Another Sonnet for Stephen
By Alvin Lester Sitomer
___I see a little boy of four or five_A_
Analyzing the Building Blocks of a Sonnet:
1. (1) Number the lines on the blanks provided (remember,
in a sonnet there should be _____ lines).
2. (1) Put a box around the quatrains.
___Whose face lights up whenever we would play_ B_
___Who made me feel it’s great to be alive_ A _
___And wish that time would never tick away___
___I see a college youth who goes to Penn, ___
___Strong and handsome, smart in mind and dress, ___
___Enthusiastic, kind, who scores a “ten,” ___
___Possessing every trait that spells success. ___
___I see the man who came from both those boys___
3. (1) Put a double box around the couplet.
4. (14)Remember that iambic pentameter identifies the
rhythm. It is evidenced by an unstressed syllable followed
by a stressed syllable (see the first to lines—bold is stressed,
no bold is unstressed). Using your pencil bold and mark off
couples with boxes. Make sure there are 5 couples in each
line.
Ex: I see
___Creating business plans and paths to wealth___
a lit
Whose face
tle boy
of four
lights up
whenev
or five
er we
would play
___With nonchalance, with skill and unique poise___
___While fighting back attackers of his health. ___
___The boy, the youth, the man are each now gone, ___
___Except that in my heart they linger on. ___
5. (1) Identify the rhyme scheme by writing the letter on the
left hand side of the line. For each new rhyme use a new
letter. The first few have been done for you.
6. (5) Identify SOAPS
a. Subject—the general topic, content and ideas in the poem:
__________________________________________________________________________________________
b. Occasion—The time and place of the poem. Try to understand the context that encouraged the poem to be
written.
__________________________________________________________________________________________
c. Audience—To whom is the poem written?
__________________________________________________________________________________________
d. Purpose—What is the reason behind the writing of the poem?
__________________________________________________________________________________________
e. Speaker—What can you say about the voice speaking the poem?
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
7. (2) Identify the theme of the poem
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
8. (2) Is the theme contradicted or expanded in the sestet? Explain your response.
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
Carmichael English IV: The English Renaissance: Sonnets
Page 1 of 12
William Shakespeare
Sonnets Unit
Actor
Poet
Dramatist
 The writer of 8884,647 words & 118,406 lines.
 The Oxford English Dictionary attributes all of the bold faced
words below (and some 500 more to Shakespeare
From the spectacled pedant to the schoolboy, all gentlefolk recognize Shakespeare as a fathomless fount of
coinages. The honey-tongued Bard had no rival, nor could he sate his never-ending addiction to madcap, flowery
(or foul-mouthed!) neologisms. Even time-honored exposure cannot besmirch our amazement at the countless and
useful words that lend radiance to our lackluster lives. All in a day’s work! (see page 236—read and then complete
the activity—you can use your vocabulary phrases to help you!)
Motifs in Shakespeare’s sonnets (from Norton):
1-17
addressed to young man; he urges the young man to marry and reproduce
18-126
poet expresses his love for the young man, problems poet has with young man, “rival poets”;
themes include brevity of life, the destructive power of time, and the power of love and poetry
127-154
addressed to or about “dark lady” who is alluring but destructive—she is the object of desire as
well as a rival poet; the young man also seems to be involved with “dark lady”
Figures: poet speaker (Shakespeare?), a younger male aristocrat, a so-called “Dark Lady,” a rival poet.
Composition: Mid-1590s-1609
Sonnet Group Work Assignment—DUE by the end of class ___________________—presentations will
start ________________ (Participation TPP: 100 points; Group project TPP 100 points; TPP 200 points)
Each Group Must Complete the Following: (see back for details)
1. A personal analysis
2. A critical article from a database.
3. Design and present creative poster that shows the poem’s theme or significance
4. A dramatic reading
Everyone in the group must actively participate in each step of this process.
 Steps one, two, and three are preparation steps. Always analyze the poem first. If you don’t analyze the poem
you will never be able to capture the rest.
 Remember with the article you must summarize and actually apply it to your analysis. Printing off an article alone
is not acceptable. Connect it to your analysis.
 The poster must be creative and expressive. In other words, simply writing the sonnet in the middle and drawing
hearts around it is not acceptable. Capture the theme. The best posters have more IMAGES than WORDS, but
also have captions to explain those images. Posters need titles. Don’t use the title of the sonnet—be creative.
 Dividing up the sonnet for the dramatic reason is a requirement. One person cannot do it alone. Decide which
lines each person is going to do and where to split the line. Remember to identify the iambic pentameter so your
reading captures the rhythm. Extra credit will be given to groups that memorize their lines to recite.
