Literacy Design Collaborative Informational/Explanatory Module
LOVE, GENDER, and POETRY
Module Title: Comparison of literary devices in the poetry.
Module Description (overview):
Students will learn that poetry is a form that many have chosen to express their thoughts, feelings, and ideas above love; much of
the world literature is inspired by love. In this module, students will understand the intent of the poets when they ask us to feel
what they are feeling, see what they are seeing, and then reflect on our own experiences. Students will analyze and evaluate the
effect of the poetic devices. Students will learn to identify, analyze, and evaluate figurative language and sound effects in sonnets.
Students will compare two sonnets, and as writers, students will produce sonnets using the sonnets read in class as models.
Template Task (include number, type, level)
Task 23 Template (Informational or
Explanatory/Comparison L1, L2, L3): [Insert
essential question] After reading (literature or
informational texts), write a/an (essay, report,
or substitute) that compares (content).
LDC Informational/Explanatory 04.20.11
Teaching Task
Task 23 Template (Informational or Explanatory/Comparison L1): E. Q: How
do poets use literary advices to convey meaning? After reading two sonnets
write an essay that compares how each poet uses literary devices to create
meaning.
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Grade(s)/Level: 10
Discipline: ELA
Course: English II
Author(s): R. Somalingam
Contact information: rsomalingam@philasd.org
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Section 1: What Task?
What task sets clear, measurable goals for learning?
A. Template task (include number, type, level and prompt):
Insert the LDC template task you selected exactly as it is worded.
Task 23 Template (Informational or Explanatory/Comparison L1): E. Q: How do poets use literary devices to convey
meaning? After reading two sonnets write an essay that compares how each poet uses literary devices to create meaning.
B. Standards: The CCR Anchor Standards from the common core standards are already identified by the
Literacy Design Collaborative for all Informational/Explanatory tasks.
Number
CCR Anchor Standards for Reading (Informational or Explanatory)
1
Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual
evidence when writing or speaking to support conclusions drawn from the test.
2
Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and
ideas.
7
Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as
in words.
9
Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the
approaches the authors take.
10
Read and comprehend complex literary and informational texts independently and proficiently.
Number
CCR Anchor Standards for Writing (Informational or Explanatory
2
Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately
through the effective selection, organization, and analysis of content.
4
Produce clear and coherent writing in which the development, organization, and style are appropriate to task,
purpose, and audience.
8
Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source,
and integrate the information while avoiding plagiarism.
10
Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a
single sitting or a Period or two) for a range of tasks, purposes, and audience.
Content Standards: Insert appropriate content standards as defined by your state/district.
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Number
3.10.D. Literary Devices: Evaluate the
significance of various literary devices in
various genre, and explain their appeal.
• Sound (alliteration, onomatopoeia,
rhyme
scheme, consonance, assonance);
• Form (ballad, sonnet, heroic
couplets);
• Figurative language personification,
metaphor, simile, hyperbole,
symbolism); and Dramatic structure.
1.5.10.B. Content: Develop content
appropriate for the topic.
• Gather, organize, and determine
validity and reliability of information.
• Employ the most effective format for
purpose and audience.
• Incorporate specialized vocabulary for
topic and audience
• Write fully developed paragraphs that
have details and information specific to
the topic and relevant to the focus.
Content Standard(s)
CC.9-10.L.5.a Vocabulary Acquisition and Use: Interpret figures of speech (e.g.,
satire, sarcasm) in context and analyze their role in the text.
CC.9-10.W.4 Production and Distribution of Writing: Produce clear and coherent
writing in which the development, organization, and style are appropriate to task,
purpose, and audience.
Content Standards Source:
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C. Teaching Task: Design your teaching task. Fill in the blanks with the appropriate items.
Background:
Students will read the “Shakespearean Sonnet Overview” and “Origin and Development of the Sonnet” for background
information.
Next, Students will read, “Shall I Compare Thee To A Summer’s Day” by Shakespeare and analyze its use of poetic devices.
Finally, they will read, “Sonnet XXX Of FATAL INTERVIEW” Edna St. Vincent Millay.
Students will compare and contrast the poetic devices, including imagery, figurative language, and the sounds of in the two
sonnets.
