juan Boscán</a>. According to his account, he met <a href="/wiki/Andrea_Navagero" title="Andrea Navagero">Andrea Navagero</a>, the <a href="/wiki/Republic_of_Venice" title="Republic of Venice">Venetian</a> Ambassador to the Spanish Court, in that year while the latter was accompanying King <a href="/wiki/Charles_V,_Holy_Roman_Emperor" title="Charles V, Holy Roman Emperor">Carlos V</a> on a visit to the <a href="/wiki/Alhambra" title="Alhambra">Alhambra</a>. In the course of their literary discussion, Navagero then suggested that the poet might attempt the sonnet and other Italian forms in his own language.<a href="#cite_note-19">[19]</a> Boscán not only took up the Venetian's advice but did so in association with the more talented <a href="/wiki/Garcilaso_de_la_Vega_(poet)" title="Garcilaso de la Vega (poet)">Garcilaso de la Vega</a>, a friend to whom some of his sonnets are addressed and whose early death is mourned in another. The poems of both followed the Petrarchan model, employed the hitherto unfamiliar <a href="/wiki/Hendecasyllable" title="Hendecasyllable">hendecasyllable</a>, and when writing of love were based on the <a href="/wiki/Neoplatonism#Renaissance" title="Neoplatonism">neoplatonic</a> ideal championed in <a href="/wiki/The_Book_of_the_Courtier" title="The Book of the Courtier">The Book of the Courtier</a> (Il Cortegiano) that Boscán had also translated. Their reputation was consolidated by the later 1580 edition of <a href="/wiki/Fernando_de_Herrera" title="Fernando de Herrera">Fernando de Herrera</a>, who was himself accounted "the first major Spanish sonneteer after Garcilaso".<a href="#cite_note-20">[20]</a> During the Baroque period that followed, two notable writers of sonnets headed rival stylistic schools. The <a href="/wiki/Culteranismo" title="Culteranismo">culteranismo</a> of <a href="/wiki/Luis_de_G%C3%B3ngora" title="Luis de Góngora">Luis de Góngora</a>, later known as 'Gongorismo' after him, was distinguished by an artificial style and the use of elaborate vocabulary, complex syntactical order and involved metaphors. The verbal usage of his opponent, <a href="/wiki/Francisco_de_Quevedo" title="Francisco de Quevedo">Francisco de Quevedo</a>, was equally self-conscious, deploying wordplay and metaphysical <a href="/wiki/Conceit" class="mw-redirect" title="Conceit">conceits</a>, after which the style was known as <a href="/wiki/Conceptismo" title="Conceptismo">conceptismo</a>. Another key figure at this period was <a href="/wiki/Lope_de_Vega" title="Lope de Vega">Lope de Vega</a>, who was responsible for writing some 3,000 sonnets, a large proportion of them incorporated into his dramas. One of the best known and most imitated was Un soneto me manda hacer Violante<a href="#cite_note-21">[21]</a> (Violante orders me to write a sonnet), which occupies a pivotal position in literary history. At its first appearance in his 1617 comedy La niña de Plata (Act 3), the character there pretends to be a novice whose text is a running commentary on the poem's creation. Although the poet himself is portrayed as composing it as a light-hearted impromptu in the biographical film <a href="/wiki/Lope_(film)" title="Lope (film)">Lope</a> (2010), there had in fact been precedents. In Spanish, some fifty years before, <a href="/wiki/Diego_Hurtado_de_Mendoza_(poet_and_diplomat)" title="Diego Hurtado de Mendoza (poet and diplomat)">Diego Hurtado de Mendoza</a> had written the pretended impromptu, Pedís, Reina, un soneto; and even earlier in Italian there had been the similarly themed Qualunque vuol saper fare un sonetto (Whoever to make a sonnet aspires) by the Florentine poet Pieraccio Tedaldi (b. ca. 1285–1290; d. ca. 1350).<a href="#cite_note-22">[22]</a> Later imitations in other languages include one in Italian by <a href="/wiki/Giambattista_Marino" title="Giambattista Marino">Giambattista Marino</a> and another in French by <a href="/wiki/Fran%C3%A7ois-S%C3%A9raphin_R%C3%A9gnier-Desmarais" title="François-Séraphin Régnier-Desmarais">François-Séraphin Régnier-Desmarais</a>, as well as an adaptation of the idea applied to the <a href="/wiki/Rondeau_(forme_fixe)" title="Rondeau (forme fixe)">rondeau</a> by <a href="/wiki/Vincent_Voiture" title="Vincent Voiture">Vincent Voiture</a>.<a href="#cite_note-23">[23]</a> The poem's fascination for U.S. writers is evidenced by no less than five translations in the second half of the 20th century alone.<a href="#cite_note-24">[24]</a> The sonnet form crossed the Atlantic quite early in the Spanish colonial enterprise when Francisco de Terrazas, the son of a 16th-century conquistador, was among its Mexican pioneers. Later came two sonnet writers in holy orders, Bishop Miguel de Guevara (1585–1646) and, especially, Sister <a href="/wiki/Juana_In%C3%A9s_de_la_Cruz" title="Juana Inés de la Cruz">Juana Inés de la Cruz</a>. But though sonnets continued to be written in both the old world and the new, innovation was mainly limited to the Americas, where the sonnet was used to express a different and post-colonial reality. In the 19th century, for example, there were two poets who wrote memorable sonnets dedicated to Mexican landscapes, <a href="/wiki/Joaqu%C3%ADn_Acadio_Pagaza_y_Ord%C3%B3%C3%B1ez" title="Joaquín Acadio Pagaza y Ordóñez">Joaquín Acadio Pagaza y Ordóñez</a> in the torrid zone to the south and <a href="/wiki/Manuel_Jos%C3%A9_Oth%C3%B3n" title="Manuel José Othón">Manuel José Othón</a> in the desolate north.<a href="#cite_note-25">[25]</a> In South America, too, the sonnet was used to invoke landscape, particularly in the major collections of the Uruguayan <a href="/wiki/Julio_Herrera_y_Reissig" title="Julio Herrera y Reissig">Julio Herrera y Reissig</a>, such as Los Parques Abandonados (Deserted Parks, 1902–08)<a href="#cite_note-26">[26]</a> and Los éxtasis de la montaña (Mountain Ecstasies, 1904–07),<a href="#cite_note-27">[27]</a> whose recognisably authentic pastoral scenes went on to serve as example for <a href="/wiki/C%C3%A9sar_Vallejo" title="César Vallejo">César Vallejo</a> in his evocations of Andean Peru.<a href="#cite_note-28">[28]</a> Soon afterwards, the sonnet form was deconstructed as part of the modernist questioning of the past. Thus, in the <a href="/wiki/Argentine" class="mw-redirect" title="Argentine">Argentine</a> poet <a href="/wiki/Alfonsina_Storni" title="Alfonsina Storni">Alfonsina Storni</a>'s Mascarilla y trébol (Mask and Clover, 1938), a section of unrhymed poems using many of the traditional versification structures of the form are presented under the title "antisonnets".<a href="#cite_note-29">[29]</a> <div class="mw-heading mw-heading3"><h3 id="Portuguese">Portuguese</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=7" title="Edit section: Portuguese">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Portuguese_poetry" title="Portuguese poetry">Portuguese poetry</a></div> <a href="/wiki/Peter,_Duke_of_Coimbra" title="Peter, Duke of Coimbra">Dom Pedro</a>, a son of <a href="/wiki/John_I_of_Portugal" title="John I of Portugal">King John I</a>, has been credited with translations of sonnets by Petrarch into Portuguese,<a href="#cite_note-30">[30]</a> but the form did not come into its own until the start of the 16th century. It was then that <a href="/wiki/S%C3%A1_de_Miranda" class="mw-redirect" title="Sá de Miranda">Sá de Miranda</a> introduced the sonnet and other Italian forms, after returning from a five-year stay in Italy.<a href="#cite_note-31">[31]</a> However, the greatest sonneteer of this period was the slightly younger <a href="/wiki/Lu%C3%ADs_de_Cam%C3%B5es" title="Luís de Camões">Luís de Camões</a>,<a href="#cite_note-32">[32]</a><a href="#cite_note-Bergel-33">[33]</a> though in his work the influence of the Spanish pioneers of the form has also been discerned.<a href="#cite_note-34">[34]</a> Among later writers, the comic sonnets of Thomas de Noronha were once appreciated, and the love sonnets of Barbosa Bacellar (c.1610–1663), also known for his learned glosses on the sonnets of Camões.<a href="#cite_note-35">[35]</a> The introduction later of a purified sonnet style to <a href="/wiki/Brazilian_literature" title="Brazilian literature">Brazilian literature</a> was due to <a href="/wiki/Cl%C3%A1udio_Manuel_da_Costa" title="Cláudio Manuel da Costa">Cláudio Manuel da Costa</a>, who also composed Petrarchan sonnets in Italian during his stay in Europe.<a href="#cite_note-36">[36]</a> However, it was in the wake of French <a href="/wiki/Parnassianism" title="Parnassianism">Parnassianism</a> that there developed a similar movement in Brazil, which included the notable sonneteers <a href="/wiki/Alberto_de_Oliveira" title="Alberto de Oliveira">Alberto de Oliveira</a>, <a href="/wiki/Raimundo_Correia" title="Raimundo Correia">Raimundo Correia</a> and, especially, <a href="/wiki/Olavo_Bilac" title="Olavo Bilac">Olavo Bilac</a>.<a href="#cite_note-37">[37]</a> Others writing sonnets in that style included the now overlooked Francisca Júlia da Silva Munster (1871–1920)<a href="#cite_note-38">[38]</a> and the Symbolist <a href="/wiki/Afro-Brazilian" class="mw-redirect" title="Afro-Brazilian">Afro-Brazilian</a> poet <a href="/wiki/Jo%C3%A3o_da_Cruz_e_Sousa" title="João da Cruz e Sousa">João da Cruz e Sousa</a>. <div class="mw-heading mw-heading3"><h3 id="French">French</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=8" title="Edit section: French">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/French_poetry" title="French poetry">French poetry</a></div> In French <a href="/wiki/Metre_(poetry)#French" title="Metre (poetry)">prosody</a>, sonnets are traditionally composed in the <a href="/wiki/French_alexandrine" title="French alexandrine">French alexandrine</a>, which consists of lines of twelve syllables with a central <a href="/wiki/Caesura" title="Caesura">caesura</a>. Imitations of Petrarch were first introduced by <a href="/wiki/Cl%C3%A9ment_Marot" title="Clément Marot">Clément Marot</a>, and <a href="/wiki/Mellin_de_Saint-Gelais" title="Mellin de Saint-Gelais">Mellin de Saint-Gelais</a> also took up the form near the start of the 16th century.<a href="#cite_note-39">[39]</a> They were later followed by <a href="/wiki/Pierre_de_Ronsard" title="Pierre de Ronsard">Pierre de Ronsard</a>, <a href="/wiki/Joachim_du_Bellay" title="Joachim du Bellay">Joachim du Bellay</a> and <a href="/wiki/Jean_Antoine_de_Ba%C3%AFf" class="mw-redirect" title="Jean Antoine de Baïf">Jean Antoine de Baïf</a>, around whom formed a group of radical young noble poets of the court, generally known today as <a href="/wiki/La_Pl%C3%A9iade" title="La Pléiade">La Pléiade</a>. They employed, amongst other forms of poetry, the Petrarchan <a href="/wiki/Sonnet_cycle" title="Sonnet cycle">sonnet cycle</a>, developed around an amorous encounter or an idealized woman. The character of the group's literary program was given in Du Bellay's manifesto, the "Defense and Illustration of the French Language" (1549), which maintained that French (like the Tuscan of Petrarch and Dante) was a worthy language for literary expression, and which promulgated a program of linguistic and literary production and purification.<a href="#cite_note-40">[40]</a> In the aftermath of the <a href="/wiki/Wars_of_Religion" class="mw-redirect" title="Wars of Religion">Wars of Religion</a>, French Catholic jurist and poet <a href="/wiki/Jean_de_La_Cepp%C3%A8de" title="Jean de La Ceppède">Jean de La Ceppède</a> published the Theorems, a sequence of 515 sonnets with non-traditional rhyme schemes, about the Passion and Resurrection of <a href="/wiki/Jesus_Christ" class="mw-redirect" title="Jesus Christ">Jesus Christ</a>. Drawing upon the <a href="/wiki/Gospels" class="mw-redirect" title="Gospels">Gospels</a>, <a href="/wiki/Greek_Mythology" class="mw-redirect" title="Greek Mythology">Greek</a> and <a href="/wiki/Roman_mythology" title="Roman mythology">Roman mythology</a>, and the <a href="/wiki/Fathers_of_the_Church" class="mw-redirect" title="Fathers of the Church">Fathers of the Church</a>, La Ceppède's poetry was praised by <a href="/wiki/Saint_Francis_de_Sales" class="mw-redirect" title="Saint Francis de Sales">Saint Francis de Sales</a> for transforming "the Pagan Muses into Christian ones". La Ceppède's sonnets often attack the <a href="/wiki/Calvinist" class="mw-redirect" title="Calvinist">Calvinist</a> doctrine of a judgmental and unforgiving God by focusing on Christ's passionate love for the human race. Afterwards the work was long forgotten, until the 20th century witnessed a revival of interest in the poet, and his sonnets are now regarded as classic works of French poetry.<a href="#cite_note-41">[41]</a> By the late 17th century, the sonnet had fallen out of fashion but was revived by the <a href="/wiki/Romanticism#France" title="Romanticism">Romantics</a> in the 19th century. <a href="/wiki/Charles_Augustin_Sainte-Beuve" title="Charles Augustin Sainte-Beuve">Charles Augustin Sainte-Beuve</a> then published his imitation of <a href="/wiki/William_Wordsworth" title="William Wordsworth">William Wordsworth</a>'s "Scorn not the sonnet" where, in addition to the poets enumerated in the English original – Shakespeare, Petrarch, Tasso, Camoens, Dante, Spenser, Milton – Sainte-Beuve announces his own intention to revive the form and adds the names of Du Bellay and Ronsard in the final tercet.<a href="#cite_note-42">[42]</a> The form was little used, however, until the <a href="/wiki/Parnassianism" title="Parnassianism">Parnassians</a> brought it back into favour, and following them the <a href="/wiki/Symbolism_(arts)#Movement" class="mw-redirect" title="Symbolism (arts)">Symbolist poets</a>. Overseas in Canada, the teenaged <a href="/wiki/%C3%89mile_Nelligan" title="Émile Nelligan">Émile Nelligan</a> is particularly noted among the French language poets who wrote sonnets in that style.<a href="#cite_note-43">[43]</a> During the latter half of the 19th century, there were many deviations from the traditional sonnet form. <a href="/wiki/Charles_Baudelaire" title="Charles Baudelaire">Charles Baudelaire</a> was responsible for significant variations in rhyme-scheme and line-length in the poems included in <a href="/wiki/Les_Fleurs_du_mal" title="Les Fleurs du mal">Les Fleurs du mal</a>.<a href="#cite_note-44">[44]</a> Among the variations made by others, <a href="/wiki/Th%C3%A9odore_de_Banville" title="Théodore de Banville">Théodore de Banville</a>'s "Sur une dame blonde" limited itself to a four-syllable line,<a href="#cite_note-45">[45]</a> while in À une jeune morte Jules de Rességuier (1788–1862) composed a sonnet monosyllabically lined.<a href="#cite_note-46">[46]</a> <div class="mw-heading mw-heading2"><h2 id="Germanic_languages">Germanic languages</h2>[<a href="/w/index.php?title=Sonnet&action=edit&section=9" title="Edit section: Germanic languages">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="English">English</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=10" title="Edit section: English">edit</a>]</div> <div class="mw-heading mw-heading4"><h4 id="Tudor_and_Stuart_period">Tudor and Stuart period</h4>[<a href="/w/index.php?title=Sonnet&action=edit&section=11" title="Edit section: Tudor and Stuart period">edit</a>]</div> <a href="/wiki/Sir_Thomas_Wyatt" class="mw-redirect" title="Sir Thomas Wyatt">Sir Thomas Wyatt</a> and <a href="/wiki/Henry_Howard,_Earl_of_Surrey" title="Henry Howard, Earl of Surrey">Henry Howard, Earl of Surrey</a>, have been described as "the first English Petrarchans" from their pioneering the sonnet form in English. In addition, some 25 of Wyatt's poems are dependent on Petrarch, either as translations or imitations, while, of Surrey's five, three of them are translations and two imitations.