Fourteen-Line Stanza: Sonnet
A sonnet is a moment's monument,—
Memorial from the Soul's eternity
To one dead deathless hour. Look that it be,
Whether for lustral rite or dire portent,
Of its own arduous fulness reverent:
Carve it in ivory or in ebony,
As Day or Night may rule, and let Time see
Its flowering crest impearled and orient.
A sonnet is a coin: its face reveals
The soul,—its converse, to what Power 'tis due:—
Whether for tribute to the august appeals
Of Life, or dower in Love's high retinue,
It serve; or, 'mid the dark wharf's cavernous breath,
In Charon's palm it pay the toll to Death.
Dante Gabriel Rosetti.
The sonnet is a world, where feelings caught
In webs of phantasy, combine and fuse
Their kindred elements 'neath mystic dews
Shed from the ether round man's dwelling wrought;
Distilling heart's content, star-fragrance fraught
With influences from breathing fires
Of heaven in everlasting endless gyres
Enfolding and encircling orbs of thought.
John Addington Symonds.
A sonnet is a wave of melody:
From heaving waters of the impassioned soul
A billow of tidal music one and whole
Flows, in the "octave"; then, returning free,
Its ebbing surges in the "sestet" roll
Back to the deeps of Life's tumultuous sea.
Theodore Watts-Dunton.
It is the pure white diamond Dante brought
To Beatrice; the sapphire Laura wore
When Petrarch cut it sparkling out of thought;
The ruby Shakespeare hewed from his heart's core;
The dark, deep emerald that Rossetti wrought
For his own soul, to wear for evermore.
Eugene Lee-Hamilton.[60]
The only English stanza that can be said to rival the Spenserian in artistic merit is the sonnet: but the two are for very different purposes, the one being nearly always used in long, clearly connected series, generally narrative, the other nearly always as an independent poem. Even when sonnets are written in 'sequences,' the relation of the individual sonnets to each other is rarely very close; the unity of the whole sequence (as in Rossetti's House of Life, for example, or Mrs. Browning's Sonnets from the Portuguese) is one merely of general tone and subject. Some of Shakespeare's sonnets are bound together by an intimate unity like stanzas of one poem; others are completely detached. Occasionally a poem is composed of three or four sonnet-stanzas, as Leigh Hunt's The Fish, the Man, and the Spirit, but even then each sonnet remains an independent whole.
The word 'sonnet,' borrowed with the metrical form from Italy in the late sixteenth century,[61] was at first used loosely for almost any short poem on love not obviously a 'song'; but soon the term became restricted to a poem of fourteen 5-stress iambic lines arranged according to one of two definite rime schemes or their modifications. These two rime schemes are the original Italian abba abba cde cde and the English abab cdcd efef gg.
Italian Sonnet. The organization of the subject matter of an Italian sonnet is (at least theoretically) as fixed as that of the rimes. The whole should aim to convey without irrelevant detail a single thought or feeling. The first quatrain, abba, should introduce the subject; the second, abba, should develop it to a certain point, at which a pause occurs; such is the octave. The sestet continues in the first tercet, cde, the thought or feeling in a new direction or from a new point of view, and in the second, cde, brings it to a full conclusion.[62] The rime sounds of the octave and those of the sestet should be harmonious but not closely similar.
It stands to reason that very few poets have enslaved themselves to such an imperious master without assuming certain liberties. Very few sonnets of any poetic value can be found conforming strictly to all these requirements. But the general purport of the formal division may be seen in Christina Rossetti's poignant "Remember"—