Prompt: After reading two sonnets, write an essay that compares how the two poets use poetic devices
to convey their intent.
Texts:
1. Origin and Development of the Sonnet (Informational Text)
2. The Shakespearean Sonnet: Overview (Informational Text)
3. Sonnet: Shall I Compare Thee To A Summer’s Day, by Shakespeare (Holt Elements of Literature Anthology.)
4. Sonnet XXX Of Fatal Interview, by Edna St. Vincent Millay.
Extension (optional):
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LDC Informational or Explanatory Rubric for Teaching Task
ADVANCED
Focus
Reading/Research
Controlling Idea
Development
Organization
Conventions
Focus
Reading/Research
Controlling Idea
Development
Organization
Conventions
Focus
Reading/Research
Controlling Idea
Development
Organization
Conventions
Addresses all aspects of prompt with a highly focused and detailed response.
Accurately presents and applies information relevant to prompt with effective selection of sources and details. L2
Addresses the credibility of sources with sound reasoning.
Establishes a controlling idea that clearly states the purpose and/or addresses the task’s question.
Presents detailed information in order to examine and convey complex topic/s or issue/s; answer question/s or solve/s
problems; identifies important theme/s or feature/s; concisely explains key information with relevant details; synthesizes
or connects relevant points among sources or information. Identifies trend(s) in research to clarify topic and assesses any
conclusions, implications, and consequences. *L2 Discusses in detail implication(s) relevant to the topic or issue. L3
Identifies and explains one or more significant gaps or unanswered questions about the topic.
Applies an effective structure: e.g. explain, examine, describe, define, analyze, synthesize, compare, or explain cause/effect,
problem/solution.
Demonstrates a well-developed command of standard English conventions and cohesion; employs language and tone
appropriate to audience and purpose. (Bibliography has few errors and is in correct format.)
MEETS EXPECTATIONS
Addresses prompt with a focused response.
Presents and applies information relevant to prompt with general accuracy and sufficient detail. L2 Addresses the
credibility of sources with sound reasoning.
Establishes a controlling idea that sets the stage for the composition; on task and addresses the task’s question.
Presents sufficient information in order to examine topic/s or issue/s, answer question/s or solve problem/s; identifies
theme/s or feature/s; explains key information with sufficient detail; synthesizes or connects points among sources or
information. *L2 Discusses relevant implications to topic. L3 Identifies a gap or unanswered question.
Applies a generally effective structure to explain, examine, define, analyze, synthesize, compare, or explain cause/effect, or
problem/solution.
Demonstrates a command of standard English conventions and cohesion; employs language and tone appropriate to
audience and purpose. (Bibliography has few errors; is in correct format.)
NOT YET
Attempts to address prompt, but lacks focus or is off-task.
Attempts to present information relevant to task but may lack sufficient or relevant details. L2 Attempts to address the
credibility of sources but lacks sound reasoning.
Controlling idea is weak; is not on task or does not address task’s question.
Tends to retell rather than synthesize information with sufficient detail in order to examine topics or issues, answer
questions, or solve problems; attempts or fails to explain key elements. *L2 Does not discuss implications. L3 Does not
identify a relevant gap or unanswered question.
Applies an ineffective structure; rambles or line of thought is disconnected.
Demonstrates a weak command of standard English conventions; lacks cohesion; language and tone are inappropriate to
audience and purpose. (Bibliography has several errors or is not in correct format.)
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Section 2: What Skills?
What skills do students need to succeed on the teaching task?
Each module is required to identify the specific student skills, define them, and cluster them. The prototype below shows one way to do that.
Module builders can use this version, change it, or create a different skill list, different definitions, and different clusters using the chart.
Skills Cluster 1: Preparing for the Task
1. Bridging Conversation
2. Task analysis
3. Project planning
Ability to connect the task and new content to existing knowledge, skills, experiences, interests, and
concerns.
Ability to understand prompt and rubric.
Ability to plan to produce a product and work through incremental steps.
Skills Cluster 2: Reading Process
1. Active Reading 1 & 2
Ability to read texts explicitly; to analyze texts for specific purposes; to summarize; to draw evidence
from a relevant source.