<a href="#cite_note-47">[47]</a> In one instance, both poets translated the same poem, Rime 140.<a href="#cite_note-48">[48]</a> From these examples, as elsewhere in their prosodic practice, a difference between their style can be observed. Wyatt's verse metre, though in general decasyllabic, is irregular and proceeds by way of significantly stressed phrasal units.<a href="#cite_note-49">[49]</a> But, in addition, Wyatt's sonnets are generally closer in construction to those of Petrarch. Prosodically, Surrey is more adept at composing in <a href="/wiki/Iambic_pentameter" title="Iambic pentameter">iambic pentameter</a> and his sonnets are written in what has come to be known anachronistically as <a href="/wiki/Shakespeare%27s_sonnets#Form_and_structure_of_the_sonnets" title="Shakespeare's sonnets">Shakespearean measure</a>.<a href="#cite_note-50">[50]</a> This version of the sonnet form, characterised by three alternately rhymed quatrains terminating in a final couplet (ABAB CDCD, EFEF, GG), became the favourite during <a href="/wiki/Elizabethan_literature" title="Elizabethan literature">Elizabethan times</a>, when it was widely used. It was particularly so in whole series of <a href="/wiki/Sonnet_sequence#List_of_English_sonnet_sequences" title="Sonnet sequence">amatory sequences</a>, beginning with Sir <a href="/wiki/Philip_Sidney" title="Philip Sidney">Philip Sidney</a>'s <a href="/wiki/Astrophel_and_Stella" title="Astrophel and Stella">Astrophel and Stella</a> (1591) and continuing over a period of two decades. About four thousand sonnets were composed during this time.<a href="#cite_note-51">[51]</a> However, with such a volume, much there that was conventional and repetitious came to be viewed with a sceptical eye. <a href="/wiki/Sir_John_Davies" class="mw-redirect" title="Sir John Davies">Sir John Davies</a> mocked these in a series of nine "gulling sonnets"<a href="#cite_note-52">[52]</a> and <a href="/wiki/William_Shakespeare" title="William Shakespeare">William Shakespeare</a> was also to dismiss some of them in his <a href="/wiki/Sonnet_130" title="Sonnet 130">Sonnet 130</a>, "My mistress' eyes are nothing like the sun". <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Sonnets1609titlepage.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f6/Sonnets1609titlepage.jpg/200px-Sonnets1609titlepage.jpg" decoding="async" width="200" height="288" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f6/Sonnets1609titlepage.jpg/300px-Sonnets1609titlepage.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f6/Sonnets1609titlepage.jpg/400px-Sonnets1609titlepage.jpg 2x" data-file-width="1065" data-file-height="1536" /></a><figcaption>The title page of the first edition of <a href="/wiki/Shakespeare" class="mw-redirect" title="Shakespeare">Shakespeare</a>'s Sonnets</figcaption></figure> <a href="/wiki/Shakespeare%27s_sonnets" title="Shakespeare's sonnets">Shakespeare's sequence of 154 sonnets</a> departs from the norm in addressing more than one person in its course, male as well as female. In addition, other sonnets by him were incorporated into some of his plays. Another exception at this time was the form used in <a href="/wiki/Spenserian_sonnet" title="Spenserian sonnet">Edmund Spenser's Amoretti</a>, which has the interlaced rhyme scheme ABAB BCBC CDCD EE. And soon after, in the following century, <a href="/wiki/John_Donne" title="John Donne">John Donne</a> adapted the emerging Baroque style to the new subject matter of his series of <a href="/wiki/Holy_Sonnets" title="Holy Sonnets">Holy Sonnets</a>. <a href="/wiki/John_Milton" title="John Milton">John Milton</a>'s sonnets constitute a special case and demonstrate another stylistic transition. Two youthful examples in English and five in Italian are Petrarchan in spirit. But the seventeen sonnets of his maturity address personal and political themes. It has been observed of their intimate tone, and the way the sense overrides the volta within the poem in some cases, that Milton is here adapting the sonnet form to that of the <a href="/wiki/Odes_(Horace)" title="Odes (Horace)">Horatian ode</a>.<a href="#cite_note-53">[53]</a> He also seems to have been the first to introduce an Italian variation of the form, the <a href="/wiki/Caudate_sonnet" title="Caudate sonnet">caudate sonnet</a>, into English in his prolongation of "On the New Forcers of Conscience Under the Long Parliament".<a href="#cite_note-54">[54]</a> <div class="mw-heading mw-heading4"><h4 id="18th–19th_centuries">18th–19th centuries</h4>[<a href="/w/index.php?title=Sonnet&action=edit&section=12" title="Edit section: 18th–19th centuries">edit</a>]</div> <ul><li>See also <a href="/wiki/Romantic_sonnets" class="mw-redirect" title="Romantic sonnets">Romantic sonnets</a></li></ul> The fashion for the sonnet went out with the <a href="/wiki/English_Restoration" class="mw-redirect" title="English Restoration">Restoration</a>, and hardly any were written between 1670 and the second half of the 18th century. Amongst the first to revive the form was <a href="/wiki/Thomas_Warton" title="Thomas Warton">Thomas Warton</a>, who took Milton for his model. Around him at Oxford were grouped those associated with him in this revival, including <a href="/wiki/John_Codrington_Bampfylde" title="John Codrington Bampfylde">John Codrington Bampfylde</a>, <a href="/wiki/Thomas_Russell_(poet)" title="Thomas Russell (poet)">Thomas Russell</a>, <a href="/wiki/Thomas_Warwick" title="Thomas Warwick">Thomas Warwick</a> and <a href="/wiki/Henry_Headley" title="Henry Headley">Henry Headley</a>, some of whom published small collections of sonnets alone.<a href="#cite_note-55">[55]</a> Many women, too, now took up the sonnet form, in particular <a href="/wiki/Charlotte_Smith_(writer)" title="Charlotte Smith (writer)">Charlotte Smith</a>, whose lachrymose Elegiac Sonnets (1784 onwards) are credited with helping create the 'school of sensibility' characteristic of the time.<a href="#cite_note-56">[56]</a> <a href="/wiki/William_Lisle_Bowles" title="William Lisle Bowles">William Lisle Bowles</a> was also a close follower, but the success of both stirred up resistance in the poetic politics of the time. <a href="/wiki/William_Beckford_(novelist)" title="William Beckford (novelist)">William Beckford</a> parodied Smith's melancholy manner and archaic diction in an "Elegiac sonnet to a mopstick".<a href="#cite_note-57">[57]</a> In the preface to his 1796 collection Poems on Various Subjects, <a href="/wiki/Samuel_Taylor_Coleridge" title="Samuel Taylor Coleridge">Samuel Taylor Coleridge</a> commented of his series of "Effusions" that "I was fearful that the title "Sonnet" might have reminded my reader of the Poems of the Rev. W. L. Bowles – a comparison with whom would have sunk me below that mediocrity, on the surface of which I am at present enabled to float".<a href="#cite_note-58">[58]</a> There were formal objections too. Where most of the early revivalists had used Milton's sonnets as the model for theirs, Smith and Bowles had preferred the Shakespearean form. This led to <a href="/wiki/Mary_Robinson_(poet)" title="Mary Robinson (poet)">Mary Robinson</a>'s fighting preface to her sequence Sappho and Phaon, in which she asserted the legitimacy of the Petrarchan form as used by Milton over "the non-descript ephemera from the heated brains of self-important poetasters" that pass as sonnets in the literary reviews of her day.<a href="#cite_note-59">[59]</a> The example which later impressed Wordsworth the most was that of Milton's sonnets, which he described in 1803 as having "an energetic and varied flow of sound, crowding into narrow room more of the combined effect of rhyme and blank verse, than can be done by any other kind of verse I know of".<a href="#cite_note-60">[60]</a> Thus aware that its compression was applicable to a great variety of themes, Wordsworth eventually wrote some 523 sonnets which were to exert a powerful stylistic influence throughout the first half of the 19th century.<a href="#cite_note-61">[61]</a> Part of his appeal to others was the way in which he used the sonnet as a focus for new subject matter, frequently in sequences. From his series on the River Duddon<a href="#cite_note-62">[62]</a> sprang reflections on any number of regional natural features; his travel tour effusions, though not always confined to sonnet form,<a href="#cite_note-63">[63]</a> found many imitators. What eventually became three series of Ecclesiastical Sonnets<a href="#cite_note-64">[64]</a> started a vogue for sonnets on religious and devotional themes.<a href="#cite_note-65">[65]</a> Milton's predilection for political themes, continuing through Wordsworth's "Sonnets dedicated to liberty and order", now became an example for contemporaries too. Barely had the process begun, however, before a sceptical alarmist in <a href="/wiki/The_New_Monthly_Magazine" title="The New Monthly Magazine">The New Monthly Magazine</a> for 1821 was diagnosing "sonnettomania" as a new sickness akin to "the bite of a rabid animal".<a href="#cite_note-66">[66]</a> Another arm of the propaganda on behalf of the sonnet in <a href="/wiki/English_Romantic_sonnets" title="English Romantic sonnets">Romantic times</a> was the reflexive strategy of recommending it in sonnet form as a demonstration of its possibility of variation. In Wordsworth's "Nuns fret not at their narrow room" (1807),<a href="#cite_note-67">[67]</a> the volta comes after the seventh line, dividing the poem into two equal parts. Keats makes use of frequent enjambment in "If by dull rhymes our English must be chained" (1816)<a href="#cite_note-68">[68]</a> and divides its sense units into four tercets and a couplet. What Keats is recommending there is the more intricate rhyming system A B C |A B D |C A B |C D E| D E that he demonstrates in its course as a means of giving the form greater breathing room. Wordsworth later accomplishes this in "Scorn not the Sonnet" (1827),<a href="#cite_note-69">[69]</a> which is without midway division, and where enjambment is so managed that the sense overrides from line to line in an ode-like movement. With the similar aim of freeing the form from its fetters, <a href="/wiki/Matthew_Arnold" title="Matthew Arnold">Matthew Arnold</a> turns his "Austerity of poetry" (1867)<a href="#cite_note-70">[70]</a> into a narrative carried forward over an enjambed eighth line to a conclusion that is limited to the final three lines. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Rossetti_on_sonnet,_1880.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Rossetti_on_sonnet%2C_1880.jpg/230px-Rossetti_on_sonnet%2C_1880.jpg" decoding="async" width="230" height="143" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Rossetti_on_sonnet%2C_1880.jpg/345px-Rossetti_on_sonnet%2C_1880.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Rossetti_on_sonnet%2C_1880.jpg/460px-Rossetti_on_sonnet%2C_1880.jpg 2x" data-file-width="1994" data-file-height="1244" /></a><figcaption>D. G. Rossetti's illuminated description of the sonnet, 1880</figcaption></figure> By the time the second half of the 19th century was reached, sonnets become chiefly interesting for their publication in long sequences. It was during this period that attempts to renew the form were continually being made. <a href="/wiki/Elizabeth_Barrett_Browning" title="Elizabeth Barrett Browning">Elizabeth Barrett Browning</a>'s autobiographical <a href="/wiki/Sonnets_from_the_Portuguese" title="Sonnets from the Portuguese">Sonnets from the Portuguese</a> (1845–50),<a href="#cite_note-71">[71]</a> for example, is described as the first depiction of a successful courtship since Elizabethan times.<a href="#cite_note-72">[72]</a> It comprises 44 sonnets of dramatised first person narrative, the enjambed lines in which frequently avoid resting at the volta. Through this means the work is distinguished by "the flexibility and control with which the verse bends to the argument and to the rhythms of thought and speech".<a href="#cite_note-73">[73]</a> That sequence was followed in 1862 by <a href="/wiki/George_Meredith" title="George Meredith">George Meredith</a>'s <a href="/wiki/Modern_Love_(poetry_collection)" title="Modern Love (poetry collection)">Modern Love</a>,<a href="#cite_note-74">[74]</a> based in part on the breakdown of his first marriage. It employs a 16-line form, described as (and working like) a sonnet, linking together the work's fifty narrative episodes. Essentially the stanza is made up of four quatrains of <a href="/wiki/Enclosed_rhyme" title="Enclosed rhyme">enclosed rhyme</a>, rhythmically driven forward over these divisions so as to allow a greater syntactical complexity "more readily associated with the realist novel than with lyric poetry".<a href="#cite_note-75">[75]</a> As other work by both the writers above demonstrates, they were capable of more straightforward fictions. In adapting the sonnet to the narrative mode, the main interest for them is in overcoming the technical challenge that they set themselves and proving the new possibilities of the form in which they are working. Where the first quatrain in Sonnets from the Portuguese began with a reminiscence of lines from a pastoral of <a href="/wiki/Theocritus" title="Theocritus">Theocritus</a>, Edward Cracroft Lefroy (1855–1891) responded by reaching beyond the narrative mode towards the dramatic in the thirty adaptations from the Greek of his Echoes from Theocritus (1885, reprint 1922).<a href="#cite_note-76">[76]</a> Beyond this, though the idea of arranging such material in a sequence was original to Lefroy, <a href="/wiki/Thomas_Warwick" title="Thomas Warwick">Thomas Warwick</a> had anticipated the approach a century before in his sonnet "From <a href="/wiki/Bacchylides" title="Bacchylides">Bacchylides</a>", equally based on a fragment of an ancient Greek author. On the other hand, <a href="/wiki/Eugene_Lee-Hamilton" title="Eugene Lee-Hamilton">Eugene Lee-Hamilton</a>'s exploration of the sonnet's dramatic possibilities was through creating historical monologues in his hundred Imaginary Sonnets (1888),<a href="#cite_note-77">[77]</a> based on episodes chosen from the seven centuries between 1120 – 1820. Neither sequence was anywhere the equal of those of Barrett Browning or Meredith,<a href="#cite_note-78">[78]</a> but they illustrate a contemporary urge to make new a form that was fast running out of steam. <div class="mw-heading mw-heading4"><h4 id="20th_century">20th century</h4>[<a href="/w/index.php?title=Sonnet&action=edit&section=13" title="Edit section: 20th century">edit</a>]</div> As part of his attempted renewal of poetic prosody, <a href="/wiki/Gerard_Manley_Hopkins" title="Gerard Manley Hopkins">Gerard Manley Hopkins</a> had applied his experimental <a href="/wiki/Sprung_rhythm" title="Sprung rhythm">sprung rhythm</a> to the composition of the sonnet, amplifying the number of unstressed syllables within a five- (or occasionally six-) stressed line – as in the rhetorical "<a href="/wiki/The_Windhover" title="The Windhover">The Windhover</a>", for example. He also introduced variations in the proportions of the sonnet, from the 10<style data-mw-deduplicate="TemplateStyles:r1154941027">.mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}</style>1⁄2 lines of the <a href="/wiki/Curtal_sonnet" title="Curtal sonnet">curtal sonnet</a> "<a href="/wiki/Pied_Beauty" title="Pied Beauty">Pied Beauty</a>" to the amplified 24-line <a href="/wiki/Caudate_sonnet" title="Caudate sonnet">caudate sonnet</a> "That Nature is a Heraclitean Fire". Though they were written in the later Victorian era, the poems remained virtually unknown until they were published in 1918.