Carmichael English IV: The English Renaissance: Sonnets
Page 2 of 12
1. A personal analysis: (20 points)
 EVERY group member must fill out the analysis worksheet for themselves; you may work together, but it should
be in YOUR OWN WORDS
2. A Critical article from a database. (15 points)
 I will rotate the groups in to the computer to find the article over the next few days. You will each have
approximately ½ a class period to look in class. If you do not find an article in class, it is your responsibility to find
one at home.
 Gale Databases—can be accessed through the school library webpage: password: clem79777
 www.ncwiseowl.org>>high school zone>>research: Password: wiseowl
3. Poster will be graded by the following rubric. It should be creative and colorful. Just printing pictures is not acceptable.
Be creative in other ways. (25 points)
5
4
3
2
Several of the graphics used
on the poster reflect a
exceptional degree of
student creativity in their
creation and/or display.
One or two of the graphics
used on the poster reflect
student creativity in their
creation and/or display.
The graphics are made by
the student, but are based
on the designs or ideas of
others.
No graphics made by
the student are
included.
4
3
2
1
Graphics Relevance
All graphics are related to the
topic and make it easier to
understand. All borrowed
graphics have a source
citation.
All graphics are related to
the topic and most make it
easier to understand. All
borrowed graphics have a
source citation.
All graphics relate to the
topic. Most borrowed
graphics have a source
citation.
Graphics do not relate
to the topic OR several
borrowed graphics do
not have a source
citation.
Labels
All items of importance on
the poster are clearly labeled
with labels that can be read
from at least 3 ft. away.
Almost all items of
importance on the poster
are clearly labeled with
labels that can be read from
at least 3 ft. away.
Several items of importance Labels are too small to
on the poster are clearly
view OR no important
labeled with labels that can items were labeled.
be read from at least 3 ft.
away.
CATEGORY
Graphics Originality
CATEGORY
Attractiveness The poster is exceptionally
The poster is attractive in
The poster is acceptably
terms of design, layout and attractive though it may be
neatness.
a bit messy.
The poster is
distractingly messy or
very poorly designed. It
is not attractive.
Title
Title can be read from 6 ft.
away and is quite creative.
Title can be read from 6 ft. Title can be read from 4 ft.
away and describes content away and describes the
well.
content well.
The title is too small
and/or does not
describe the content of
the poster well.
Knowledge
Gained
Student can accurately
answer all questions related
to facts in the poster and
processes used to create the
poster.
Student can accurately
answer most questions
related to facts in the poster
and processes used to
create the poster.
Student appears to
have insufficient
knowledge about the
facts or processes used
in the poster.
attractive in terms of design,
layout, and neatness.
Student can accurately
answer about 75% of
questions related to facts in
the poster and processes
used to create the poster.
4. Dramatic Reading: *Memorizing lines will result in extra credit!* (20 points)
 Step 1: Analyze the poem carefully. Identify the stressed and unstressed syllables so you are sure to express the
poem’s rhythm.
 Step 2: divide up the parts; most of your groups have 4 people. One way would be quatrain, quatrain, quatrain,
couplet and the person who does the couplet can be responsible for presenting explaining the poem afterward.
 Step 3: Act. DRAMATIC is the key. Just standing up and monotonously reading is no fun! The speaker should use
hand motions and emotions!
 Step 4: Practice!! Practice!! Practice!!
On presentation day you should follow this outline: Presentation (20 points)
1. Dramatic reading of the poem
2. Explain the poem’s theme and your group’s interpretation as you display the poster
3. Explain and summarize your critical article.
4. Ask for questions.
Carmichael English IV: The English Renaissance: Sonnets
Page 3 of 12
Personal Analysis Worksheet
1.Which sonnet number were you assigned ______________. What motif does it encompass? ______________
__________________________________________________________________________________________
2. Number the lines of the sonnet (remember, in a sonnet there should be _____ lines).
3. Put a box around each quatrain.
4. Put a double box around the couplet.
5. Remember that iambic pentameter identifies the rhythm. It is evidenced by an unstressed syllable followed by
a stressed syllable (see the first to lines—bold is stressed, no bold is unstressed). Using your pencil bold and
mark off couples with boxes. Make sure there are 5 couples in each line.
Ex: I see
a lit
Whose face
tle boy
lights up
of four
whenev
or five
er we
would play
6. Identify the rhyme scheme by writing the letter on the left hand side of the line. For each new rhyme use a
new letter.
