The focus, though, is not on teaching different sonnet types or getting bogged down in the technical differences between the French rhyme scheme and the English. Italian (Petrarchan) = ABBAABBA:CDECDE (CDEECD, CDCDCD)Įnglish (Shakespearean, Spenserean) = ABAB:CDCD:EFEF:GG (CECE:FF) You may also find it useful to make available to students the four basic rhyme structures of the sonnet, so that they can more quickly identify which types are being used in the different examples, or how the more adventurous examples are deviating from the norm. However, depending on the ability of the group, you may like to first distribute some materials defining basic terms such as Octave, Sestet, Quatrain, Couplet, and Volta (turn). The structure of the sonnet structures the thought of the sonnet the variations between different sonnet types in their structure allows for different patterns of thought.Īs such, the week begins by diving straight into some of the earliest sonnets, examining their content first, the patterns of thought they suggest, before then working backwards to see how these patterns of thought are dependent on different underlying sonnet structures. This week looks at the sonnet in an attempt to get students to see beyond just the rhyme scheme and metrical traditions, but to see the sonnet as a particular vehicle for various different kinds of rhetorical effects.
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