<a href="#cite_note-79">[79]</a> The undergraduate <a href="/wiki/W._H._Auden" title="W. H. Auden">W. H. Auden</a> is sometimes credited with dispensing with rhyme altogether in "The Secret Agent",<a href="#cite_note-80">[80]</a> but went on to write many conventional sonnets, including two long sequences during the time of international crisis: <a href="/wiki/Journey_to_a_War" title="Journey to a War">"In Time of War"</a> (1939) and <a href="/wiki/The_Double_Man_(book)" title="The Double Man (book)">"The Quest"</a> (1940). Sequences by some others have been more experimental and looser in form, of which a radical example was "Altarwise by owl-light" (1935), ten irregular and barely rhyming quatorzains by <a href="/wiki/Dylan_Thomas" title="Dylan Thomas">Dylan Thomas</a> in his most opaque manner.<a href="#cite_note-81">[81]</a> In 1978 two later innovatory sequences were published at a period when it was considered that "the sonnet seems to want to lie fallow, exhausted", in the words of one commentator.<a href="#cite_note-82">[82]</a> <a href="/wiki/Peter_Dale_(poet)" title="Peter Dale (poet)">Peter Dale</a>'s book-length One Another contains a dialogue of some sixty sonnets in which the variety of rhyming methods are as diverse as the emotions expressed between the speakers there.<a href="#cite_note-83">[83]</a> At the same time, <a href="/wiki/Geoffrey_Hill" title="Geoffrey Hill">Geoffrey Hill</a>'s "An Apology for the Revival of Christian Architecture in England" appeared in Tenebrae (1978), where the challenging thirteen poems of the sequence employ half-rhyme and generally ignore the volta.<a href="#cite_note-84">[84]</a> <a href="/wiki/Seamus_Heaney" title="Seamus Heaney">Seamus Heaney</a> also wrote two sequences during this period: the personal "Glanmore Sonnets" in <a href="/wiki/Field_Work_(poetry_collection)" title="Field Work (poetry collection)">Field Work</a> (1975);<a href="#cite_note-85">[85]</a> and the more freely constructed elegiac sonnets of "Clearances" in <a href="/wiki/The_Haw_Lantern" title="The Haw Lantern">The Haw Lantern</a> (1987).<a href="#cite_note-86">[86]</a> <div class="mw-heading mw-heading3"><h3 id="In_North_America">In North America</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=14" title="Edit section: In North America">edit</a>]</div> <div class="mw-heading mw-heading4"><h4 id="USA">USA</h4>[<a href="/w/index.php?title=Sonnet&action=edit&section=15" title="Edit section: USA">edit</a>]</div> The earliest American sonnet is <a href="/wiki/David_Humphreys_(soldier)" title="David Humphreys (soldier)">David Humphreys</a>'s<a href="#cite_note-87">[87]</a> 1776 sonnet "Addressed to my Friends at Yale College, on my Leaving them to join the Army".<a href="#cite_note-88">[88]</a> The sonnet form was used widely thereafter, including by <a href="/wiki/William_Lloyd_Garrison" title="William Lloyd Garrison">William Lloyd Garrison</a> and <a href="/wiki/William_Cullen_Bryant" title="William Cullen Bryant">William Cullen Bryant</a>.<a href="#cite_note-ugapress.org-89">[89]</a> Later, <a href="/wiki/Henry_Wadsworth_Longfellow" title="Henry Wadsworth Longfellow">Henry Wadsworth Longfellow</a> and others followed suit.<a href="#cite_note-90">[90]</a> His were characterised by a "purple richness of diction" and by their use of material images to illustrate niceties of thought and emotion.<a href="#cite_note-91">[91]</a> He also translated several sonnets, including seven by <a href="/wiki/Michelangelo" title="Michelangelo">Michelangelo</a>.<a href="#cite_note-92">[92]</a> Later on, among <a href="/wiki/Emma_Lazarus" title="Emma Lazarus">Emma Lazarus</a>' many sonnets, perhaps the best-known is "<a href="/wiki/The_New_Colossus" title="The New Colossus">The New Colossus</a>" of 1883,<a href="#cite_note-93">[93]</a> which celebrates the <a href="/wiki/Statue_of_Liberty" title="Statue of Liberty">Statue of Liberty</a> and its role in welcoming immigrants to the New World. In the 19th century, sonnets written by American poets began to be anthologised as such. They were included in a separate section in Leigh Hunt and S. Adams' The Book of the Sonnet (London and Boston, 1867), which included an essay by Adams on "American Sonnets and Sonneteers" and a section devoted only to sonnets by American women.<a href="#cite_note-94">[94]</a> Later came <a href="/wiki/William_Sharp_(writer)" title="William Sharp (writer)">William Sharp</a>'s anthology of American Sonnets (1889)<a href="#cite_note-95">[95]</a> and Charles H. Crandall's Representative sonnets by American poets, with an essay on the sonnet, its nature and history (<a href="/wiki/Houghton_Mifflin_%26_Co." class="mw-redirect" title="Houghton Mifflin & Co.">Houghton Mifflin & Co.</a>, 1890). The essay also surveyed the whole history of the sonnet, including English examples and European examples in translation, in order to contextualise the American achievement.<a href="#cite_note-96">[96]</a> Recent scholarship has recovered many <a href="/wiki/African_American" class="mw-redirect" title="African American">African American</a> sonnets that were not anthologised in standard American poetry volumes. Important nineteenth and early twentieth century writers have included <a href="/wiki/Paul_Laurence_Dunbar" title="Paul Laurence Dunbar">Paul Laurence Dunbar</a>, <a href="/wiki/Countee_Cullen" title="Countee Cullen">Countee Cullen</a>, <a href="/wiki/Sterling_A._Brown" class="mw-redirect" title="Sterling A. Brown">Sterling A. Brown</a>, and Jamaican-born <a href="/wiki/Claude_McKay" title="Claude McKay">Claude McKay</a>.<a href="#cite_note-97">[97]</a> Some of their sonnets were personal responses to experience of displacement and racial prejudice. Cullen’s "At the Wailing Wall in Jerusalem" (1927), for example, suggests a parallel between the history of his race and that of the Jewish <a href="/wiki/Diaspora" title="Diaspora">diaspora</a>.<a href="#cite_note-98">[98]</a> And McKay's sonnets of 1921 respond defiantly to the deadly <a href="/wiki/Red_Summer" title="Red Summer">Red Summer</a> riots two years before.<a href="#cite_note-99">[99]</a> There were also several African American women poets who won prizes for volumes that included sonnets, including <a href="/wiki/Margaret_Walker" title="Margaret Walker">Margaret Walker</a> (Yale Poetry Series) <a href="/wiki/Gwendolyn_Brooks" title="Gwendolyn Brooks">Gwendolyn Brooks</a> (Pulitzer Prize), <a href="/wiki/Rita_Dove" title="Rita Dove">Rita Dove</a> (Pulitzer Prize), and <a href="/wiki/Natasha_Trethewey" title="Natasha Trethewey">Natasha Trethewey</a> (Pulitzer Prize).<a href="#cite_note-ugapress.org-89">[89]</a><a href="#cite_note-100">[100]</a> But there were other writers - like <a href="/wiki/Langston_Hughes" title="Langston Hughes">Langston Hughes</a> and <a href="/wiki/Amiri_Baraka" title="Amiri Baraka">Amiri Baraka</a>, for example - who, despite publishing some themselves, questioned the appropriateness of sonnets for Black poets. In the opinion of Hughes, the emergence of truly individual writing based on folk genres and experience was hindered by the imposition of genteel "white" verse forms irrelevant to them.<a href="#cite_note-101">[101]</a> One aspect of the American sonnet during the 20th century was the publication of sequences which had to wait decades for critical recognition. One instance is This Man's Army: A War in Fifty-Odd Sonnets (1928) by <a href="/wiki/John_Allan_Wyeth_(poet)" title="John Allan Wyeth (poet)">John Allan Wyeth</a>.<a href="#cite_note-102">[102]</a> A series of irregular sonnets that recorded impressions of his military service with the <a href="/wiki/American_Expeditionary_Force" class="mw-redirect" title="American Expeditionary Force">American Expeditionary Force</a> during the <a href="/wiki/First_World_War" class="mw-redirect" title="First World War">First World War</a>, it was scarcely noticed when it first appeared. Yet on its republication in 2008, <a href="/wiki/Dana_Gioia" title="Dana Gioia">Dana Gioia</a> asserted in his introduction that Wyeth is the only American poet of the Great War who can stand comparison to British <a href="/wiki/War_poet" class="mw-redirect" title="War poet">war poets</a>,<a href="#cite_note-103">[103]</a> a claim later corroborated by <a href="/wiki/Jon_Stallworthy" title="Jon Stallworthy">Jon Stallworthy</a> in his review of the work.<a href="#cite_note-104">[104]</a> Shortly after the publication of Wyeth's, <a href="/wiki/H._P._Lovecraft" title="H. P. Lovecraft">H. P. Lovecraft</a> wrote his very different sonnet sequence, sections of which first appeared in genre magazines. It was not until 1943 that it saw complete publication as <a href="/wiki/Fungi_from_Yuggoth" title="Fungi from Yuggoth">Fungi from Yuggoth</a>. These 36 poems were written in a hybrid form based on the <a href="/wiki/Petrarchan_sonnet" title="Petrarchan sonnet">Petrarchan sonnet</a> that invariably ends with a rhyming couplet reminiscent of the <a href="/wiki/Shakespeare%27s_sonnets#Form_and_structure_of_the_sonnets" title="Shakespeare's sonnets">Shakespearean sonnet</a>.<a href="#cite_note-105">[105]</a> Most of these poems are discontinuous, though unified by theme, being vignettes descriptive of the kinds of dreamed and otherworldly scenarios found in Lovecraft's fiction.<a href="#cite_note-106">[106]</a> Their unmannered style was once compared to <a href="/wiki/Edward_Arlington_Robinson" class="mw-redirect" title="Edward Arlington Robinson">Edward Arlington Robinson</a>'s,<a href="#cite_note-107">[107]</a> but since then a case has been made for the work as minor poetry of contemporary importance in its own right.<a href="#cite_note-108">[108]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Solt-moonshot_2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Solt-moonshot_2.jpg/130px-Solt-moonshot_2.jpg" decoding="async" width="130" height="395" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Solt-moonshot_2.jpg/195px-Solt-moonshot_2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Solt-moonshot_2.jpg/260px-Solt-moonshot_2.jpg 2x" data-file-width="526" data-file-height="1600" /></a><figcaption><a href="/wiki/Mary_Ellen_Solt" title="Mary Ellen Solt">Mary Ellen Solt</a>'s <a href="/wiki/Concrete_poetry" title="Concrete poetry">concrete</a> "Moonshot sonnet" (1964)</figcaption></figure> In the case of <a href="/wiki/John_Berryman" title="John Berryman">John Berryman</a>, he initially wrote a series of some hundred modernistic love sonnets during the 1940s. These, however, remained uncollected until 1967, when they appeared as Berryman’s Sonnets, fleshed out with a few additions to give them the form of a sequence. In her 2014 survey of the book for <a href="/wiki/Poetry_(magazine)" title="Poetry (magazine)">Poetry</a>, <a href="/wiki/April_Bernard" title="April Bernard">April Bernard</a> suggests that he was there making of 'Berryman' a similar semi-fictional character to the 'Henry' in <a href="/wiki/The_Dream_Songs" title="The Dream Songs">The Dream Songs</a> (1964). She also identifies an ancient ancestry for the disordered syntax of the work through the English poets Thomas Wyatt and Gerard Manley Hopkins.<a href="#cite_note-109">[109]</a> But at this time too began to appear sequences of <a href="/wiki/Quatorzain" title="Quatorzain">quatorzains</a> with only a tenuous relationship to the sonnet form. <a href="/wiki/Ted_Berrigan" title="Ted Berrigan">Ted Berrigan</a>'s The Sonnets (1964) discard metre and rhyme but retain the dynamics of a 14-line structure with a change of direction at the volta. Berrigan claimed to have been inspired by "Shakespeare’s sonnets because they were quick, musical, witty and short".<a href="#cite_note-110">[110]</a> Others have described Berrigan's work as a <a href="/wiki/Postmodern_literature" title="Postmodern literature">postmodern</a> collage using "repetition, rearrangement, and the use of 'found' phrases and text", that functions as a "radical deconstruction of the sonnet".<a href="#cite_note-111">[111]</a> From 1969 <a href="/wiki/Robert_Lowell" title="Robert Lowell">Robert Lowell</a> too began publishing a less radical deconstruction of the form in his series of five collections of <a href="/wiki/Blank_verse" title="Blank verse">blank verse</a> sonnets, including his <a href="/wiki/Pulitzer_Prize" title="Pulitzer Prize">Pulitzer Prize</a> volume The Dolphin (1973). These he described as having "the eloquence at best of iambic pentameter, and often the structure and climaxes of sonnets".<a href="#cite_note-112">[112]</a> The contemporary reaction against the strict form is described in the introduction to <a href="/wiki/William_Baer_(writer)" title="William Baer (writer)">William Baer</a>'s anthology Sonnets: 150 Contemporary Sonnets (2005). But for all that a number of writers were declaring then that the sonnet was dead, others – including <a href="/wiki/Richard_Wilbur" title="Richard Wilbur">Richard Wilbur</a>, <a href="/wiki/Howard_Nemerov" title="Howard Nemerov">Howard Nemerov</a> and <a href="/wiki/Anthony_Hecht" title="Anthony Hecht">Anthony Hecht</a> – continued to write sonnets and eventually became associated with the magazines <a href="/wiki/The_Formalist" title="The Formalist">The Formalist</a> and then <a href="/wiki/Measure_(journal)" title="Measure (journal)">Measure</a>. These journals, champions of the <a href="/wiki/New_Formalism" title="New Formalism">New Formalism</a> between the years 1994 and 2017, sponsored the annual <a href="/wiki/Howard_Nemerov_Sonnet_Award" title="Howard Nemerov Sonnet Award">Howard Nemerov Sonnet Award</a>. <div class="mw-heading mw-heading4"><h4 id="Canada">Canada</h4>[<a href="/w/index.php?title=Sonnet&action=edit&section=16" title="Edit section: Canada">edit</a>]</div> In Canada during the last decades of the 19th century, the <a href="/wiki/Confederation_Poets" title="Confederation Poets">Confederation Poets</a> and especially <a href="/wiki/Archibald_Lampman" title="Archibald Lampman">Archibald Lampman</a> were known for their sonnets, which were mainly on pastoral themes.<a href="#cite_note-113">[113]</a> Canadian poet <a href="/wiki/Seymour_Mayne" title="Seymour Mayne">Seymour Mayne</a> has published a few collections of word sonnets, and is one of the chief innovators of a form using a single word per line to capture its honed perception.<a href="#cite_note-114">[114]</a> <div class="mw-heading mw-heading3"><h3 id="In_German">In German</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=17" title="Edit section: In German">edit</a>]</div> <a href="/wiki/Paulus_Melissus" title="Paulus Melissus">Paulus Melissus</a> was the first to introduce the sonnet into <a href="/wiki/German_poetry" class="mw-redirect" title="German poetry">German poetry</a>.