Enrica Carbini

In the Petrarchian version, the sonnet's form consists of 14 lines, divided into two quatrains with two rhymes and two tercets which can have other two or three rhymes.

The number of syllables per line are eleven in the Italian sonnet (hendecasyllable) and ten in the English sonnet (iambic pentameter). The discourse was characterized by the division into quatrains and tersest (Petrarchian sonnet), or quatrains and couplet (English sonnet), with each group of lines presenting one aspect of argument.

The meaning of the sonnet was expressed through rhetorical figures such as metaphors and paradoxes. In addition, the final couplet could become an epigram and the language was that of the poetic diction with ornate polysyllabic Latinate words.

Dante's and Petrarch's sonnets were quite imitated by English poets even for the traditional theme of Italian sonnets, that was usually a not-requited love. Actually, the poet loved a woman but he was desperate because she didn't love him.

Sir Thomas Wyatt was one of the first English poets to use this form and he had became aware of it when he visited Italy. He translated several sonnet by Petrarch and other Italian poets. He wrote his own sonnets as well, but it is not clear if they were original or translation as the other ones. Moreover, he is quite important for the English sonnets because he divided the final six lines into a quatrain and a couplet, when he introduced them in England.

The Renaissance sonnets' standard theme was that of courtly love: the poets expressed their passion for an unattainable lady and explored various aspects of their own emotions. Sometimes these sonnets had an encomiastic value. Other recurrent minor themes were their lady's beauty and virtues, transience of life, the immortalising power of poetry for both the poet and the lady.

The subject was developed as a monologue, with an apostrophe to someone, or as a dialogue, or a narration as well. This last one was written quite often in an argumentative form.

Just with Shakespeare it is possible to find a poetical sonnet that presents something new. Actually, Shakespeare's sonnets are in the English form, now generally called "Shakespearean". They are made up of three quatrains, with the clinching conclusion in the shape of a rhyming couplet but Shakespeare does not use the Italian octave and sestet form. Nevertheless many of the sonnets have the real "two-poem" character of the Italian form, in which there is a break at the end of the second quatrain.

Verbal immediacy, the moulding of stress to the movement of living emotion, added to his skill in variation of the "caesura" and his sure use of rhyme, all these make Shakespeare the master of the form on the technical side.

Shakespeare's sonnets have aroused more controversy than any other collection of poetry in the English language. The date of composition, whether or not they are autobiographical, the question of if they were mere literary exercises or not, have provoked more comment than critical evaluations of them as poems. They belong to the decade from 1590 to 1600 if we accept the evidence of Francis Meres, who in 1598 referred to Shakespeare's "sugared Sonnets among his private friends" (Miur Kennet, Shakespeare's sonnets", chapter 1).

Some critics try to date them in connection to the man they were addressed. Actually, if the "fair youth", named as W.H. were William Hatcliffe, they could have been written after 1588. But, if he were the Earl of Pembroke, they could not have been written before 1596.

Moreover there are some critics who date the sonnets trying to identify the Rival Poet. As a consequence, if Marlowe were this one, the sonnets could have been written before 1593, when he was stabbed in a tavern(Miur Kennet, "Shakespeare's sonnets", chapter 1).

The whole collection, a hundred and fifty-four in number, was not published until 1609 by Thomas Thorpe, with Shakespeare's name, but without any sign of recognition from him; we do not know whether he authorised or approved the publication.

This edition was an in -quarto one and each sonnet but the first one was numbered in Arabian numbers. Numbering the sonnets, there was probably a mistake, because there is a gap between sonnet 116 and sonnet 119.   The sonnets in their whole seem to tell a story. Actually the sonnets from I to XVII form a series addressed to a beautiful youth invoking him to get married in order to preserve his type in a child. From Sonnet XVIII to sonnet CXXVI the poet addresses his words to the youth on different topics and occasions, and in changing moods. There are two moments of crisis in their relationship. The first one is when the friend steals the poet's mistress, but he is later forgiven by the poet (XL-XLII); the second one is when the friend arouses Shakespeare's jealousy by seeming to give his patronage to another poet (LXXVIII-LXXXVI).