7. Circle the volta, or turn of the poem.
8. Identify SOAPS
a. Subject—the general topic, content and ideas in the poem:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
b. Occasion—The time and place of the poem. Try to understand the context that encouraged the poem to be
written.
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
c. Audience—To whom is the poem written?
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
d. Purpose—What is the reason behind the writing of the poem?
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
e. Speaker—What can you say about the voice speaking the poem?
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
9. Identify the theme of the poem
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
Carmichael English IV: The English Renaissance: Sonnets
Page 4 of 12
10. Is the theme contradicted or confirmed in the couplet? Explain your response.
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
11. Identify at least 2 other types of figurative language (i.e. Imagery, Metaphor, Similes, Onomatopoeia,
Hyperbole, etc):
1.
2.
12. Title of critical article:____________________________________________________________________
Author of critical article: __________________________________________________________________
Source:________________________________________________________________________________
13. Provide a brief summary of the article.
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
14. Explain your opinion of the article. Do you agree or disagree with the claims? Explain.
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
Carmichael English IV: The English Renaissance: Sonnets
Page 5 of 12
On presentation day you should follow this outline:--complete the outline to turn in. You only have to have one
per group, but you all may want it so you know what your role is. Presentation (20 points) **MAKE SURE YOU
HAVE A BACK UP PLAN!!! IF SOMEONE IS ABSENT, YOU STILL MUST PRESENT!!
1. Dramatic reading of the poem
a. Explain how you plan to make it dramatic (ex. Make it into a song/rap; add music (no words); act it out; hand
motions etc.) ______________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
b. List who is reading what lines:
line #s ___________:group member: _________________
line #s ___________:group member: _________________
line #s ___________:group member: _________________
line #s ___________:group member: _________________
2. Explain the poem’s theme and your group’s interpretation as you display the poster: Group member responsible:
________________________
a. Theme/Main idea of the poem (include the motif!):
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
b. Explanation of poem and how it relates to the theme:
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
3. Explain and summarize your critical article. Group member responsible: ____________________________________
a. Main points of critical article include (must have at least 3):
i. _________________________________________________________________________________
__________________________________________________________________________________
ii. ________________________________________________________________________________
__________________________________________________________________________________
iii. ________________________________________________________________________________
__________________________________________________________________________________
b. Explain your opinion of the article in light of your own interpretation (agree/disagree and why)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
4. Ask for questions
5. Thank your audience
Carmichael English IV: The English Renaissance: Sonnets
Page 6 of 12
Sonnet 73
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang.
In me thou seest the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire
Sonnet 73 Modern English Version
You may see that time of year in me when few,
or no, yellow leaves hang on those branches that
shiver in the cold bare ruins of the choir stalls
where sweet birds sang so recently. You see, in
me, the twilight of a day, after the sun has set in
the west, extinguished by the black night that
imitates Death, which closes everything in rest.
You see in me the glowing embers that are all
that is left of the fire of my youth - the deathbed
on which youth must inevitably die, consumed
by the life that once fed it. This is something you
can see, and it gives your love the strength
deeply to love that which you have to lose soon.
Consumed with that which it was nourish'd by.
This thou perceivest, which makes thy love more strong,
To love that well which thou must leave ere long.
Sonnet 12
When I do count the clock that tells the time,
And see the brave day sunk in hideous night;
When I behold the violet past prime,
And sable curls, all silvered o'er with white;
When lofty trees I see barren of leaves,
Which erst from heat did canopy the herd,
And summer's green all girded up in sheaves,
Borne on the bier with white and bristly beard,
Then of thy beauty do I question make,
That thou among the wastes of time must go,
Since sweets and beauties do themselves forsake
And die as fast as they see others grow;
And nothing 'gainst Time's scythe can make defence
Sonnet 12 Modern English Version
When I count the chimes of the clock and
watch the bright day sunken into terrifying
night; when I see violets fading, and black curls
all silvered over with white; when I see tall
trees which previously offered shade to sheep
and cattle but now with no leaves; and the
green crops of summer tied up in harvested
sheaves covered with scratchy dried out leaves,
carried away on a wagon; then I begin to think
about the endurance of your beauty and that
you will have to decline and decay like
everything else, because sweet and beautiful
things lose their sweetness and beauty and die
while watching new sweet and beautiful things
taking their place. The only defence against
Time's scythe is to defy him when he takes you
away, by having children.
Save breed, to brave him when he takes thee hence.