<a href="#cite_note-115">[115]</a> But the man who did most to raise the sonnet to German consciousness was <a href="/wiki/Martin_Opitz" title="Martin Opitz">Martin Opitz</a>, who in two works, Buch von der deutschen Poeterey (1624) and Acht Bücher Deutscher Poematum (1625), established the sonnet as a separate genre and its rules of composition. It was to be written in iambic alexandrines, with alternating masculine and feminine enclosed rhymes in the octave and a more flexible sestet with three rhymes. Reinforcing them were translated examples from Petrarch, Ronsard and <a href="/wiki/Daniel_Heinsius" class="mw-redirect" title="Daniel Heinsius">Daniel Heinsius</a>.<a href="#cite_note-116">[116]</a> Thereafter in the 18th century, <a href="/wiki/Johann_Wolfgang_von_Goethe" title="Johann Wolfgang von Goethe">Johann Wolfgang von Goethe</a> wrote several love sonnets, using a rhyme scheme derived from Italian poetry. After his death, Goethe's followers created the freer 'German sonnet', which is rhymed ABBA BCCB CDD CDD. The sonnet tradition was then continued by <a href="/wiki/August_Wilhelm_von_Schlegel" class="mw-redirect" title="August Wilhelm von Schlegel">August Wilhelm von Schlegel</a>, <a href="/wiki/Paul_von_Heyse" class="mw-redirect" title="Paul von Heyse">Paul von Heyse</a> and others, reaching fruition in <a href="/wiki/Rainer_Maria_Rilke" title="Rainer Maria Rilke">Rainer Maria Rilke</a>'s <a href="/wiki/Sonnets_to_Orpheus" title="Sonnets to Orpheus">Sonnets to Orpheus</a>, which has been described as "one of the great modern poems, not to mention a monumental addition to the literature of the sonnet sequence".<a href="#cite_note-117">[117]</a> A cycle of 55 sonnets, it was written in two parts in 1922 while Rilke was in the midst of completing his <a href="/wiki/Duino_Elegies" title="Duino Elegies">Duino Elegies</a>. The full title in German is Die Sonette an Orpheus: Geschrieben als ein Grab-Mal für Wera Ouckama Knoop (translated as Sonnets to Orpheus: Written as a Monument for Wera Ouckama Knoop), commemorating the recent death of a young dancer from leukaemia. The Grab-Mal (literally "grave-marker") of the title brings to mind the series of Tombeaux written by <a href="/wiki/St%C3%A9phane_Mallarm%C3%A9" title="Stéphane Mallarmé">Stéphane Mallarmé</a>, translated (among others) by Rilke in 1919, also coinciding with the sonnets of Michelangelo which Rilke had been translating in 1921. Rilke's own sonnets are fluidly structured as a transposition of the dead girl's dancing and encompass themes of life and death and art's relation to them. As well as having varied rhyme schemes, line lengths also vary and are irregularly metred, even within the same sonnet at times.<a href="#cite_note-118">[118]</a> Responses to turbulent times form a distinct category among German sonnets. They include <a href="/wiki/Friedrich_R%C3%BCckert" title="Friedrich Rückert">Friedrich Rückert</a>'s 72 "Sonnets in Armour" (Geharnischte Sonneten, 1814), stirring up <a href="/wiki/War_of_the_Sixth_Coalition" title="War of the Sixth Coalition">resistance to Napoleonic domination</a>; and sonnets by <a href="/wiki/Emanuel_Geibel" title="Emanuel Geibel">Emanuel Geibel</a> written during the <a href="/wiki/German_revolutions_of_1848%E2%80%931849" title="German revolutions of 1848–1849">German revolutions of 1848–1849</a> and the <a href="/wiki/First_Schleswig_War" title="First Schleswig War">First Schleswig War</a>.<a href="#cite_note-119">[119]</a> In the wake of the <a href="/wiki/First_World_War" class="mw-redirect" title="First World War">First World War</a>, <a href="/wiki/Anton_Schnack" title="Anton Schnack">Anton Schnack</a>, described by one anthologist as "the only German language poet whose work can be compared with that of <a href="/wiki/Wilfred_Owen" title="Wilfred Owen">Wilfred Owen</a>", published the sonnet sequence, Tier rang gewaltig mit Tier ("Beast Strove Mightily with Beast", 1920). The 60 poems there have the typical German sonnet form, but are written in the long-lined free rhythms developed by <a href="/wiki/Ernst_Stadler" title="Ernst Stadler">Ernst Stadler</a>.<a href="#cite_note-Patrick_Bridgwater_1985_page_97-120">[120]</a> Patrick Bridgwater, writing in 1985, called the work "without question the best single collection produced by a German <a href="/wiki/War_poet" class="mw-redirect" title="War poet">war poet</a> in 1914–18," but adds that it "is to this day virtually unknown even in Germany."<a href="#cite_note-121">[121]</a> <div class="mw-heading mw-heading3"><h3 id="In_Dutch">In Dutch</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=18" title="Edit section: In Dutch">edit</a>]</div> In the Netherlands <a href="/wiki/Pieter_Corneliszoon_Hooft" title="Pieter Corneliszoon Hooft">Pieter Corneliszoon Hooft</a> introduced sonnets in the Baroque style, of which Mijn lief, mijn lief, mijn lief: soo sprack mijn lief mij toe presents a notable example of sound and word play.<a href="#cite_note-122">[122]</a> Another of his sonnets, dedicated to <a href="/wiki/Hugo_Grotius" title="Hugo Grotius">Hugo Grotius</a>, was later translated by <a href="/wiki/Edmund_Gosse" title="Edmund Gosse">Edmund Gosse</a>.<a href="#cite_note-123">[123]</a> In later centuries the sonnet form was dropped and then returned to by successive waves of innovators in an attempt to breathe new life into Dutch poetry when, in their eyes, it had lost its way. For the generation of the 1880s it was <a href="/wiki/Jacques_Perk" title="Jacques Perk">Jacques Perk</a>'s sonnet sequence Mathilde which served as a rallying cry. And for a while in the early years of the new century, <a href="/wiki/Martinus_Nijhoff" title="Martinus Nijhoff">Martinus Nijhoff</a> wrote notable sonnets before turning to more modernistic models.<a href="#cite_note-124">[124]</a> Following the <a href="/wiki/Second_World_War" class="mw-redirect" title="Second World War">Second World War</a>, avant-garde poets declared war on all formalism, reacting particularly against the extreme subjectivity and self-aggrandisement of representatives of the 1880s style like <a href="/wiki/Willem_Kloos" title="Willem Kloos">Willem Kloos</a>, who had once begun a sonnet "In my deepest being I'm a god". In reaction, <a href="/wiki/Lucebert" title="Lucebert">Lucebert</a> satirised such writing in the "sonnet" with which his first collection opened: <div class="poem"> I/ me/ I/ me// me/ I/ me/ I// I/ I/ my// my/ my/ I<a href="#cite_note-125">[125]</a> </div> But by the end of the 20th century, formalist poets such as <a href="/wiki/Gerrit_Komrij" title="Gerrit Komrij">Gerrit Komrij</a> and <a href="/wiki/Jan_Kal" title="Jan Kal">Jan Kal</a> were writing sonnets again as part of their own reaction to the experimentalism of earlier decades.<a href="#cite_note-126">[126]</a> <div class="mw-heading mw-heading2"><h2 id="Jewish_languages">Jewish languages</h2>[<a href="/w/index.php?title=Sonnet&action=edit&section=19" title="Edit section: Jewish languages">edit</a>]</div> For three millennia there has been a literature in the <a href="/wiki/Jewish_languages" title="Jewish languages">various languages developed by the scattered communities of Jewish origin</a>. So far as the sonnet is concerned, two languages were involved, mostly written in the European areas where that form was taken up and taken elsewhere in the world by emigrants. <div class="mw-heading mw-heading3"><h3 id="Hebrew">Hebrew</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=20" title="Edit section: Hebrew">edit</a>]</div> The Hebrew name for a sonnet is shir zahav, deriving from a numerological play on words. Literally 'golden song', the consonants of zahav also stand for numbers adding up to fourteen, so that the term can also mean 'song of fourteen lines'.<a href="#cite_note-127">[127]</a> The first sonnets in <a href="/wiki/Medieval_Hebrew_poetry" class="mw-redirect" title="Medieval Hebrew poetry">Medieval Hebrew poetry</a> were probably composed in Rome by <a href="/wiki/Immanuel_the_Roman" title="Immanuel the Roman">Immanuel the Roman</a> around the year 1300, less than a century after the advent of the Italian sonnet.<a href="#cite_note-DB-128">[128]</a><a href="#cite_note-IL-129">[129]</a> 38 sonnets are included in his <a href="/wiki/Maqama" title="Maqama">maqama</a> collection Mahberot Immanuel that combine elements of both the quantitative metre traditional to Hebrew and Arabic verse and Italian syllabic metre. Predominantly dealing with love, they were rhymed ABBA ABBA CDE CDE.<a href="#cite_note-IL-129">[129]</a> Immanuel's work provided a ready model for the second wave of Italo-Hebrew sonnet writers. The first printed edition of Mahberot Immanuel appeared in <a href="/wiki/Brescia" title="Brescia">Brescia</a> in 1492, followed by a second edition published in Constantinople in 1535. The new crop therefore coincided with the adoption of the sonnet in other European literatures at the start of the 16th century and persisted into the Baroque period of the following century, with more than eighty poets taking up the form. Though there was now a shift of focus to religious themes, love poetry was not excluded, particularly in the sonnets of David Okineira of <a href="/wiki/Salonika" class="mw-redirect" title="Salonika">Salonika</a>.<a href="#cite_note-130">[130]</a> The Baroque practice of incorporating sonnets along with other verse into plays, as had Shakespeare in England and Lope da Vega in Spain, was also to be found in <a href="/wiki/Moses_ben_Mordecai_Zacuto" title="Moses ben Mordecai Zacuto">Moses ben Mordecai Zacuto</a>'s Yesod Olam (Foundation of the World, 1642) and in Asirei ha-Tiqva (Prisoners of Hope, 1673), an allegorical play by <a href="/wiki/Joseph_de_la_Vega" title="Joseph de la Vega">Joseph de la Vega</a>. A further revival of the Hebrew sonnet followed in the 18th century, associated with Samson Cohen Modon (1679–1727), <a href="/wiki/Moshe_Chaim_Luzzatto" title="Moshe Chaim Luzzatto">Moshe Chaim Luzzatto</a> and his cousin, Ephraim Luzzatto (1729–1792), who are regarded as founders of modern Hebrew literature.<a href="#cite_note-131">[131]</a> That the form persisted into the 20th century was celebrated by <a href="/wiki/Shaul_Tchernichovsky" title="Shaul Tchernichovsky">Shaul Tchernichovsky</a> in his Maḥberet ha-Sonetot (Berlin 1923), in which appeared a sonnet of his own celebrating its continuity since the time of Immanuel of Rome: "Thou art dear to me, how dear to me, Sonetot, O shir zahav".<a href="#cite_note-132">[132]</a> The same author was responsible for introducing the <a href="/wiki/Crown_of_sonnets" title="Crown of sonnets">crown of sonnets</a> into Hebrew poetry. <div class="mw-heading mw-heading3"><h3 id="Yiddish">Yiddish</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=21" title="Edit section: Yiddish">edit</a>]</div> <a href="/wiki/Yiddish" title="Yiddish">Yiddish</a>, the name given to a continuum of Judaeo-German dialects spoken particularly across Eastern Europe, has had a literature since the Middle Ages. The sonnet, however, arriving late in the surrounding Slavic areas, was at first viewed as an alien genre among Jewish writers in Yiddish. Its adoption came only slowly with greater access to secular educational and with emigration. The first poets to use the form are credited as Dovid Kenigsberg (1891-1942) and <a href="/wiki/Fradl_Shtok" title="Fradl Shtok">Fradl Shtok</a>. The former published Soneten (<a href="/wiki/Lviv" title="Lviv">Lemberg</a> 1913) and later his hundred sonnets (Hundert Soneten, Vienna, 1921).<a href="#cite_note-133">[133]</a> Shtok emigrated to the US while young and began publishing poetry soon after her arrival in New York in 1910.<a href="#cite_note-134">[134]</a> In reality, earlier sonnets dating from the 1890s were written in the US by Morris Vintshevski (1856-1932); and in <a href="/wiki/Vilnius" title="Vilnius">Vilnius</a> those written by <a href="/wiki/Leib_Naidus" title="Leib Naidus">Leib Naidus</a>, starting from 1910, demonstrated the westward-spreading influence of Symbolist-inspired modernism.<a href="#cite_note-135">[135]</a> Those poets in Europe who authored entire collections of sonnets include Gershon-Peysekh Vayland (1869–1942), published in <a href="/wiki/Warsaw" title="Warsaw">Warsaw</a> in 1938 and 1939;<a href="#cite_note-136">[136]</a> Yankev Gotlib (1911–1945), published in <a href="/wiki/Kaunas" title="Kaunas">Kaunas</a> in 1938;<a href="#cite_note-137">[137]</a> and the Polish <a href="/wiki/Abraham_Nahum_Stencl" title="Abraham Nahum Stencl">Abraham Nahum Stencl </a>, whose Londoner Sonetn were published after his arrival in London in 1937.<a href="#cite_note-138">[138]</a> Later examples of those writing substantial numbers of sonnets in the US number the scholar <a href="/wiki/N._B._Minkoff" title="N. B. Minkoff">N. B. Minkoff</a>, who included a <a href="/wiki/Sonnet_cycle" title="Sonnet cycle">sonnet cycle</a> in Lieder (1924), his first publication after immigrating,<a href="#cite_note-139">[139]</a> and Aron Glantz-Leyeles (1899–1968), who published a whole collection of poems in mediaeval forms in 1926. This included "Autumn", a densely rhymed <a href="/wiki/Crown_of_sonnets" title="Crown of sonnets">garland of fifteen sonnets</a>.<a href="#cite_note-140">[140]</a> In 1932 Yoysef-Leyzer Kalushiner (1893–1968) published a whole book of sonnets in New York.<a href="#cite_note-141">[141]</a> He was followed by the little known M. Freed, who had already published a sonnet collection, The Narcissi ("נארציסן", Czernowitz, 1937), in <a href="/wiki/Bukovina" title="Bukovina">Bukovina</a> before making his way to the US, where he published An evening by the Prut (מ. פרידוויינינגער, New York, 1942).<a href="#cite_note-142">[142]</a> Later collections of sonnets include Sonetn fun toye-voye (Sonnets of chaos, New York, 1957) by Yirmye Hesheles, (1910–2010)<a href="#cite_note-143">[143]</a> and <a href="/wiki/Mani_Leib" title="Mani Leib">Mani Leib</a>'s Sonetn (1961), considered the crowning achievement of his work and "one of the last great works of Yiddish poetry".<a href="#cite_note-144">[144]</a> To these post-war collections may be added Meksike, finf un draysik sonetn (Mexico, 35 sonnets, 1949), which was published in <a href="/wiki/Mexico_City" title="Mexico City">Mexico City</a> after Austridan Oystriak (1911-92) had fled there from Europe in 1940.<a href="#cite_note-145">[145]</a> Yiddish sonnets published in Israel, where the preferred language was Hebrew, were comparatively rare. Samuel Jacob Taubes (1898-1975) had already published religious sonnets in Europe before emigrating to Israel after a wandering literary career.<a href="#cite_note-146">[146]</a> Shlomo Roitman (1913-85) began writing in Russia and published sonnet collections after his arrival in Israel.<a href="#cite_note-147">[147]</a> <div class="mw-heading mw-heading2"><h2 id="Slavic_languages">Slavic languages</h2>[<a href="/w/index.php?title=Sonnet&action=edit&section=22" title="Edit section: Slavic languages">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Czech">Czech</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=23" title="Edit section: Czech">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Wien_Museum_Online_Sammlung_W_4140_1-2_(cropped).