2. Essential vocabulary
Ability to identify and explain archaic words; recognize and define idioms
3. 2. Active Reading
Ability to analyze how figurative language is used in poetry
L2 analyze sound effects in poetry
L3 Analyze imagery and theme in poetry
L4 Analyze form and structure in poetry
4. Planning
Ability to plan and organize to complete task on time.
Skills Cluster 3: Transition to Writing
1. Bridging Conversation
2. Project planning
Ability to prepare for composing process.
Ability to plan to complete task on time.
Skills Cluster 4: Writing Process
1. Write an Opening
Ability to write an opening that includes controlling idea, context for composition, and lead in to
development.
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2. Development
3. Revision
4. Editing
Ability to construct an initial draft with an emerging line of thought and structure.
Ability to apply revision strategies to refine development of argument, including line of thought,
language usage, and tone as appropriate to audience and purpose.
Ability to apply editing strategies and presentation applications.
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Section 3: Instruction for Informational/Explanatory Tasks
How will teachers teach students to succeed on the teaching task?
This is an LDC prototype instructional ladder for informational/explanatory tasks. Keep this prototype or revise to fit your task as necessary into clusters and skills with minitasks, scoring guides, instructional strategies, and products.
LDC Skills
Mini Tasks
What skills do students need to succeed on the teaching task?
What incremental tasks will teachers give students so they can learn each skill?
Pre-Module
Read the poem “I Am
Read and share
offering This Poem,” by
Brainstorm poetry ideas on
Jimmy Santiago Baca.
the board.
Identify and explain what
Pair students to discuss and
literary devices Baca uses
list differences between a
through his poem to convey
traditional poem and a free
his intent?
verse poem.
Introduce/Review literary
devices.
Pacing
Ladder Skill Steps
Scoring Guide
Read the following:
1. Origin and Development of
the Sonnet (Informational
Text)
2. The Shakespearean
Sonnet: Overview
(Informational Text)
Period 1
1.
2.
Bridging Conversation
Task Analysis
Mini-task
In a quick write, write your
first reaction to the task
prompt.
In a group brainstorm a list of
comparisons you might use
to describe how it feels to be
loved. Discuss what aspect
or quality of love each
comparison communicates.
Instructional Strategies:
Discuss in detail the reading
strategies that apply to
reading poetry and
informational text.
Skills Cluster 1: Classroom Pre-Instruction
No scoring
Class discussion/response to
prompt
Deconstruct professional
models
Deconstruct prompt for cues
Deconstruct rubric
Share examples of type of
poems students will produce.
Product
Write a free-verse poem
Annotated plan & response
to question
Create a plan for
accomplishing this task.
Include a schedule with
annotations specifying
activities. What is your goal?
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Ability to plan, write, and
complete task on time.
Skills Cluster 2: Reading Process
Period 2
Reading Materials
Read Sonnet #1 (assigned).
.
Model reading the sonnet for
the class.
Provide direct instruction or
guide through a close reading
if needed to work through a
key phrase most students
missed.
Period 2-4
Active Reading 1
Teach structure of sonnet.
Ability to analyze form and
structure.
Model paraphrasing.
L3. Identify the central point
and supporting elements.
L3. Analyze figurative
language.
In groups of 4, have student.
Paraphrase poems (Provide
templates). Present
paraphrasing.
Answers question with
credible response
Discussion –based strategies.
Replace archaic words each
word with its modern
equivalent.
Short response
First read with archaic words
and then with the modern
ones.
Model and have students
analyze sonnets: subject,
structure, and fig. language.
Provide templates.
Invite students to brainstorm
ways to figure out authors’
intent.
Invite students to share/
discuss their answers. Allow
students to add to their
entries
Active Reading
Sonnet #2
Project planning
Analyze author’s purpose.
Which part of the text shows
you that?
Write a sonnet
Include elements of the
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Have student share
responses/help each other
when appropriate.
Discuss in detail the reading
material, type of writing, the
structure, and the rubric.
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sonnet form.
Distribute sonnet template.
May include humor.
Brainstorm topic of choice.
Create a project timeline:
compare-contrast essay.
Check understanding - have
student write direction how
to write sonnet.
Pacing 2 days
On-going
Essential Vocabulary
Keep a vocabulary journal of
words or phrases.
Maintains a vocabulary
journal.
Denotation and connotation
Using context to derive
meaning of vocab items.