Carmichael English IV: The English Renaissance: Sonnets
Page 7 of 12
Sonnet 18
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 dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
Sonnet 18: Translation to modern English
Shall I compare you to a summer's day? You
are more lovely and more moderate: Harsh
winds disturb the delicate buds of May, and
summer doesn't last long enough. Sometimes
the sun is too hot, and its golden face is often
dimmed by clouds. All beautiful things
eventually become less beautiful, either by the
experiences of life or by the passing of time.
But your eternal beauty won't fade, nor lose any
of its quality. And you will never die, as you
will live on in my enduring poetry. As long as
there are people still alive to read poems this
sonnet will live, and you will live in it.
When in eternal lines to time thou growest:
So long as men can breathe or eyes can see,
So long lives this and this gives life to thee.
Sonnet 29
When in disgrace with fortune and men's eyes
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man's art, and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts my self almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
Sonnet 29: Translation to modern English
When my luck has failed and no-one gives
me any sympathy, I sit all alone and cry
about being an outcast, and bother the deaf
ears of heaven with my useless cries; and
examine myself and curse my fate, wishing
that I was like someone with good prospects;
or that I looked like another, or had friends
like yet another, coveting this man's skill,
and that man's range - totally dissatisfied
with the things I usually enjoy. Yet, as I'm
thinking these thoughts, almost believing
myself despicable, I think of you by chance
and then my soul, like the lark rising from
the glum earth at daybreak, sings hymns at
heaven's gate. Because when I remember
your sweet love, the thought brings such
wealth that I'd then refuse to change places
with kings.
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings
Carmichael English IV: The English Renaissance: Sonnets
Page 8 of 12
Sonnet 116
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O, no! it is an ever-fixed mark,
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
Sonnet 116: Translation to modern English
I would not admit that anything could
interfere with the union of two people who
love each other. Love that alters with
changing circumstances is not love, nor if it
bends from its firm state when someone tries
to destroy it. Oh no, it's an eternally fixed
point that watches storms but is never itself
shaken by them. It is the star by which every
lost ship can be guided: one can calculate it's
distance but not gauge its quality. Love
doesn't depend on Time, although the rosy lips
and cheeks of youth eventually come within
the compass of Time's sickle. Love doesn't
alter as the days and weeks go by but endures
until death. If I'm wrong about this then I've
never written anything and no man has ever
loved.
If this be error and upon me proved,
I never writ, nor no man ever loved.
Sonnet 130
My mistress' eyes are nothing like the sun;
Coral is far more red, than her lips red:
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound:
I grant I never saw a goddess go,
Sonnet 130: Translation to modern English
My mistress' eyes are nothing like the sun; coral is
far more than her lips are. If snow is white, all I can
say is that her breasts are a brownish grey colour. If
hairs can be compared with wires then black hairs
grow on her head. I know what pink, red and white
roses look like but I don't see any roses in her
cheeks. And there's more pleasure in some
perfumes than there is in my mistress' reeking
breath! I love her voice although I know that music
is more pleasing to the ear. I admit I've never seen a
goddess walking; when my mistress walks she
treads firmly on the ground. And yet, by heaven, I
think that my love is as unique as any woman who
is the subject of a romantic poem.
My mistress, when she walks, treads on the ground:
And yet by heaven, I think my love as rare,
As any she belied with false compare.
Carmichael English IV: The English Renaissance: Sonnets
Page 9 of 12
Sonnet 138
When my love swears that she is made of truth,
I do believe her though I know she lies,
That she might think me some untutored youth,
Unlearned in the world's false subtleties.
Thus vainly thinking that she thinks me young,
Although she knows my days are past the best,
Simply I credit her false-speaking tongue:
On both sides thus is simple truth suppressed:
But wherefore says she not she is unjust?
And wherefore say not I that I am old?
Sonnet 138: Translation to modern English
When my mistress swears that she speaks nothing but
the truth I believe her so that she will think that I'm a
naïve youth, ignorant of the complex ways of the
world - even though I know she's lying. So, to satisfy
my vanity, I believe that she regards me as young,
even though she knows that my best days are behind
me. I agree with her lies without reservation. And so
we're both concealing the truth from each other. But
why does she insist on her lies? And why don't I insist
that I'm old? Oh, it's best for lovers to pretend to trust
each other; and older lovers don't like having their age
pointed out. So I lie with her and she lies with me,
and both being imperfect, we flatter each other with
our lies.
O! love's best habit is in seeming trust,
And age in love, loves not to have years told:
Therefore I lie with her, and she with me,
And in our faults by lies we flattered be.
Sonnet 144
Two loves I have of comfort and despair,
Which like two spirits do suggest me still:
The better angel is a man right fair,
The worser spirit a woman coloured ill.