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/94/Wien_Museum_Online_Sammlung_W_4140_1-2_%28cropped%29.jpg/180px-Wien_Museum_Online_Sammlung_W_4140_1-2_%28cropped%29.jpg" decoding="async" width="180" height="240" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/94/Wien_Museum_Online_Sammlung_W_4140_1-2_%28cropped%29.jpg/270px-Wien_Museum_Online_Sammlung_W_4140_1-2_%28cropped%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/94/Wien_Museum_Online_Sammlung_W_4140_1-2_%28cropped%29.jpg/360px-Wien_Museum_Online_Sammlung_W_4140_1-2_%28cropped%29.jpg 2x" data-file-width="2383" data-file-height="3176" /></a><figcaption>Karel Hynek Mácha</figcaption></figure> The sonnet was introduced into Czech literature at the beginning of the 19th century. The first great Czech sonneteer was <a href="/wiki/J%C3%A1n_Koll%C3%A1r" title="Ján Kollár">Ján Kollár</a>, who wrote a cycle of sonnets named Slávy Dcera (The daughter of Sláva / The daughter of fame<a href="#cite_note-148">[148]</a>). While Kollár was Slovak, he was a supporter of Pan-Slavism and wrote in Czech, as he disagreed that Slovak should be a separate language. Kollár's magnum opus was planned as a Slavic epic poem as great as Dante's <a href="/wiki/Divine_Comedy" title="Divine Comedy">Divine Comedy</a>. It consists of The Prelude written in quantitative <a href="/wiki/Hexameter" title="Hexameter">hexameters</a>, and sonnets. The number of poems increased in subsequent editions and came up to 645.<a href="#cite_note-149">[149]</a> The greatest Czech romantic poet, <a href="/wiki/Karel_Hynek_M%C3%A1cha" title="Karel Hynek Mácha">Karel Hynek Mácha</a> also wrote many sonnets. In the second half of the 19th century <a href="/wiki/Jaroslav_Vrchlick%C3%BD" title="Jaroslav Vrchlický">Jaroslav Vrchlický</a> published Sonety samotáře (Sonnets of a Solitudinarian). Another poet, who wrote many sonnets was <a href="/wiki/Josef_Svatopluk_Machar" title="Josef Svatopluk Machar">Josef Svatopluk Machar</a>. He published Čtyři knihy sonetů (The Four Books of Sonnets). In the 20th century <a href="/wiki/V%C3%ADt%C4%9Bzslav_Nezval" title="Vítězslav Nezval">Vítězslav Nezval</a> wrote the cycle 100 sonetů zachránkyni věčného studenta Roberta Davida (One Hundred Sonnets for the Woman who Rescued Perpetual Student Robert David). After the Second World War the sonnet was the favourite form of <a href="/wiki/Old%C5%99ich_Vyhl%C3%ADdal" title="Oldřich Vyhlídal">Oldřich Vyhlídal</a>. Czech poets use different metres for sonnets, Kollár and Mácha used decasyllables, Vrchlický iambic pentameter, <a href="/wiki/Anton%C3%ADn_Sova" title="Antonín Sova">Antonín Sova</a> free verse, and <a href="/wiki/Ji%C5%99%C3%AD_Orten" title="Jiří Orten">Jiří Orten</a> the <a href="/wiki/Czech_alexandrine" title="Czech alexandrine">Czech alexandrine</a>. Ondřej Hanus, himself the author of distinguished sonnets, wrote a monograph about Czech sonnets in the first half of the twentieth century.<a href="#cite_note-150">[150]</a> <div class="mw-heading mw-heading3"><h3 id="Polish">Polish</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=24" title="Edit section: Polish">edit</a>]</div> The sonnet was introduced into <a href="/wiki/Polish_literature" title="Polish literature">Polish literature</a> in the 16th century by <a href="/wiki/Jan_Kochanowski" title="Jan Kochanowski">Jan Kochanowski</a>,<a href="#cite_note-151">[151]</a> <a href="/wiki/Miko%C5%82aj_S%C4%99p-Szarzy%C5%84ski" class="mw-redirect" title="Mikołaj Sęp-Szarzyński">Mikołaj Sęp-Szarzyński</a> and <a href="/wiki/Sebastian_Grabowiecki" title="Sebastian Grabowiecki">Sebastian Grabowiecki</a>.<a href="#cite_note-152">[152]</a> In 1826, Poland's <a href="/wiki/National_poet" title="National poet">national poet</a>, <a href="/wiki/Adam_Mickiewicz" title="Adam Mickiewicz">Adam Mickiewicz</a>, wrote a <a href="/wiki/Sonnet_sequence" title="Sonnet sequence">sonnet sequence</a> known as the <a href="/wiki/Crimean_Sonnets" class="mw-redirect" title="Crimean Sonnets">Crimean Sonnets</a>, after the Tsar sentenced him to <a href="/wiki/Exile" title="Exile">exile</a> in the <a href="/wiki/Crimean_Peninsula" class="mw-redirect" title="Crimean Peninsula">Crimean Peninsula</a>. Mickiewicz's sonnet sequence focuses heavily on the culture and <a href="/wiki/Islam" title="Islam">Islamic</a> religion of the <a href="/wiki/Crimean_Tatars" title="Crimean Tatars">Crimean Tatars</a>. The sequence was translated into English by <a href="/wiki/Edna_Worthley_Underwood" class="mw-redirect" title="Edna Worthley Underwood">Edna Worthley Underwood</a>.<a href="#cite_note-153">[153]</a> <div class="mw-heading mw-heading3"><h3 id="Russian">Russian</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=25" title="Edit section: Russian">edit</a>]</div> In the 18th century, after the westernizing reforms of <a href="/wiki/Peter_the_Great" title="Peter the Great">Peter the Great</a>, Russian poets (among others <a href="/wiki/Alexander_Sumarokov" title="Alexander Sumarokov">Alexander Sumarokov</a> and <a href="/wiki/Mikhail_Kheraskov" title="Mikhail Kheraskov">Mikhail Kheraskov</a>) began to experiment with sonnets, but the form was soon overtaken in popularity by the more flexible <a href="/wiki/Onegin_stanza" title="Onegin stanza">Onegin stanza</a>. This was used by <a href="/wiki/Alexander_Pushkin" title="Alexander Pushkin">Alexander Pushkin</a> for his <a href="/wiki/Novel_in_verse" class="mw-redirect" title="Novel in verse">novel in verse</a> <a href="/wiki/Eugene_Onegin" title="Eugene Onegin">Eugene Onegin</a> and has also been described as the 'Onegin sonnet', since it consists of fourteen lines. It is, however, aberrant in rhyme scheme and the number of stresses per line and is better described as having only a family resemblance to the sonnet.<a href="#cite_note-154">[154]</a> The form was adapted by other poets later, including by <a href="/wiki/Mikhail_Lermontov" title="Mikhail Lermontov">Mikhail Lermontov</a> in his narrative of "The Tambov Treasurer's Wife".<a href="#cite_note-155">[155]</a> <div class="mw-heading mw-heading3"><h3 id="Slovenian">Slovenian</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=26" title="Edit section: Slovenian">edit</a>]</div> In Slovenia the sonnet became a national verse form, using <a href="/wiki/Iambic_pentameter" title="Iambic pentameter">iambic pentameter</a> with <a href="/wiki/Feminine_rhyme" class="mw-redirect" title="Feminine rhyme">feminine rhymes</a>, based both on the Italian endecasillabo and German iambic pentameter.<a href="#cite_note-156">[156]</a> The greatest Slovenian poet, <a href="/wiki/France_Pre%C5%A1eren" title="France Prešeren">France Prešeren</a>,<a href="#cite_note-157">[157]</a> wrote several sonnet sequences from 1831 onwards and is particularly known for his <a href="/wiki/Crown_of_sonnets" title="Crown of sonnets">crown of sonnets</a>, Sonetni venec (<a href="/wiki/A_Wreath_of_Sonnets" title="A Wreath of Sonnets">A Wreath of Sonnets</a>).<a href="#cite_note-158">[158]</a> Many later poets followed him in using the sonnet form. After the <a href="/wiki/Second_World_War" class="mw-redirect" title="Second World War">Second World War</a>, Slovenian poets wrote both traditional rhymed sonnets and <a href="/wiki/Postmodern_literature" title="Postmodern literature">postmodern</a> ones, unrhymed and in free verse. Among such writers are <a href="/wiki/Milan_Jesih" title="Milan Jesih">Milan Jesih</a><a href="#cite_note-159">[159]</a> and <a href="/wiki/Ale%C5%A1_Debeljak" title="Aleš Debeljak">Aleš Debeljak</a>. <div class="mw-heading mw-heading2"><h2 id="Celtic_languages">Celtic languages</h2>[<a href="/w/index.php?title=Sonnet&action=edit&section=27" title="Edit section: Celtic languages">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="In_Irish">In Irish</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=28" title="Edit section: In Irish">edit</a>]</div> <ul><li>See <a href="/wiki/Irish_poetry" title="Irish poetry">Irish poetry</a></li></ul> Although sonnets had long been written in English by poets of Irish heritage such as <a href="/wiki/Sir_Aubrey_de_Vere,_2nd_Baronet" title="Sir Aubrey de Vere, 2nd Baronet">Sir Aubrey de Vere</a>, <a href="/wiki/Oscar_Wilde" title="Oscar Wilde">Oscar Wilde</a>, <a href="/wiki/William_Butler_Yeats" class="mw-redirect" title="William Butler Yeats">William Butler Yeats</a>, <a href="/wiki/Tom_Kettle" title="Tom Kettle">Tom Kettle</a>, and <a href="/wiki/Patrick_Kavanagh" title="Patrick Kavanagh">Patrick Kavanagh</a>, the sonnet form failed to enter <a href="/wiki/Irish_poetry" title="Irish poetry">Irish poetry</a> in the <a href="/wiki/Irish_language" title="Irish language">Irish language</a>. This changed, however, during the <a href="/wiki/Gaelic_revival" title="Gaelic revival">Gaelic revival</a> when Dublin-born <a href="/wiki/Liam_G%C3%B3gan" title="Liam Gógan">Liam Gógan</a> (1891–1979) was dismissed from his post in the <a href="/wiki/National_Museum_of_Ireland" title="National Museum of Ireland">National Museum of Ireland</a> and imprisoned at <a href="/wiki/Frongoch_internment_camp" title="Frongoch internment camp">Frongoch internment camp</a> following the <a href="/wiki/Easter_Rising" title="Easter Rising">Easter Rising</a>. There he became the first poet to write sonnets in the Irish language.<a href="#cite_note-160">[160]</a> In 2009, poet <a href="/wiki/Muiris_Sion%C3%B3id" title="Muiris Sionóid">Muiris Sionóid</a> published a complete translation of <a href="/wiki/William_Shakespeare" title="William Shakespeare">William Shakespeare</a>'s <a href="/wiki/Shakespeare%27s_sonnets" title="Shakespeare's sonnets">154 sonnets</a> into Irish under the title Rotha Mór an Ghrá ("The Great Wheel of Love").<a href="#cite_note-irishpost.com-161">[161]</a> In an article about his translations, Sionóid wrote that Irish poetic forms are completely different from those of other languages and that both the sonnet form and the <a href="/wiki/Iambic_pentameter" title="Iambic pentameter">iambic pentameter</a> line had long been considered "entirely unsuitable" for composing poetry in Irish. In his translations, Soinóid chose to closely reproduce Shakespeare's rhyme scheme and rhythms while rendering into Irish.<a href="#cite_note-162">[162]</a> <div class="mw-heading mw-heading3"><h3 id="In_Welsh">In Welsh</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=29" title="Edit section: In Welsh">edit</a>]</div> <ul><li>See <a href="/wiki/Welsh_poetry" title="Welsh poetry">Welsh poetry</a></li></ul> According to <a href="/wiki/Jan_Morris" title="Jan Morris">Jan Morris</a>, "When Welsh poets speak of <a href="/wiki/Free_Verse" class="mw-redirect" title="Free Verse">Free Verse</a>, they mean forms like the sonnet or the ode, which obey the same rules as <a href="/wiki/English_language" title="English language">English</a> <a href="/wiki/Metre_(poetry)" title="Metre (poetry)">poesy</a>. <a href="/wiki/Cerdd_dafod" title="Cerdd dafod">Strict Metres</a> verse still honours the <a href="/wiki/Cynghanedd" title="Cynghanedd">complex rules</a> laid down for correct poetic composition 600 years ago."<a href="#cite_note-163">[163]</a> Nevertheless, several of the greatest recent <a href="/wiki/Welsh_language" title="Welsh language">Welsh language</a> poets have also written sonnets, including <a href="/wiki/Welsh_nationalism" title="Welsh nationalism">Welsh nationalist</a> and <a href="/wiki/Traditionalist_Catholic" class="mw-redirect" title="Traditionalist Catholic">Traditionalist Catholic</a> poet <a href="/wiki/Saunders_Lewis" title="Saunders Lewis">Saunders Lewis</a><a href="#cite_note-164">[164]</a> and <a href="/wiki/Far-left" class="mw-redirect" title="Far-left">Far-left</a> poet <a href="/wiki/Thomas_Evan_Nicholas" class="mw-redirect" title="Thomas Evan Nicholas">Thomas Evan Nicholas</a>.<a href="#cite_note-165">[165]</a> <div class="mw-heading mw-heading2"><h2 id="Indian_languages">Indian languages</h2>[<a href="/w/index.php?title=Sonnet&action=edit&section=30" title="Edit section: Indian languages">edit</a>]</div> In the Indian subcontinent, sonnets have been written in the <a href="/wiki/Assamese_(language)" class="mw-redirect" title="Assamese (language)">Assamese</a>, <a href="/wiki/Bengali_(language)" class="mw-redirect" title="Bengali (language)">Bengali</a>, <a href="/wiki/Dogri_language" title="Dogri language">Dogri</a>, English, <a href="/wiki/Gujarati_(language)" class="mw-redirect" title="Gujarati (language)">Gujarati</a>, <a href="/wiki/Hindi" title="Hindi">Hindi</a>, <a href="/wiki/Kannada" title="Kannada">Kannada</a>, <a href="/wiki/Kashmiri_language" title="Kashmiri language">Kashmiri</a>, <a href="/wiki/Malayalam" title="Malayalam">Malayalam</a>, Manipuri, <a href="/wiki/Marathi_(language)" class="mw-redirect" title="Marathi (language)">Marathi</a>, <a href="/wiki/Nepali_(language)" class="mw-redirect" title="Nepali (language)">Nepali</a>, <a href="/wiki/Oriya_(language)" class="mw-redirect" title="Oriya (language)">Oriya</a>, <a href="/wiki/Sindhi_(language)" class="mw-redirect" title="Sindhi (language)">Sindhi</a> and <a href="/wiki/Urdu" title="Urdu">Urdu</a> languages.<a href="#cite_note-166">[166]</a> <div class="mw-heading mw-heading3"><h3 id="In_Urdu">In Urdu</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=31" title="Edit section: In Urdu">edit</a>]</div> <a href="/wiki/Urdu" title="Urdu">Urdu</a> poets, also influenced by English and other European poets, took to introducing the sonnet into <a href="/wiki/Urdu_poetry" title="Urdu poetry">Urdu poetry</a> rather late.<a href="#cite_note-167">[167]</a> Azmatullah Khan (1887–1923) is believed to have introduced this format to <a href="/wiki/Urdu_literature" title="Urdu literature">Urdu literature</a> in the very early part of the 20th century. The other renowned Urdu poets who wrote sonnets were Akhtar Junagarhi, <a href="/wiki/Akhtar_Sheerani" title="Akhtar Sheerani">Akhtar Sheerani</a>, <a href="/wiki/Noon_Meem_Rashid" title="Noon Meem Rashid">Noon Meem Rashid</a>, <a href="/wiki/Mehr_Lal_Soni_Zia_Fatehabadi" class="mw-redirect" title="Mehr Lal Soni Zia Fatehabadi">Mehr Lal Soni Zia Fatehabadi</a>, <a href="/wiki/Salaam_Machhalishahari" title="Salaam Machhalishahari">Salaam Machhalishahari</a> and <a href="/wiki/Wazir_Agha" title="Wazir Agha">Wazir Agha</a>.<a href="#cite_note-168">[168]</a> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2>[<a href="/w/index.php?title=Sonnet&action=edit&section=32" title="Edit section: See also">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Sonnet_forms">Sonnet forms</h3>[<a href="/w/index.php?title=Sonnet&action=edit&section=33" title="Edit section: Sonnet forms">edit</a>]</div> <ul><li><a href="/wiki/Caudate_sonnet" title="Caudate sonnet">Caudate sonnet</a></li> <li><a href="/wiki/Crown_of_sonnets" title="Crown of sonnets">Crown of sonnets</a></li> <li><a href="/wiki/Curtal_sonnet" title="Curtal sonnet">Curtal sonnet</a></li> <li><a href="/wiki/Petrarchan_sonnet" title="Petrarchan sonnet">Petrarchan sonnet</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=Sonnet&action=edit&section=34" title="Edit section: References">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.britannica.com/art/sonnet">"Sonnet | Definition, Examples, & Facts | Britannica"</a>. www.britannica.com. Retrieved 27 June 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.britannica.com&rft.atitle=Sonnet+%7C+Definition%2C+Examples%2C+%26+Facts+%7C+Britannica&rft_id=https%3A%2F%2Fwww.britannica.com%2Fart%2Fsonnet&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> Peter Dronke, The Medieval Lyric, Hutchinson University Library, 1968, pp. 151–4. </li> <li id="cite_note-3"><a href="#cite_ref-3">^</a> William Baer (2005), Sonnets: 150 Contemporary Sonnets, University of Evansville Press, pp. 153–154. </li> <li id="cite_note-4"><a href="#cite_ref-4">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://languages.uconn.edu/person/hassanaly-ladha/">"Hassanaly Ladha's profile at University of Connecticut"</a>. 