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Please, see below. Hope the given content will help you in writing a sonnet.
Step-by-step explanation:
The sonnet is a type of poem that has been a part of the literary repertoire since the thirteenth century. Sonnets can communicate a sundry of details contained within a single thought, mood, or feeling, typically culminating in the last lines. For example: “How do I love thee? Let me count the ways.” This famed opening of Elizabeth Barrett Browning’s “Sonnet 43” resonates as perhaps the most famous single line of sonnet poetry.
The word “sonnet” stems from the Italian word “sonetto,” which itself derives from “suono” (meaning “a sound”). The sonnet form was developed by Italian poet Giacomo da Lentini in the early thirteenth century. Many Italians of the time period wrote sonnets, including Michelangelo and Dante Alighieri. However, the most famous Renaissance Italian poet of sonnets was Petrarch. As such, Italian Renaissance sonnets are typically called “Petrarchan sonnets.”
The format created by Giacomo da Lentini and perfected by Petrarch was adapted by the English poets of the Elizabethan age. These poets included Elizabeth Barrett Browning, John Donne, and the master of the English sonnet, William Shakespeare. So synonymous is Shakespeare with the sonnet format that English sonnets are frequently referred to as “Shakespearean sonnets.”
A sonnet consists of 14 lines. Shakespearean sonnets are typically governed by the following rules:
*The 14 lines are divided into four subgroups
*The first three subgroups have four lines each, which makes them “quatrains,” with the second and fourth lines of each group containing rhyming words
*The sonnet then concludes with a two-line subgroup, and these two lines rhyme with each other
*There are typically ten syllables per line.
A rhyme scheme is the rhyming sequence or arrangement of sounds at the end of each line of poetry. It is typically represented by using letters to demonstrate which lines rhyme with which.
For example:
Roses are red—A
Violets are blue—B
Sugar is sweet—C
And so are you—B
A Shakespearean sonnet employs the following rhyme scheme across its 14 lines—which, again, are broken up into three quatrains plus a two-line coda:
ABAB CDCD EFEF GG
Each of the fourteen lines of a Shakespearean sonnet is written in “iambic pentameter.” This means a line contains five iambs—two syllable pairs in which the second syllable is emphasized.
As an example, consider the opening line of Shakespeare’s “Sonnet 130”:
My mistress’ eyes are nothing like the sun
With proper iambic emphasis, the line would be read aloud in the following way:
My mistress’ eyes are nothing like the sun
Shakespeare was such a master of iambic pentameter that he even seamlessly inserted it into dramatic action. Consider Juliet’s line in Romeo and Juliet:
“But, soft! / What light / through yon / der win / dow breaks?”
There are 4 primary types of sonnets:
*Petrarchan
*Shakespearean
*Spenserian
*Miltonic
Some of the most iconic examples of sonnets in the English language are familiar to most—perhaps not in full, but a line or two at the very least.
Shakespeare’s “Sonnet 18” may contain the most famous opening line in all of poetry:
Shall I compare thee to a summer’s day? Thou art more lovely and more temperate. Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date. Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And every fair from fair sometime declines, By chance, or nature’s changing course, untrimmed; But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st, Nor shall death brag thou wand’rest in his shade, When in eternal lines to Time thou grow’st. So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.
Sonnets still exist in the contemporary age. These poems bridge classic forms with contemporary themes and a post-modern approach to artistic structure. Wanda Coleman (1946-2013) published a collection called American Sonnets, including this piece:
The gates of mercy slammed on the right foot. they would not permit return and bent a wing. there was no choice but to learn to boogaloo. those horrid days were not without their pleasure, learning to swear and wearing mock leather so tight eyes bulged, a stolen puff or two behind crack-broken backs and tickled palms in hallways dark, flirtations during choir practice as the body organized itself against the will (a mystic gone ballistic, not home but blood on the range) as one descended on this effed-up breeding hole of greeds—to suffer chronic seeings.
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