Introduce the module: Build
background and set purpose.
Short response and journal
entries
Introduce archaic words and
handout list of archaic
words/definitions.
Period 5
Note-taking & Annotation
Skills Cluster 3: Transition to Writing
Period 6
Bridging Conversation
Skills Cluster 4: Writing Process
Period 6
Opening
Period 6-7
Initial Draft
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Create an outline in which
you state your claim,
sequence your points, and
note your supporting
evidence. *
Creates an outline/organizer.
Outlining/organizer method
Outline/organizer
Draft bibliography
Discuss your topic and make
sure you are ready for the
composing process. Are you
on task?
No scoring
Small and large group
discussions
Class review of notes
Optional: Revised C/I,
outline/organizer
Write an opening to include a
controlling idea and
appropriate information
(e.g.topic)
Write an initial draft
complete with an opening,
development, and closing
and in a format appropriate
to type of composition (e.g.
lab report, memo, proposal).
Be sure to insert and cite
textual evidence.
Opening of one or more
paragraphs; on task.
Small and class group reviews
of opening – peer and
teacher conferencing
Opening paragraph(s)
Complete draft with all parts;
stays on task.
Small and class group reviews
Peer and teacher
conferencing
Initial draft with citations
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Period 7-10
Revision of Multiple Drafts
Apply revision strategies to
refine composition’s analysis,
logic, and organization of
ideas/points with attention
to use of textual evidence.
Decide what to include and
what not to include.
Drafts demonstrating use of
revision strategies to improve
initial draft. Stays on task.
Revision methods
Small and class group reviews
Peer and teacher
conferencing
Multiple drafts
Period 10-11
Editing
Demonstrate to class how
you revised or edited a
section of your paper and
explain why.
Presentation demonstrating
effective application of an
editing strategy to improve
some aspect of the essay.
Proofreading: error analysis
Editing methods: sentence
combining, eliminating
redundancies, citation
methods
2 min presentation
(Can be taped.)
Period 12
Final Composition
Turn in your final draft in a
portfolio to include revision
drafts, planning schedule. Did
you meet your goal?
Students publish a class
journal with essays scoring A
or ME for submission to
school library.
EXTENSION
Self-assessment
Materials, references and supports: List the materials you will need and students will use. Provide citations.
For Teachers
For Students
Promethean board
Handouts –copies of informational articles
Holt: Elements of Literature textbook
Copies of “Sonnet of XXX of FATAL,”
by Edna St. Vincent Millay
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Copies of informational articles
Module Introductory page
Textbook (Elements…)
Copies of Sonnet XXX…(Holt Mcdougal Literature)
Sonnet analysis outline sheet
Literary Analysis: Question support
Sonnet- Writing template
Sonnet: reading strategy sheet
Block-Method Comparison template
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Section 4: What Results?
How good is good enough?
A. Student work samples: Include examples of student work to represent each performance level on the teaching task.
B. Classroom assessment task: Design a classroom assessment task using the same template task as the one you will be teaching.
You may modify slightly the template to fit the in-class, on-demand environment. You should also include student examples for the
assessment task.
Background (optional):
Prompt: How does this passage help us understand history? Write a 3 paragraph essay…./
Focus
Reading/Research
Controlling Idea
Development
Organization
Conventions
Focus
Reading/Research
Controlling Idea
Development
Organization
LDC Informational Classroom Assessment Rubric
MEETS EXPECTATIONS
Addresses prompt with a focused response.
Presents and applies information relevant to prompt with general accuracy and sufficient detail. L2 Addresses the
credibility of sources.
Establishes a controlling idea that states a C/I and/or addresses the task’s question.
Presents sufficient information in order to examine topic or issue, answer a question or solve a problem; identifies
themes or features; explains key information with sufficient detail; synthesizes or connects points among sources or
information. *L2 Discusses relevant implications to topic. L3 Identifies a gap or unanswered question.
Applies a generally effective structure appropriate to prompt: e.g. to explain, examine, define, analyze, synthesize,
compare, or explain cause/effect, or problem/solution.
Demonstrates a command of standard English conventions and cohesion; employs language and tone appropriate to
audience and purpose. (Bibliography has few errors; is in correct format.)