22 January 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Hassanaly+Ladha%27s+profile+at+University+of+Connecticut&rft.date=2016-01-22&rft_id=https%3A%2F%2Flanguages.uconn.edu%2Fperson%2Fhassanaly-ladha%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> <a rel="nofollow" class="external text" href="https://www.tandfonline.com/doi/full/10.1080/10412573.2020.1743523">Ladha, Hassanaly, "From Bayt to Stanza: Arabic Khayāl and the Advent of Italian Vernacular Poetry": Exemplaria: Vol 32, No 1 (tandfonline.com)</a>, p. 17. Retrieved 7 July 2021. </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLadha2020" class="citation journal cs1">Ladha, Hassanaly (2 January 2020). <a rel="nofollow" class="external text" href="https://www.tandfonline.com/doi/full/10.1080/10412573.2020.1743523">"Ladha, p. 15"</a>. Exemplaria. 32 (1): 1–31. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F10412573.2020.1743523">10.1080/10412573.2020.1743523</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:221178512">221178512</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Exemplaria&rft.atitle=Ladha%2C+p.+15.&rft.volume=32&rft.issue=1&rft.pages=1-31&rft.date=2020-01-02&rft_id=info%3Adoi%2F10.1080%2F10412573.2020.1743523&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A221178512%23id-name%3DS2CID&rft.aulast=Ladha&rft.aufirst=Hassanaly&rft_id=https%3A%2F%2Fwww.tandfonline.com%2Fdoi%2Ffull%2F10.1080%2F10412573.2020.1743523&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-7"><a href="#cite_ref-7">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLadha2020" class="citation journal cs1">Ladha, Hassanaly (2 January 2020). <a rel="nofollow" class="external text" href="https://www.tandfonline.com/doi/full/10.1080/10412573.2020.1743523">"Ladha, p. 26, n. 80"</a>. Exemplaria. 32 (1): 1–31. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F10412573.2020.1743523">10.1080/10412573.2020.1743523</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:221178512">221178512</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Exemplaria&rft.atitle=Ladha%2C+p.+26%2C+n.+80.&rft.volume=32&rft.issue=1&rft.pages=1-31&rft.date=2020-01-02&rft_id=info%3Adoi%2F10.1080%2F10412573.2020.1743523&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A221178512%23id-name%3DS2CID&rft.aulast=Ladha&rft.aufirst=Hassanaly&rft_id=https%3A%2F%2Fwww.tandfonline.com%2Fdoi%2Ffull%2F10.1080%2F10412573.2020.1743523&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-8"><a href="#cite_ref-8">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKleinhenz2003" class="citation book cs1">Kleinhenz, Christopher (2003). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=spKxJeHJgTAC&pg=PA1053">Medieval Italy: an encyclopedia, Volume 2, Christopher Kleinhenz</a>. Routledge. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780415939317" title="Special:BookSources/9780415939317"><bdi>9780415939317</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Medieval+Italy%3A+an+encyclopedia%2C+Volume+2%2C+Christopher+Kleinhenz&rft.pub=Routledge&rft.date=2003&rft.isbn=9780415939317&rft.aulast=Kleinhenz&rft.aufirst=Christopher&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DspKxJeHJgTAC%26pg%3DPA1053&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> <a rel="nofollow" class="external text" href="http://www.sonnets.org/folgore.htm">" Of the months"</a>, translated by Dante Gabriel Rossetti, </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.rossettiarchive.org/docs/1-1874.rad.html#p369">"Rossetti Archive"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Rossetti+Archive&rft_id=http%3A%2F%2Fwww.rossettiarchive.org%2Fdocs%2F1-1874.rad.html%23p369&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> <a rel="nofollow" class="external text" href="https://www.poetryintranslation.com/PITBR/Italian/TheNewLife.php">La Vita Nuova (The New Life)</a>, A. S. Kline, Poetry in Translation, 2000–02. </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> <a rel="nofollow" class="external text" href="https://www.poetryintranslation.com/PITBR/Italian/Petrarchhome.php">"Petrarch: The Canzonieri"</a>, A. S. Kline, Poetry in Translation, 2002 </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> "Critical History of the Sonnet", Dublin Review 79 (1876), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=m1YVAQAAIAAJ&dq=Ruckert+%22Geharnischte+Sonette%22&pg=PA418">p. 409.</a> </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> <a href="/wiki/Richard_Chevenix_Trench" class="mw-redirect" title="Richard Chevenix Trench">Richard Chevenix Trench</a>, "The History of the English Sonnet" (London, 1884), <a rel="nofollow" class="external text" href="https://archive.org/details/sonnetswilliamw00wordgoog/page/n13/mode/2up">p. ix.</a> </li> <li id="cite_note-bertoni119-15"><a href="#cite_ref-bertoni119_15-0">^</a> Bertoni, 119. </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.biografiasyvidas.com/biografia/t/torroella.htm">"Pere Torroella"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Pere+Torroella&rft_id=http%3A%2F%2Fwww.biografiasyvidas.com%2Fbiografia%2Ft%2Ftorroella.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTaylorCoroleu2010" class="citation book cs1">Taylor, Barry; Coroleu, Alejandro (11 May 2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=HlYaBwAAQBAJ&dq=pere+seraf%C3%AD+poet&pg=PA160">Barry Taylor, Alejandro Coroleu, Humanism and Christian Letters in Early Modern Iberia (1480–1630)</a>. 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London : Printed for Longman, Hurst, Rees, Orme, and Brown – via Internet Archive.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+River+Duddon+%3A+a+series+of+sonnets+%3A+Vaudracour+and+Julia%3A+and+other+poems.+To+which+is+annexed%2C+a+topographical+description+of+the+country+of+the+lakes%2C+in+the+north+of+England&rft.pub=London+%3A+Printed+for+Longman%2C+Hurst%2C+Rees%2C+Orme%2C+and+Brown&rft.date=1820-04-17&rft.aulast=Wordsworth&rft.aufirst=William&rft_id=http%3A%2F%2Farchive.org%2Fdetails%2Friverduddonserie00word&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-63"><a href="#cite_ref-63">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.wordsworthcentre.co.uk/Cornell/pages/cup_ssip.htm">"Sonnet Series and Itinerary Poems, 1820-1845, by William Wordsworth, ed. Geoffrey Jackson"</a>. www.wordsworthcentre.co.uk.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.wordsworthcentre.co.uk&rft.atitle=Sonnet+Series+and+Itinerary+Poems%2C+1820-1845%2C+by+William+Wordsworth%2C+ed.+Geoffrey+Jackson&rft_id=http%3A%2F%2Fwww.wordsworthcentre.co.uk%2FCornell%2Fpages%2Fcup_ssip.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-64"><a href="#cite_ref-64">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.gutenberg.org/files/47143/47143-h/47143-h.htm">"The Project Gutenberg eBook of The Poetical Works Of William Wordsworth (7 of 8), by William Wordsworth"</a>. www.gutenberg.org.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.gutenberg.org&rft.atitle=The+Project+Gutenberg+eBook+of+The+Poetical+Works+Of+William+Wordsworth+%287+of+8%29%2C+by+William+Wordsworth.&rft_id=https%3A%2F%2Fwww.gutenberg.org%2Ffiles%2F47143%2F47143-h%2F47143-h.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-65"><a href="#cite_ref-65">^</a> Sanderlin 1938, pp.229–35 </li> <li id="cite_note-66"><a href="#cite_ref-66">^</a> Jennifer Ann Wagner, A Moment's Monument: Revisionary Poetics and the Nineteenth-century English Sonnet, Fairleigh Dickinson Univ Press, 1996, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=PZYkimc1bZUC">p.116</a> </li> <li id="cite_note-67"><a href="#cite_ref-67">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.sonnets.org/wordsworth.htm#100">"William Wordsworth"</a>. www.sonnets.org.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.sonnets.org&rft.atitle=William+Wordsworth&rft_id=http%3A%2F%2Fwww.sonnets.org%2Fwordsworth.htm%23100&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-68"><a href="#cite_ref-68">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.sonnets.org/keats.htm#010">"John Keats"</a>. www.sonnets.org.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.sonnets.org&rft.atitle=John+Keats&rft_id=http%3A%2F%2Fwww.sonnets.org%2Fkeats.htm%23010&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-69"><a href="#cite_ref-69">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.poetryfoundation.org/poems/45547/scorn-not-the-sonnet">"Poetry Foundation"</a>. 26 April 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Poetry+Foundation&rft.date=2024-04-26&rft_id=https%3A%2F%2Fwww.poetryfoundation.org%2Fpoems%2F45547%2Fscorn-not-the-sonnet&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-70"><a href="#cite_ref-70">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.bartleby.com/lit-hub/matthew-arnold/austerity-of-poetry/">"Austerity of Poetry"</a>. Collection at Bartleby.com. 16 June 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Collection+at+Bartleby.com&rft.atitle=Austerity+of+Poetry&rft.date=2022-06-16&rft_id=https%3A%2F%2Fwww.bartleby.com%2Flit-hub%2Fmatthew-arnold%2Fausterity-of-poetry%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-71"><a href="#cite_ref-71">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.gutenberg.org/files/2002/2002-h/2002-h.htm">"Sonnets from the Portuguese, by Elizabeth Barrett Browning"</a>. www.gutenberg.org.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.gutenberg.org&rft.atitle=Sonnets+from+the+Portuguese%2C+by+Elizabeth+Barrett+Browning&rft_id=https%3A%2F%2Fwww.gutenberg.org%2Ffiles%2F2002%2F2002-h%2F2002-h.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-72"><a href="#cite_ref-72">^</a> The art of the sonnet, Harvard University Press, 2010, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=WduHxc6iYp4C&dq=nineteenth+century+sonnets&pg=PA1">p.18</a> </li> <li id="cite_note-73"><a href="#cite_ref-73">^</a> Dorothy Mermin, "The Female Poet and the Embarrassed Reader: Elizabeth Barrett Browning's Sonnets From the Portuguese", ELH 48.2 (Johns Hopkins University, 1981), <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/2872976">p.356</a> </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> Google Books, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=MwFdAAAAcAAJ&q=Meredith+%22Modern+Love%22">pp.31–82</a> </li> <li id="cite_note-75"><a href="#cite_ref-75">^</a> Stephen Regan, "The Victorian Sonnet, from George Meredith to Gerard Manley Hopkins", The Yearbook of English Studies 36.2 (2006), <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/20479240?read-now=1&refreqid=excelsior%3A9e88d78a21e98fd8aacfa2cde4abcca1&seq=7#page_scan_tab_contents">p.23</a> </li> <li id="cite_note-76"><a href="#cite_ref-76">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLefroy1922" class="citation web cs1">Lefroy, Edward Cracroft (17 April 1922). <a rel="nofollow" class="external text" href="http://archive.org/details/EchoesFromTheocritvsEdwardCracroftLefroy">"Echoes From Theocritus by Edward Cracroft Lefroy and John Austen"</a> – via Internet Archive.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Echoes+From+Theocritus+by+Edward+Cracroft+Lefroy+and+John+Austen&rft.date=1922-04-17&rft.aulast=Lefroy&rft.aufirst=Edward+Cracroft&rft_id=http%3A%2F%2Farchive.org%2Fdetails%2FEchoesFromTheocritvsEdwardCracroftLefroy&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-77"><a href="#cite_ref-77">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLee-Hamilton1888" class="citation web cs1">Lee-Hamilton, Eugene (17 April 1888). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=J7QwAQAAMAAJ">"Imaginary Sonnets"</a>. E. Stock – via Google Books.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Imaginary+Sonnets&rft.pub=E.+Stock&rft.date=1888-04-17&rft.aulast=Lee-Hamilton&rft.aufirst=Eugene&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DJ7QwAQAAMAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> The Art of the Sonnet, Harvard University 2016, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=WduHxc6iYp4C">Introduction, p.20</a> </li> <li id="cite_note-79"><a href="#cite_ref-79">^</a> Norman White, "Hopkins, Gerard Manley (1844–1889)", Oxford Dictionary of National Biography, Oxford University Press. </li> <li id="cite_note-80"><a href="#cite_ref-80">^</a> Robert E. Bjork, W. H. Auden's "The Secret Agent", ANQ: A Quarterly Journal of Short Articles, Notes and Reviews, <a rel="nofollow" class="external text" href="https://www.tandfonline.com/doi/full/10.1080/0895769X.2020.1833702">8 November, 2020</a> </li> <li id="cite_note-81"><a href="#cite_ref-81">^</a> Julian Scutts, A Defence of Wandering and Poetry (2019), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=5t2rDwAAQBAJ&dq=%22altarwise+by+owl+light%22&pg=PA154">"A critical survey of the linguistic features of Altarwise by Owl-light</a>, pp. 155ff </li> <li id="cite_note-82"><a href="#cite_ref-82">^</a> <a href="/wiki/D._M._Black" class="mw-redirect" title="D. M. Black">D. M. Black</a>, quoted in Agenda 26.2, Summer 1998, p.49 </li> <li id="cite_note-83"><a href="#cite_ref-83">^</a> <a rel="nofollow" class="external text" href="https://waywiser-press.com/product/one-another">The Waywiser Press</a>, revised edition 2002 </li> <li id="cite_note-84"><a href="#cite_ref-84">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.poetryfoundation.org/poems/48462/an-apology-for-the-revival-of-christian-architecture-in-england">"Poetry Foundation"</a>. 26 April 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Poetry+Foundation&rft.date=2024-04-26&rft_id=https%3A%2F%2Fwww.poetryfoundation.org%2Fpoems%2F48462%2Fan-apology-for-the-revival-of-christian-architecture-in-england&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-85"><a href="#cite_ref-85">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.brinkerhoffpoetry.org/poems/glanmore-sonnets">"Seamus Heaney - "Glanmore Sonnets""</a>. www.brinkerhoffpoetry.org.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.brinkerhoffpoetry.org&rft.atitle=Seamus+Heaney+-+%22Glanmore+Sonnets%22&rft_id=https%3A%2F%2Fwww.brinkerhoffpoetry.org%2Fpoems%2Fglanmore-sonnets&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-86"><a href="#cite_ref-86">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFoundation2024" class="citation web cs1">Foundation, Poetry (17 April 2024). <a rel="nofollow" class="external text" href="https://www.poetryfoundation.org/poems/57042/clearances">"Clearances by Seamus Heaney"</a>. Poetry Foundation.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Poetry+Foundation&rft.atitle=Clearances+by+Seamus+Heaney&rft.date=2024-04-17&rft.aulast=Foundation&rft.aufirst=Poetry&rft_id=https%3A%2F%2Fwww.poetryfoundation.org%2Fpoems%2F57042%2Fclearances&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-87"><a href="#cite_ref-87">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBroganZillmanScottLewin2012" class="citation encyclopaedia cs1">Brogan, T.V.F.; Zillman, L.J.; Scott, C.; Lewin, J. (2012). "Sonnet". In <a href="/wiki/Roland_Greene" title="Roland Greene">Greene, Roland</a>; Cushman, Stephen; et al. (eds.). The Princeton Encyclopedia of Poetry and Poetics (Fourth ed.). Princeton, NJ: Princeton University Press. pp. 1318–1321. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-691-13334-8" title="Special:BookSources/978-0-691-13334-8"><bdi>978-0-691-13334-8</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/908736323">908736323</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Sonnet&rft.btitle=The+Princeton+Encyclopedia+of+Poetry+and+Poetics&rft.place=Princeton%2C+NJ&rft.pages=1318-1321&rft.edition=Fourth&rft.pub=Princeton+University+Press&rft.date=2012&rft_id=info%3Aoclcnum%2F908736323&rft.isbn=978-0-691-13334-8&rft.aulast=Brogan&rft.aufirst=T.V.F.&rft.au=Zillman%2C+L.J.&rft.au=Scott%2C+C.&rft.au=Lewin%2C+J.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> (p. 1320) </li> <li id="cite_note-88"><a href="#cite_ref-88">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.sonnets.org/humphreys.htm#001">"Sonnets.org"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Sonnets.org&rft_id=http%3A%2F%2Fwww.sonnets.org%2Fhumphreys.htm%23001&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-ugapress.org-89">^ <a href="#cite_ref-ugapress.org_89-0">a</a> <a href="#cite_ref-ugapress.org_89-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.ugapress.org/book/9780820357645/forms-of-contention/">"Forms of Contention: Influence and the African American Sonnet Tradition"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Forms+of+Contention%3A+Influence+and+the+African+American+Sonnet+Tradition&rft_id=https%3A%2F%2Fwww.ugapress.org%2Fbook%2F9780820357645%2Fforms-of-contention%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-90"><a href="#cite_ref-90">^</a> Lewis Sterner, <a rel="nofollow" class="external text" href="http://www.sonnets.org/sterner.htm">The Sonnet in American Literature (1930)</a> </li> <li id="cite_note-91"><a href="#cite_ref-91">^</a> The book of the sonnet, ed. by Leigh Hunt and S. Adams (1866), p.102 </li> <li id="cite_note-92"><a href="#cite_ref-92">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.online-literature.com/forums/showthread.php?3965-Sonnets-of-Michelangelo">"Online Literature"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Online+Literature&rft_id=http%3A%2F%2Fwww.online-literature.com%2Fforums%2Fshowthread.php%3F3965-Sonnets-of-Michelangelo&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-93"><a href="#cite_ref-93">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.sonnets.org/lazarus.htm">"Emma Lazarus"</a>. www.sonnets.org.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.sonnets.org&rft.atitle=Emma+Lazarus&rft_id=http%3A%2F%2Fwww.sonnets.org%2Flazarus.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-94"><a href="#cite_ref-94">^</a> The Book of the Sonnet, <a rel="nofollow" class="external text" href="https://babel.hathitrust.org/cgi/pt?id=uc1.$b250912&view=1up&seq=11&skin=2021">vol.1</a> and <a rel="nofollow" class="external text" href="https://babel.hathitrust.org/cgi/pt?id=coo.31924064948346&view=1up&seq=16&skin=2021">vol.2</a>, Hathi Trust </li> <li id="cite_note-95"><a href="#cite_ref-95">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/americansonnets00shar/page/n9/mode/2up">"Internet Archive"</a>. 1889.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Internet+Archive&rft.date=1889&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Famericansonnets00shar%2Fpage%2Fn9%2Fmode%2F2up&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-96"><a href="#cite_ref-96">^</a> Representative sonnets by American poets, <a rel="nofollow" class="external text" href="https://babel.hathitrust.org/cgi/pt?id=hvd.32044013711908&view=1up&seq=17&skin=2021">Hathi Trust</a> </li> <li id="cite_note-97"><a href="#cite_ref-97">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://blog.bestamericanpoetry.com/the_best_american_poetry/2019/01/sonnets-and-seeds-by-hollis-robbins.html">"Best American Poetry"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Best+American+Poetry&rft_id=https%3A%2F%2Fblog.bestamericanpoetry.com%2Fthe_best_american_poetry%2F2019%2F01%2Fsonnets-and-seeds-by-hollis-robbins.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-98"><a href="#cite_ref-98">^</a> The Art of the Sonnet, pp. 273-76] </li> <li id="cite_note-99"><a href="#cite_ref-99">^</a> The Art of the Sonnet, pp. 250-52] </li> <li id="cite_note-100"><a href="#cite_ref-100">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMüller2018" class="citation book cs1">Müller, Timo (2018). <a rel="nofollow" class="external text" href="https://mississippi.universitypressscholarship.com/view/10.14325/mississippi/9781496817839.001.0001/upso-9781496817839/">African American Sonnet: A Literary Tradition</a>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.14325%2Fmississippi%2F9781496817839.001.0001">10.14325/mississippi/9781496817839.001.0001</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781496817839" title="Special:BookSources/9781496817839"><bdi>9781496817839</bdi></a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:216967131">216967131</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=African+American+Sonnet%3A+A+Literary+Tradition&rft.date=2018&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A216967131%23id-name%3DS2CID&rft_id=info%3Adoi%2F10.14325%2Fmississippi%2F9781496817839.001.0001&rft.isbn=9781496817839&rft.aulast=M%C3%BCller&rft.aufirst=Timo&rft_id=https%3A%2F%2Fmississippi.universitypressscholarship.com%2Fview%2F10.14325%2Fmississippi%2F9781496817839.001.0001%2Fupso-9781496817839%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-101"><a href="#cite_ref-101">^</a> Jordan D. Finkin, Exile as Home: The Cosmopolitan Poetics of Leyb Naydus, Hebrew Union College Press, 2017, <a rel="nofollow" class="external text" href="https://books.google.co.uk/books?id=3gV-DwAAQBAJ&newbks=1&newbks_redir=0&printsec=frontcover#v=onepage&q&f=false">p. 56</a> </li> <li id="cite_note-102"><a href="#cite_ref-102">^</a> <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Acdw0ZY1dMAC">This Man's Army: A War in Fifty-odd Sonnets</a>, University of South Carolina 2008 </li> <li id="cite_note-103"><a href="#cite_ref-103">^</a> Dana Gioia, <a rel="nofollow" class="external text" href="https://danagioia.com/essays/reviews-and-authors-notes/the-obscurity-of-john-allan-wyeth">"The Obscurity of John Allan Wyeth"</a> (2008) </li> <li id="cite_note-104"><a href="#cite_ref-104">^</a> <a href="/wiki/Dana_Gioia" title="Dana Gioia">Dana Gioia</a>, John Allan Wyeth: Soldier Poet, <a href="/wiki/St_Austin_Review" class="mw-redirect" title="St Austin Review">St Austin Review</a>, March/April 2020, p.5. </li> <li id="cite_note-105"><a href="#cite_ref-105">^</a> An H.P. Lovecraft Encyclopedia, Greenwood Publishing Group 2001, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Myawoc_PbF4C&dq=petrarchan+%22fungi+from+yuggoth%22&pg=PA95">p.93</a> </li> <li id="cite_note-106"><a href="#cite_ref-106">^</a> Jim Moon, "The internal continuity of Lovecraft’s Fungi from Yuggoth", in H.P. Lovecraft: Selected Works, Critical Perspectives and Interviews, McFarland, 2018, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=syJgDwAAQBAJ&q=rhyme&pg=PT253">p.245</a> </li> <li id="cite_note-107"><a href="#cite_ref-107">^</a> S. T. Joshi's introduction to An Epicure in the Terrible: A Centennial Anthology of Essays in Honor of H.P. Lovecraft, Fairleigh Dickinson Univ Press, 1991 , <a rel="nofollow" class="external text" href="https://books.google.com/books?id=S3oH_VdH3BcC&dq=rhyme+%22fungi+from+yuggoth%22&pg=PA36">p.37</a> </li> <li id="cite_note-108"><a href="#cite_ref-108">^</a> Geoffrey Reiter, "'Alone Before Eternity': A Review of H. P. Lovecraft’s Fungi from Yuggoth", <a rel="nofollow" class="external text" href="https://christandpopculture.com/alone-eternity-review-h-p-lovecrafts-fungi-yuggoth">Christ and Pop Culture, 27 June 2017</a> </li> <li id="cite_note-109"><a href="#cite_ref-109">^</a> April Bernard, "Berryman's Sonnets", <a rel="nofollow" class="external text" href="https://www.poetryfoundation.org/harriet-books/2014/06/berrymans-sonnets">Poetry Foundation</a> </li> <li id="cite_note-110"><a href="#cite_ref-110">^</a> Berrigan's talk at the Poetry Project Workshop, <a rel="nofollow" class="external text" href="https://www.2009-2019.poetryproject.org/wp-content/uploads/v2-ted-berrigan.pdf">27 February 1979</a> </li> <li id="cite_note-111"><a href="#cite_ref-111">^</a> Timothy Henry, "Time And Time Again": The Strategy of Simultaneity in Ted Berrigan's The Sonnets", <a rel="nofollow" class="external text" href="http://jacketmagazine.com/40/henry-berrigan.shtml">Jacket 40, 2010</a> </li> <li id="cite_note-112"><a href="#cite_ref-112">^</a> <a rel="nofollow" class="external text" href="https://www.poetryfoundation.org/poets/robert-lowell">"Robert Lowell 1917–1977"</a>, Poetry Foundation </li> <li id="cite_note-113"><a href="#cite_ref-113">^</a> Malcolm Ross, Introduction, Poets of the Confederation (Toronto: McClelland and Stewart, 1960), vii–xii </li> <li id="cite_note-114"><a href="#cite_ref-114">^</a> See <a rel="nofollow" class="external text" href="http://www.ruor.uottawa.ca/en/handle/10393/20354">Ricochet: Word Sonnets / Sonnets d'un mot</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20131029201325/http://www.ruor.uottawa.ca/en/handle/10393/20354">Archived</a> 29 October 2013 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, by Seymour Mayne, French translation: <a href="https://fr.wikipedia.org/wiki/Sabine_Huynh" class="extiw" title="fr:Sabine Huynh">Sabine Huynh</a>, University of Ottawa Press, 2011. </li> <li id="cite_note-115"><a href="#cite_ref-115">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFErich_Schmidt1885" class="citation cs2 cs1-prop-foreign-lang-source">Erich Schmidt (1885), <a rel="nofollow" class="external text" href="https://daten.digitale-sammlungen.de/bsb00008379/images/index.html?seite=295">"Melissus, Paul Schede"</a>, <a href="/wiki/Allgemeine_Deutsche_Biographie" title="Allgemeine Deutsche Biographie">Allgemeine Deutsche Biographie</a> (in German), vol. 21, Leipzig: Duncker & Humblot, pp. 293–297</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Melissus%2C+Paul+Schede&rft.btitle=Allgemeine+Deutsche+Biographie&rft.place=Leipzig&rft.pages=293-297&rft.pub=Duncker+%26+Humblot&rft.date=1885&rft.au=Erich+Schmidt&rft_id=https%3A%2F%2Fdaten.digitale-sammlungen.de%2Fbsb00008379%2Fimages%2Findex.html%3Fseite%3D295&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-116"><a href="#cite_ref-116">^</a> Michael Haldane, <a rel="nofollow" class="external text" href="https://www.michaelhaldane.com/Opitz.htm">"Martin Opitz, Father of German Poetry: Translation and the Sonnet"</a>, 2005 </li> <li id="cite_note-117"><a href="#cite_ref-117">^</a> David Young's introduction to his translation of Sonnets to Orpheus, Wesleyan University, 1987, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=yh90bNsI5wkC">p.xv</a> </li> <li id="cite_note-118"><a href="#cite_ref-118">^</a> Charlie Louth, "Die Sonnette an Orpheus", in <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Gb_1DwAAQBAJ">Rilke, The Life of the Work</a>, OUP 2020, pp.455–509 </li> <li id="cite_note-119"><a href="#cite_ref-119">^</a> ”Critical History of the Sonnet", Dublin Review 79 (1876), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=m1YVAQAAIAAJ&dq=Ruckert+%22Geharnischte+Sonette%22&pg=PA418">p. 418</a> </li> <li id="cite_note-Patrick_Bridgwater_1985_page_97-120"><a href="#cite_ref-Patrick_Bridgwater_1985_page_97_120-0">^</a> Patrick Bridgwater (1985), The German Poets of the First World War, page 97. </li> <li id="cite_note-121"><a href="#cite_ref-121">^</a> Bridgwater (1985), The German Poets of the First World War, p. 96. </li> <li id="cite_note-122"><a href="#cite_ref-122">^</a> Harold B. Segel, The Baroque Poem, New York, 1974, pp.268–9 </li> <li id="cite_note-123"><a href="#cite_ref-123">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.bartleby.com/342/222.html">"Pieter Corneliszoon Hooft (1581–1647), "To Hugo Grotius""</a>. 4 October 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Pieter+Corneliszoon+Hooft+%281581%E2%80%931647%29%2C+%22To+Hugo+Grotius%22&rft.date=2022-10-04&rft_id=http%3A%2F%2Fwww.bartleby.com%2F342%2F222.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-124"><a href="#cite_ref-124">^</a> Reinder P. 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V. Zornytskyi, <a rel="nofollow" class="external text" href="http://eprints.zu.edu.ua/16246/1/THE%20YIDDISH%20SONNETS.pdf">"The Yiddish sonnets of M. Freed"</a> </li> <li id="cite_note-143"><a href="#cite_ref-143">^</a> <a rel="nofollow" class="external text" href="https://congressforjewishculture.org/people/4839/Hesheles-Yirmye-February-27-1910-October-16-2010">The Congress for Jewish Culture Lexicon</a> </li> <li id="cite_note-144"><a href="#cite_ref-144">^</a> Jordan Finkin, "To organize beauty: the sonnets of Mani Leyb", <a rel="nofollow" class="external text" href="https://go.gale.com/ps/i.do?id=GALE%7CA428175302&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=02719274&p=LitRC&sw=w&userGroupName=anon%7E6c63b88&aty=open-web-entry">Studies in American Jewish Literature 34.1</a>, Spring 2015 </li> <li id="cite_note-145"><a href="#cite_ref-145">^</a> <a rel="nofollow" class="external text" href="https://congressforjewishculture.org/people/7039/Ustri-Dan-Yeshayahu-Oystriak-Austridan-December-23-1911-1992">The Congress for Jewish Culture Lexicon</a> </li> <li id="cite_note-146"><a href="#cite_ref-146">^</a> <a rel="nofollow" class="external text" href="https://congressforjewishculture.org/people/4130/Toybish-Yankev-Shmuel-Jacob-Samuel-Taubes-August-13-1898-February-2-1975">The Congress for Jewish Culture Lexicon</a> </li> <li id="cite_note-147"><a href="#cite_ref-147">^</a> <a rel="nofollow" class="external text" href="https://congressforjewishculture.org/people/594/Roytman-Shloyme-February-1-1913-January-15-1985">The Congress for Jewish Culture Lexicon</a> </li> <li id="cite_note-148"><a href="#cite_ref-148">^</a> Here the poet used a pun on the word sláva (fame) and the general name for Slavic nations, suggesting that the Slavs are predestined to heroic deeds and great fame among the nations. </li> <li id="cite_note-149"><a href="#cite_ref-149">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://zlatyfond.sme.sk/dielo/142/Kollar_Slavy-dcera/6">"Full text at Slovak digital library"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Full+text+at+Slovak+digital+library&rft_id=http%3A%2F%2Fzlatyfond.sme.sk%2Fdielo%2F142%2FKollar_Slavy-dcera%2F6&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-150"><a href="#cite_ref-150">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHanus" class="citation journal cs1">Hanus, Ondřej. <a rel="nofollow" class="external text" href="https://www.academia.edu/1804495">"Český sonet v první polovině 20. Století (Czech Sonnet in the First Half of the Twentieth Century)"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=%C4%8Cesk%C3%BD+sonet+v+prvn%C3%AD+polovin%C4%9B+20.