To win me soon to hell, my female evil,
Tempteth my better angel from my side,
And would corrupt my saint to be a devil,
Wooing his purity with her foul pride.
And whether that my angel be turned fiend,
Suspect I may, yet not directly tell;
But being both from me, both to each friend,
Sonnet 144: Translation to modern English
I love two people: one brings me comfort, the other
despair. Like two angels, they're always suggesting
things to me. The good angel is a fair-haired man;
the bad one is a dark complexioned woman. To
take me swiftly into hell, my evil female tempts my
good angel away from me, trying to turn him into a
devil, corrupting him with her evil self-assurance.
And whether that angel has indeed turned into a
fiend is something I suspect but can't be sure about.
But since they are both away from me and friends
with each other I'm guessing that one angel is
inside the other's hell. I'll never know, though, and
I'll live in doubt until my bad angel shoots my good
one out of hell.
I guess one angel in another's hell:
Yet this shall I ne'er know, but live in doubt,
Till my bad angel fire my good one out
Carmichael English IV: The English Renaissance: Sonnets
Page 10 of 12
SONNET GROUP NAME: ___________________________________________________________________
CATEGORY 4
Enthusiasm
Facial expressions and body
language generate a strong
interest and enthusiasm
about the topic in others.
More than just reading; a truly
dramatic representation.
Preparedness Student is completely
prepared and has obviously
rehearsed.
3
2
1
Facial expressions and
body language sometimes
generate a strong interest
and enthusiasm about the
topic in others. Somewhat
dramatic
Facial expressions and
body language are used to
try to generate enthusiasm,
but seem somewhat faked.
A touch of dramatics
Very little use of facial
expressions or body
language. Did not
generate much interest in
topic being presented.
Just reading
Student seems pretty
prepared but might have
needed a couple more
rehearsals.
The student is somewhat
Student does not seem at
prepared, but it is clear that all prepared to present.
rehearsal was lacking.
Speaks
Clearly
Speaks clearly and distinctly
all (100-95%) the time, and
mispronounces no words.
Speaks clearly and distinctly Speaks clearly and
all (100-95%) the time, but distinctly most ( 94-85%) of
mispronounces one word.
the time. Mispronounces no
more than one word.
Often mumbles or can not
be understood OR
mispronounces more than
one word.
Stays on
Topic
Stays on topic all (100%) of
the time.
Stays on topic most (9990%) of the time.
Stays on topic some (89%- It was hard to tell what
75%) of the time.
the topic was.
Evaluates
Peers
Fills out peer evaluation
completely and always gives
scores based on the
presentation rather than other
factors (e.g., person is a
close friend).
Fills out almost all of the
peer evaluation and always
gives scores based on the
presentation rather than
other factors (e.g., person is
a close friend).
Fills out most of the peer
Fills out most of the peer
evaluation and always gives evaluation but scoring
scores based on the
appears to be biased.
presentation rather than
other factors (e.g., person is
a close friend).
Student Name:
Total Score:
Below, you should write your FINAL COPY of your sonnet. I would suggest drafting it on a separate sheet, because part of the grade
is neatness. Check the rubric on the back for how you will be graded  Good luck! I’m excited to read what you come up with!!
_________________________________ Title
_____________________________________________________________________________________(1) A
_____________________________________________________________________________________(2) B
_____________________________________________________________________________________(3) A
_____________________________________________________________________________________(4) B
_____________________________________________________________________________________(5) C
_____________________________________________________________________________________(6) D
_____________________________________________________________________________________(7) C
_____________________________________________________________________________________(8) D
_____________________________________________________________________________________(9) E
____________________________________________________________________________________(10) F
____________________________________________________________________________________(11) E
____________________________________________________________________________________(12) F
volta_________________________________________________________________________________(13)
G
____________________________________________________________________________________(14) G
Carmichael English IV: The English Renaissance: Sonnets
Page 11 of 12
Checklist Rubric:
____/2 Title that represents the sonnet as a whole or the theme of the sonnet
____/7 All fourteen lines have been attempted
____/7 ten syllables per line with an ATTEMPT at iambic pentameter (10 syllables is the most
important— you may use slang to help achieve this if you need to)
____/7 rhyme scheme
____/5 a clearly identifiable theme
____/2 volta (turn) clearly identifiable
____/5 neatness/grammar and mechanics
TOTAL
____/35 points
Staple your anticipation (theme/person tribute) to the poem and turn it in by -__________ for
full credit. This will be included as a part of your sonnet quiz grade. If you really spend time
with it, you will do very well. Good luck!
Carmichael English IV: The English Renaissance: Sonnets
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