NOT YET
Attempts to address prompt but lacks focus or is off-task.
Attempts to present information relevant to task but may lack sufficient or relevant details. L2 Attempts to address
the credibility of sources.
Controlling idea is weak and does not establish a purpose or address task’s question.
Tends to retell rather than synthesize information with sufficient detail in order to examine topics or issues, answer
questions, or solve problems; attempts or fails to explain key elements. *L2 Does not discuss implications. L3 Does
not identify a relevant gap or unanswered question.
Applies an ineffective structure; text rambles or line of thought is disconnected.
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Conventions
Demonstrates a weak command of standard English conventions; lacks cohesion; language and tone are
inappropriate to audience and purpose. (Bibliography has several errors or is not in correct format.)
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Teacher Work Section
What now, what next?
A. Teacher thoughts. Provide thoughts and ideas after teaching the module to different students in different classes.
Teacher Thoughts
1. What did I want students to know or be able to do?
2. How successful was the lesson
Evaluate Process
1. What worked?
• Strategies
• Resources
• Differentiation
2. What did not work? Why not?
Reflect
The next time I teach poetry/sonnets what will I do differently? Why?
Plan Ahead
What must I do next?
B. Possible variations. Add ideas for spin-offs or extensions to the module.
1.
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Appendix
The attached materials support teaching this module.
#1
Read and scanning exercise
You have learned that Shakespearean sonnets have a rhyme scheme of abab cdcd efef gg.
In addition, they are written using iambic pentameter.
That is, each unstressed syllable is followed by a stressed syllable.
Use the predictable pattern of rhythm and rhyme to plan how
to read this type of poetry.
A. Directions:
Practice reading “Sonnet 18.” For each line, mark the words that receive
stress. Circle words that you might emphasize in an oral reading.
B. Directions: In a small group, take turns reading aloud Shakespeare’s “Sonnet 18.”
As you read, emphasize the words and details you marked. Compare the readings.
How do different interpretations influence your understanding of the poem?
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds to 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 owest;
Nor shall Death brag thou wander’st in his shade,
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.
—William Shakespeare
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#2
Sonnet XXX Of FATAL INTERVIEW
Edna St. Vincent Millay
Love is not all: It is not meat nor drink
Nor slumber nor a roof against the rain,
Nor yet a floating spar to men that sink
and rise and sink and rise and sink again.
Love cannot fill the thickened lung with breath
Nor clean the blood, nor set the fractured bone;
Yet many a man is making friends with death
even as I speak, for lack of love alone.
It well may be that in a difficult hour,
pinned down by need and moaning for release
or nagged by want past resolution's power,
I might be driven to sell your love for peace,
Or trade the memory of this night for food.
It may well be. I do not think I would.
From Fatal Interview (1931)
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#3
SONNET: SHALL I… / SONNET XXX OF FATAL INTERVIEW
Literary Analysis
SONNET
A sonnet is a poetic form that has been used for centuries, with love usually as its subject. It is typically a 14-line
lyric poem written with a strict pattern of rhythm and rhyme. A Shakespearean sonnet includes:
• a rhyme scheme of abab cdcd efef gg, creating four line groups called quatrains
• two-line rhymed unit called a couplet
• a pattern of rhythm called iambic pentameter. A rhythm unit of meter is a foot. The most commonly used
metrical foot is an iamb, which is an unstressed syllable followed by a stressed syllable. In Shakespearean
sonnets, each line usually has five iambs, or feet. When a line has five feet, it is referred to as pentameter.
Directions: Use the chart below to compare the two sonnets.
“Sonnet 18”
“Sonnet XXX of Fatal Interview”
Subject
Number of lines
Rhyme scheme
Line groups
Meter
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4.
SONNET: SHALL I … / SONNET XXX OF FATAL INTERVIEW
Question Support
LITERARY ANALYSIS
Directions: Answer each question.
5. Identify Metaphor Underline the phrase that best completes the following sentence. The speaker in “Sonnet 18” compares his
beloved to a summer’s day in order to
a. hint at her hot temper and changeability
b. show that she is even more beautiful and lasting
c. reveal how beautiful she looks in the summertime
d. show how quickly love and beauty fade
6. Interpret Imagery In “Sonnet XXX,” three things that love cannot do are:
a.
b.
c.