+Stolet%C3%AD+%28Czech+Sonnet+in+the+First+Half+of+the+Twentieth+Century%29&rft.aulast=Hanus&rft.aufirst=Ond%C5%99ej&rft_id=https%3A%2F%2Fwww.academia.edu%2F1804495&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> <code class="cs1-code">{{<a href="/wiki/Template:Cite_journal" title="Template:Cite journal">cite journal</a>}}</code>: Cite journal requires <code class="cs1-code">|journal=</code> (<a href="/wiki/Help:CS1_errors#missing_periodical" title="Help:CS1 errors">help</a>) </li> <li id="cite_note-151"><a href="#cite_ref-151">^</a> Lucylla Pszczołowska, Wiersz polski. zarys historyczny, Wrocław 1997, p.95 (In Polish). </li> <li id="cite_note-152"><a href="#cite_ref-152">^</a> Mirosława Hanusiewicz, Świat podzielony. O poezji Sebastiana Grabowieckiego, Lublin 1994, p. 133 (In Polish). </li> <li id="cite_note-153"><a href="#cite_ref-153">^</a> Edna W. Underwood (translator), <a rel="nofollow" class="external text" href="https://www.gutenberg.org/files/27069/27069-h/27069-h.htm">"Sonnets from the Crimea</a> by Adam Mickiewicz", Paul Elder and Company, San Francisco (1917) </li> <li id="cite_note-154"><a href="#cite_ref-154">^</a> A. D. P. Briggs, Alexander Pushkin: A Critical Study, Rowman & Littlefield, 1983, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=pngV3Ff2EBcC&dq=%22Onegin+sonnet%22&pg=PA192">pp.191–5</a> </li> <li id="cite_note-155"><a href="#cite_ref-155">^</a> Michael Wachtel, The Development of Russian Verse: Meter and Its Meanings, CUP 1998, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=EPuAI-tHo48C&dq=Lermontov+%22Onegin+stanza%22&pg=PA144">p.144</a> </li> <li id="cite_note-156"><a href="#cite_ref-156">^</a> Boris A. Novac, <a rel="nofollow" class="external text" href="https://OJSAdmin,+1-en-PKn-2005-3-1.pdf">"Kosovel, a great poet but a poor prosodist" p. 142</a> </li> <li id="cite_note-157"><a href="#cite_ref-157">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.britannica.com/biography/France-Preseren">"Biography at Encyclopædia Britannica"</a>. 2 April 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Biography+at+Encyclop%C3%A6dia+Britannica&rft.date=2024-04-02&rft_id=https%3A%2F%2Fwww.britannica.com%2Fbiography%2FFrance-Preseren&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-158"><a href="#cite_ref-158">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.preseren.net/ang/3_poezije/76_sonetni_venec-01.asp">"English Translation on-line"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=English+Translation+on-line&rft_id=http%3A%2F%2Fwww.preseren.net%2Fang%2F3_poezije%2F76_sonetni_venec-01.asp&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-159"><a href="#cite_ref-159">^</a> David Bandel, <a rel="nofollow" class="external text" href="https://litteraeslovenicae.si/wp-content/uploads/spremna-beseda-jesih.pdf">"The Mystery of the Subject"</a> </li> <li id="cite_note-160"><a href="#cite_ref-160">^</a> Leabhar na hAthghabhála, Poems of Repossession, ed. by <a href="/wiki/Louis_de_Paor" title="Louis de Paor">Louis de Paor</a> (Bloodaxe Books), p. 40. </li> <li id="cite_note-irishpost.com-161"><a href="#cite_ref-irishpost.com_161-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAudley2018" class="citation news cs1">Audley, Fiona (14 March 2018). <a rel="nofollow" class="external text" href="https://www.irishpost.com/life-style/shakespeares-work-translated-irish-sounds-amazing-151497">"Shakespeare's work has been translated into Irish – and it sounds amazing"</a>. <a href="/wiki/The_Irish_Post" title="The Irish Post">The Irish Post</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Irish+Post&rft.atitle=Shakespeare%27s+work+has+been+translated+into+Irish+%E2%80%93+and+it+sounds+amazing&rft.date=2018-03-14&rft.aulast=Audley&rft.aufirst=Fiona&rft_id=https%3A%2F%2Fwww.irishpost.com%2Flife-style%2Fshakespeares-work-translated-irish-sounds-amazing-151497&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> <li id="cite_note-162"><a href="#cite_ref-162">^</a> Sionóid, Muiris, <a rel="nofollow" class="external text" href="https://www.shakespeare.org.uk/explore-shakespeare/blogs/aistriú-na-soinéad-go-gaeilge-saothar-grá-translating-sonnets-irish-labour-love/">"Aistriú na Soinéad go Gaeilge: Saothar Grá! Translating the Sonnets to Irish: A Labour of Love"</a>, shakespeare.org. </li> <li id="cite_note-163"><a href="#cite_ref-163">^</a> Morris, Jan (1984), The Matter of Wales: Epic Views of a Small Country, <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>, p. 152. </li> <li id="cite_note-164"><a href="#cite_ref-164">^</a> Translated by Joseph P. Clancy (1993), Saunders Lewis: Selected Poems, <a href="/wiki/University_of_Wales" title="University of Wales">University of Wales</a> Press, pp. ix-x. </li> <li id="cite_note-165"><a href="#cite_ref-165">^</a> <a rel="nofollow" class="external text" href="https://www.library.wales/discover/digital-gallery/manuscripts/modern-period/t-e-nicholas#?c=&m=&s=&cv=&xywh=-63%2C-1635%2C2973%2C5728">Canu'r carchar: The Prison Sonnets of T. E. Nicholas</a>, <a href="/wiki/National_Library_of_Wales" title="National Library of Wales">National Library of Wales</a>. </li> <li id="cite_note-166"><a href="#cite_ref-166">^</a> The Encyclopaedia of Indian Literature (Volume Five), 1992, pp. 4140–4146 <a rel="nofollow" class="external free" href="https://books.google.com/books?isbn=8126012218">https://books.google.com/books?isbn=8126012218</a> </li> <li id="cite_note-167"><a href="#cite_ref-167">^</a> Encyclopedic Dictionary of Urdu literature, 2007, p. 565 <a rel="nofollow" class="external free" href="https://books.google.com/books?isbn=8182201918">https://books.google.com/books?isbn=8182201918</a> </li> <li id="cite_note-168"><a href="#cite_ref-168">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSani1979" class="citation book cs1">Sani, Zarina (1979). Budha Darakhat. New Delhi: Bazm – e – Seemab. p. 99. <a href="/wiki/OL_(identifier)" class="mw-redirect" title="OL (identifier)">OL</a> <a rel="nofollow" class="external text" href="https://openlibrary.org/books/OL24596004M">24596004M</a>. <q>Akhtar Junagarhi kaa sonnet ghaaliban 1914 kaa hai- Rashid kaa 1930 kaa aur Akhtar Sheerani ne andaazan 1933 se 1942 tak sonnet likhe- isii dauraan 1934 se 1936 tak Zia Fatehabadi ne bhi keii sonnet likhe (Akhtar Junagarhi's sonnet is from the year 1914. Rashid's sonnet is of 1930 and Akhtar Sheerani wrote sonnets between 1932 and 1942. During the period of 1932 to 1936, Zia Fatehabadi also wrote many sonnets)</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Budha+Darakhat&rft.place=New+Delhi&rft.pages=99&rft.pub=Bazm+%E2%80%93+e+%E2%80%93+Seemab&rft.date=1979&rft_id=https%3A%2F%2Fopenlibrary.org%2Fbooks%2FOL24596004M%23id-name%3DOL&rft.aulast=Sani&rft.aufirst=Zarina&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASonnet" class="Z3988"> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2>[<a href="/w/index.php?title=Sonnet&action=edit&section=35" title="Edit section: Further reading">edit</a>]</div> <ul><li>I. Bell, et al. A Companion to Shakespeare's Sonnets. <a href="/wiki/Blackwell_Publishing" class="mw-redirect" title="Blackwell Publishing">Blackwell Publishing</a>, 2006. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-4051-2155-6" title="Special:BookSources/1-4051-2155-6">1-4051-2155-6</a>.</li> <li>Burt, Stephen (now Stephanie) and Mikics, David. <a rel="nofollow" class="external text" href="https://books.google.co.uk/books?id=WduHxc6iYp4C&pg=PA250&source=gbs_toc_r&cad=1#v=onepage&q&f=false">The Art of the Sonnet</a>, <a href="/wiki/The_Belknap_Press" class="mw-redirect" title="The Belknap Press">The Belknap Press</a>, 2010. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-674-04814-0" title="Special:BookSources/978-0-674-04814-0">978-0-674-04814-0</a>.</li> <li>T. W. H. Crosland. The English Sonnet. Hesperides Press, 2006. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-4067-9691-3" title="Special:BookSources/1-4067-9691-3">1-4067-9691-3</a>.</li> <li>Paula R. Feldman and Daniel Robinson, A Century of Sonnets: The Romantic Era Revival, 1750-1850. Oxford University Press, 1999. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-511561-9" title="Special:BookSources/0-19-511561-9">0-19-511561-9</a>.</li> <li>J. Fuller. The Oxford Book of Sonnets. <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>, 2002. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-280389-1" title="Special:BookSources/0-19-280389-1">0-19-280389-1</a>.</li> <li>J. Fuller. The Sonnet. (The Critical Idiom: #26). Methuen & Co., 1972. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-416-65690-0" title="Special:BookSources/0-416-65690-0">0-416-65690-0</a>.</li> <li>U. Hennigfeld. Der ruinierte Körper: Petrarkistische Sonette in transkultureller Perspektive. Königshausen & Neumann, 2008. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-8260-3768-9" title="Special:BookSources/978-3-8260-3768-9">978-3-8260-3768-9</a>.</li> <li>J. Hollander. Sonnets: From Dante to the Present. Everyman's Library, 2001. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-375-41177-1" title="Special:BookSources/0-375-41177-1">0-375-41177-1</a>.</li> <li>P. Levin. The Penguin Book of the Sonnet: 500 Years of a Classic Tradition in English. Penguin, 2001. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-14-058929-5" title="Special:BookSources/0-14-058929-5">0-14-058929-5</a>.</li> <li>T. Müller. The African American Sonnet: A Literary History. University Press of Mississippi, 2018. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1496817839" title="Special:BookSources/978-1496817839">978-1496817839</a></li> <li>J. Phelan. The Nineteenth Century Sonnet. <a href="/wiki/Palgrave_Macmillan" title="Palgrave Macmillan">Palgrave Macmillan</a>, 2005. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-4039-3804-0" title="Special:BookSources/1-4039-3804-0">1-4039-3804-0</a>.</li> <li>S. Regan. The Sonnet. Oxford University Press, 2006. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-289307-6" title="Special:BookSources/0-19-289307-6">0-19-289307-6</a>.</li> <li>H. Robbins. Forms of Contention: Influence and the African American Sonnet Tradition. University of Georgia Press, 2020. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780820357645" title="Special:BookSources/9780820357645">9780820357645</a>.</li> <li>John Rutherford, The Spanish Golden Age Sonnet. University of Wales Press, 2016. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781783168989" title="Special:BookSources/9781783168989">9781783168989</a>, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1783168986" title="Special:BookSources/1783168986">1783168986</a>.</li> <li>William Sharp, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=KLQvAQAAMAAJ">Sonnets of this Century</a>, London 1887.</li> <li>M. R. G. Spiller. The Development of the Sonnet: An Introduction. Routledge, 1992. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-415-08741-4" title="Special:BookSources/0-415-08741-4">0-415-08741-4</a>.</li> <li>M. R. G. Spiller. The Sonnet Sequence: A Study of Its Strategies. Twayne Pub., 1997. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8057-0970-3" title="Special:BookSources/0-8057-0970-3">0-8057-0970-3</a>.</li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=Sonnet&action=edit&section=36" title="Edit section: External links">edit</a>]</div> <ul><li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20080807155745/http://www.bostonpoetry.com/66/">Sixty-Six: The Journal of Sonnet Studies</a></li> <li><a rel="nofollow" class="external text" href="https://www.bbc.co.uk/programmes/p00547gy">BBC discussion on "The Sonnet".</a> Radio 4 programme In our time. (Audio, 45 minutes)</li> <li><a rel="nofollow" class="external text" href="http://www.poets.org/poetsorg/poems?field_form_tid=424">List of Sonnets</a> at <a href="/wiki/Poets.org" class="mw-redirect" title="Poets.org">Poets.org</a></li> <li><a rel="nofollow" class="external text" href="https://www.poetryfoundation.org/learn/glossary-terms/sonnet">"Sonnet" defined in "Glossary of Poetic Terms"</a> from the Poetry Foundation</li></ul> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output 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colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Poetic_forms" title="Template:Poetic forms"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Poetic_forms" title="Template talk:Poetic forms"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Poetic_forms" title="Special:EditPage/Template:Poetic forms"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Poetic_forms" style="font-size:114%;margin:0 4em"><a href="/wiki/Poetic_form" class="mw-redirect" title="Poetic form">Poetic forms</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Stanza" title="Stanza">Stanzas</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Alcaic_stanza" title="Alcaic stanza">Alcaic stanza</a></li> <li><a href="/wiki/Ballad_stanza" title="Ballad stanza">Ballad stanza</a></li> <li><a href="/wiki/Biolet" class="mw-redirect" title="Biolet">Biolet</a></li> <li><a href="/wiki/Burns_stanza" title="Burns stanza">Burns stanza</a></li> <li><a href="/wiki/Chaubola" title="Chaubola">Chaubola</a></li> <li><a href="/wiki/Cinquain" title="Cinquain">Cinquain</a></li> <li><a href="/wiki/Couplet" title="Couplet">Couplet</a></li> <li><a href="/wiki/Ghazal" title="Ghazal">Ghazal</a></li> <li><a href="/wiki/Quatorzain" title="Quatorzain">Quatorzain</a></li> <li><a href="/wiki/Quatrain" title="Quatrain">Quatrain</a></li> <li><a href="/wiki/Quintain_(poetry)" title="Quintain (poetry)">Quintain</a></li> <li><a href="/wiki/Rhyme_royal" title="Rhyme royal">Rhyme royal</a></li> <li><a href="/wiki/Sapphic_stanza" title="Sapphic stanza">Sapphic stanza</a></li> <li><a href="/wiki/Sestain" title="Sestain">Sestain</a></li> <li><a href="/wiki/Sestet" title="Sestet">Sestet</a></li> <li><a class="mw-selflink selflink">Sonnet</a></li> <li><a href="/wiki/Tail_rhyme" title="Tail rhyme">Tail rhyme</a></li> <li><a href="/wiki/Tercet" title="Tercet">Tercet</a></li> <li><a href="/wiki/Triolet" title="Triolet">Triolet</a></li> <li><a href="/wiki/Terza_rima" title="Terza rima">Terza rima</a></li> <li><a href="/wiki/Verse_paragraph" title="Verse paragraph">Verse paragraph</a></li> <li><a href="/wiki/Villanelle" title="Villanelle">Villanelle</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Rhyme" title="Rhyme">Rhymes</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Alliteration" title="Alliteration">Alliteration</a></li> <li><a href="/wiki/Assonance" title="Assonance">Assonance</a></li> <li><a href="/wiki/Broken_rhyme" title="Broken rhyme">Broken rhyme</a></li> <li><a href="/wiki/Literary_consonance" title="Literary consonance">Consonance</a></li> <li><a href="/w/index.php?title=Cross_rhyme&action=edit&redlink=1" class="new" title="Cross rhyme (page does not exist)">Cross rhyme</a></li> <li>Forced/Oblique</li> <li><a href="/wiki/Perfect_and_imperfect_rhymes" title="Perfect and imperfect rhymes">Perfect and imperfect rhymes</a></li> <li><a href="/wiki/Holorime" title="Holorime">Holorime</a></li> <li>Imperfect/Near</li> <li><a href="/wiki/Internal_rhyme" title="Internal rhyme">Internal rhyme</a> <ul><li><a href="/wiki/Off-centered_rhyme" title="Off-centered rhyme">Off-centered rhyme</a></li></ul></li> <li><a href="/wiki/Monorhyme" title="Monorhyme">Monorhyme</a></li> <li><a href="/wiki/Pararhyme" title="Pararhyme">Pararhyme</a></li> <li><a href="/wiki/Perfect_rhyme" class="mw-redirect" title="Perfect rhyme">Perfect rhyme</a></li> <li><a href="/wiki/Rhyme_scheme" title="Rhyme scheme">Rhyme scheme</a></li> <li>Semirhyme</li> <li><a href="/wiki/Syllable_rhyme" class="mw-redirect" title="Syllable rhyme">Syllabic</a></li> <li>Weak/Unaccented</li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1038841319"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1038841319"></div><div role="navigation" class="navbox authority-control" 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