The sonnets from CXXVII to CLII are addressed to a "Dark Lady" or, as the poet calls her, to a Black Woman. She is depicted as playing on the virginals, faithless, wanton, physically unattractive, false to her bed-vow but still irresistibly desirable. As for the "fair youth", she has never been identified. The collection ends with two conventional love-sonnets on Cupid (CLIII, CLIV).

After these last two, there is the writing FINIS, but the book doesn't stop there because a small poem named "A Lover's Complaint" follows them (Serpieri Alessandro, "Shakespeare sonnets", Introduction).

It is possible to note that there are some resemblances and differences between Petrarc's and Shakespear's sonnets especially for the way they treated the topic of poetic fame. Moreover, both " [..] never speak of their own poetry other than as a thing wholly dedicated and subordinated to the person it professes to honour". This implies that both take their "lover" as sole inspirer of their verse, paying quite few attention to the "I" as inspirer. In addition to that, it seems interesting to point out that both are ".celebrating not a doing, but a being, and [..] treating something inward and private and personal such as an ancient poet."(J.B. Leishman, " Themes and variations in Shakespeare's Sonnets", Chapter 2).

On the style side, the two poets have quite in common, even though Shakespeare succeed in creating a new form of the sonnet. This is because tone and attitude were unalterated, despite any temporary back-sliding or rebelliousness. However, it is important to mark that " Shakespeare [.]was writing these sonnets over a period during which not only was the vogue of the English sonnet declining, but during which the young men of the Inns court [.]were rejecting and satirising all that Petrarch represented" (J.B. Leishman, " Themes and variations in Shakespeare's Sonnets", Chapter 2).

Another difference between the two poets is the way they speak of their poetry and of its purpose. Actually, Petrarch's duty seems to be to write about his beloved terrestrial life, in order to create an example that her fame could survive his words. On the other side, Shakespeare's sonnets seem to state that the beloved's fame could survive just thanks to the poet's work. Actually, the English poet's sonnets are ".filled with a sadness different from Petrarch's ."(J.B. Leishman, " Themes and variations in Shakespeare's Sonnets", Chapter 2).

Confronting Shakespeare's sonnets with other English ones, the formers have an intensity of actually endured emotion that makes most latters seem tepid exercises in comparison, and this is the first reason for their superlative greatness as sheer lyric poetry.

Moreover, Shakespeare is the only writer of sonnets to analyse the distinct elements in emotions. As a dramatist, he is more aware of the possible range of human feelings, of the existence of complex and even contradictory attitudes to a single emotion. Shakespeare's sonnets are more varied than those of any other sonneteer, because in some of them he accepts poetic conventions; in others, he rejects them entirely, and in some others more, his attitude is of highly ambiguous irony.

All Shakespeare's sonnets show different signs of degree of the way in which the sonnet form, thanks to the strictness of its formal limits, imposes himself upon the language in a distinctive economy and intensity. The best of them develop these qualities to an unreached degree by other writers. Actually the richness of descriptive language is in Shakespeare's poems because many of his sonnets have been illustrated. It is quite sure that , he is the only sonneteer with a sure enough hand for objective and rueful analysis to introduce humour into the form, as in Sonnet CXLIII, where he depicts a charming picture of a careful housewife, while she is trying to catch a runaway chicken.

Bibliography

Kennet Miur, " Shakespeare's Sonnets", Chapter 1, 1979, George Allen & Unwin (Publishers) Ltd.

Kennet Miur, " Shakespeare's Sonnets", Chapter 4, 1979, George Allen & Unwin (Publishers) Ltd.

J.B. Leishman, "Themes and variations in Shakespeare's sonnets", Chapter 2, 1963, Hutchinson & Co. (Publishers) Ltd

Serpieri Alessandro, "Sonetti" di William Shakespeare, Introduction, 2000,RCS libri S.p.a., Milano