7. Analyze Sonnet Structure What effect does the couplet at the end of each sonnet have?
“Sonnet 18”
“Sonnet XXX”
8. Compare Form Underline one word or phrase in parentheses, and then complete the sentence.
“Sonnet XXX” (is/is not) a Shakespearean sonnet because
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SONNET 18 / SONNET XXX OF FATAL INTERVIEW
Reading Strategy
READING SONNETS
To better understand the complex ideas a sonnet contains, you can use these helpful strategies.
• Identify the situation, problem, or question introduced at the poem’s beginning.
• Identify the turning point, if there is one.
• Determine how the situation is clarified, the problem resolved, or the question answered.
Directions: As you read, apply the strategies listed in the first column of the chart and record your results for
each poem.
Strategy
“Sonnet 18”
“Sonnet XXX”
Situation/Problem/Question
Turning Point
Solution/Resolution/Answer
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6.
Name:
Create your own sonnet.
The Sonnet has 14 lines, an iambic pentameter rhythm, a rhyme scheme, and a couplet.
1
a
2
b
3
a
4
b
5
c
6
d
7
c
8
d
9
e
10
f
11
e
12
f
13
g
14
g
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7. The Block Method
With this organization you discuss each of the sonnet, one at a time. First you write about the elements of one sonnet. Then you discuss the same elements in
the same order for the second story. The chart below gives an example of how to organize your comparison-contrast essay using the block method.
Block Method
Story 1: “Sonnet 18 (Shall I compare Thee to a Summers Day0 ”
Element 1:
Element 2:
Element 3:
Element 4:
Story 2: “Sonnet XXX of Fatal Interview”
Element 1:
Element 2:
Element 3:
Element 4:
Use Three Basic Parts
Like most essays, comparison-contrast essays have three parts:
1. The introduction, usually a single paragraph, provides the title, author, and necessary background. It also includes your thesis
statement, in which you explain briefly how the themes are alike or different.
2. The body of your essay is the part where you explain the information you’ve gathered in your chart. Make sure you discuss at least two
different elements for each poem. You might want to devote a separate paragraph to each sonnet.
3. In the conclusion, sum up your major points, and add a new thought or a personal response.
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Informational article #1
Types of Sonnets
Sonnet: a fourteen line poem in iambic pentameter with a prescribed rhyme scheme; its subject was traditionally love.
Three variations are found frequently in English, although others are occasionally seen.
• Shakespearean Sonnet: a style of sonnet used by Shakespeare with a rhyme scheme of abab cdcd efef gg
• Italian (Petrarchan) Sonnet: a form of sonnet made popular by Petrarch with a rhyme scheme of abbaabba cdecde or
cdcdcd
• Spenserian Sonnet: a variant of the Shakespearean form in which the quatrains are linked with a chain or interlocked
rhyme scheme, abab bcbc cdcd ee.
• Sonnet Sequence: a series of sonnets in which there is a discernable unifying theme, while each retains its own
structural independence. All of Shakespeare’s sonnets, for example, were part of a sequence.
http://www.chaparralpoets.org/devices.pdf
Informational article #2
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Page 24
The Shakespearean Sonnet: Overview
........William
Shakespeare wrote one hundred fifty-four sonnets. A sonnet is a form of lyric poetry with fourteen lines and a specific rhyme scheme.
(Lyric poetry presents the deep feelings and emotions of the poet as opposed to poetry that tells a story or presents a witty observation.) .The topic
of most sonnets written in Shakespeare's time is love–or a theme related to love.
........Poets usually wrote their sonnets as part of a series, with each sonnet a sequel to the previous one, although many sonnets could stand
alone as separate poems. Sonnets afforded their author an opportunity to show off his ability to write memorable lines. In other words, sonnets
enabled a poet to demonstrate the power of his genius in the same way that an art exhibition gave a painter a way to show off his special
techniques.
.......Shakespeare addresses Sonnets 1 through 126 to an unidentified young man with outstanding physical and intellectual attributes. The first
seventeen of these urge the young man to marry so that he can pass on his superior qualities to a child, thereby allowing future generations to
enjoy and appreciate these qualities when the child becomes a man. In Sonnet 18, Shakespeare alters his viewpoint, saying his own poetry may
be all that is necessary to immortalize the young man and his qualities.
.......In Sonnets 127 through 154, Shakespeare devotes most of his attention to addressing a mysterious "dark lady"–a sensuous, irresistible
woman of questionable morals who captivates the poet. References to the dark lady also appear in previous sonnets (35, 40, 41, 42), in which
Shakespeare reproaches the young man for an apparent liaison with the dark lady. The first two lines of Sonnet 41 chide the young man for "those
petty wrongs that liberty commits / when I am sometime absent from thy heart," a reference to the young man's wrongful wooing of the dark lady.
The last two lines, the rhyming couplet, further impugn the young man for using his good looks to attract the dark lady. In Sonnet 42, the poet
charges, "thou dost love her, because thou knowst I love her."
.......Shakespeare wrote his sonnets in London in the 1590's during an outbreak of plague that closed theaters and prevented playwrights from
staging their dramas.
.......Generally, Shakespeare's sonnets receive high praise for their exquisite wording and imagery and for their refusal to stoop to sentimentality.
Readers of his sonnets in his time got a taste of the greatness that Shakespeare exhibited later in such plays as Hamlet, Macbeth, King Lear,
Othello, and The Tempest. Sonnets 138 and 144 were published in 1599 in a poetry collection entitled The Passionate Pilgrime [Pilgrim]. The
other sonnets were published in 1609 in Shake-speares [Shakespeare's] Sonnets. It is possible that the 1609 sequence of sonnets is out of its
original order
.......The Shakespearean sonnet (also called the English sonnet) has three four-line stanzas (quatrains) and a two-line unit called a couplet. A
couplet is always indented; both lines rhyme at the end. The meter of Shakespeare's sonnets is iambic pentameter (except in Sonnet 145). The
rhyming lines in each stanza are the first and third and the second and fourth. In the couplet ending the poem, both lines rhyme. All of
Shakespeare's sonnets follow the same rhyming pattern.
http://www.cummingsstudyguides.net/xSonnets.html#Origin
Informational article #3
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Origin and Development of the Sonnet
.......
.......The sonnet originated in Sicily in the 13th Century with Giacomo da Lentino (1188-1240), a lawyer. The poetic traditions of the Provençal
region of France apparently influenced him, but he wrote his poems in the Sicilian dialect of Italian. Some authorities credit another Italian,
Guittone d'Arezzo (1230-1294), with originating the sonnet. The English word "sonnet" comes from the Italian word "sonetto," meaning "little
song." Some early sonnets were set to music, with accompaniment provided by a lute.
.......The Italian poet Petrarch (1304-1374), a Roman Catholic priest, popularized the sonnet more than two centuries before Shakespeare was
born. Other popular Italian sonneteers were Dante Alighieri (1265-1321), Italy's most famous and most accomplished writer, and Guido
Cavalcante (1255-1300). The format of Petrarch's sonnets differs from that of Shakespeare. Petrarch's sonnets each consist of an eight-line
stanza (octave) and a six-line stanza (sestet). The first stanza presents a theme, and the second stanza develops it. The rhyme scheme is as
follows: (1) first stanza (octave): ABBA, ABBA; (2) second stanza (sestet): CDE, CDE (or CDC, CDC; or CDE, DCE).
.......The sonnet form was introduced in England by Sir Thomas Wyatt (1503-1542) and Henry Howard, Earl of Surrey (1517-1547). They
translated Italian sonnets into English and wrote sonnets of their own. Surrey introduced blank verse into the English language in his translation of
the Aeneid of Vergil. Wyatt and Surrey sometimes replaced Petrarch's scheme of an eight-line stanza and a six-line stanza with three four-line
stanzas and a two-line conclusion known as a couplet. Shakespeare adopted the latter scheme in his sonnets.
.......Besides Shakespeare, well known English sonneteers in the late 1500's included Sir Philip Sydney, Samuel Daniel, and Michael Drayton.
.......In Italy, England, and elsewhere between the 13th and early 16th Centuries, the most common theme of sonnets was love. Sonnets in later
times also focused on religion, politics, and other concerns of the reading public.
http://www.cummingsstudyguides.net/xSonnets.html#Origin
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