Italian sonnet


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Italian sonnet

Italian sonnet

n
(Literary & Literary Critical Terms) another term for Petrarchan sonnet

Petrar′chan son′net


n.
a sonnet form, popularized by Petrarch, consisting of an octave rhyming abbaabba, and a sestet usu. rhyming cdecde or cdcdcd.
Also called Italian sonnet.
[1905–10]
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.Italian sonnet - a sonnet consisting of an octave with the rhyme pattern abbaabba, followed by a sestet with the rhyme pattern cdecde or cdcdcd
sonnet - a verse form consisting of 14 lines with a fixed rhyme scheme
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References in periodicals archive ?
Rather, I would argue that the coordinating conjunction "Yet" in line nine, like a volta in an Italian sonnet to join the octave with the sestet, logically leads to a sharp contrast between the first part and the last part of the poem, giving it the overall effect of joining both.
Pessoa's Charles Robert Anon, Alexander Search, and Frederick Wyatt favored the Italian sonnet form.
Rossetti's use of the Italian sonnet should be seen as an embrace of the technical restrictions and challenges of the sonnet form; she deliberately chooses the most technically limiting and restricting of the two sonnet types.
Sulam's sonnets bridge multiple steams of influence--emulation of the magnificent Italian sonnet tradition; echoes of Biblical Hebrew (particularly The Psalms); firm handling of early seventeenth-century poetic trends; and finally distinctive individual talent and style.
Later on, the English writer and poet, William Shakespeare, evolved the Italian sonnet into the then popular Shakespearean sonnet consisting of three rhyming quatrains and a couplet.
Ah, maybe that's it: the sestet, the last six lines of the Italian sonnet form (lines 9-14) after the octave, which begin with a "turn," a change, in their first line.
It's the Italian sonnet turned on its head: 14 lines of meter, not iambic but cardiac, diastolic, systolic.
Whitman's "sonnet," then, follows the bi-partite structure of the Italian sonnet, and it is that structure that Whitman is borrowing, not such external markers of the form as a specific number of lines or a particular rhyme scheme.
The third quatrain gives the Italian sonnet its final cognitive extension, like the English form.
The critic Charles Gayley's anatomy of the didactic structure of the Italian sonnet is an instructive tool for reading Milton's sonnet: "The octave bears the burden; a doubt, a problem, a reflection, a query, an historical statement, a cry of indignation or desire, a vision of the ideal.
But it was mainly in adapting the prosody of the Italian sonnet to Hebrew, successfully conveying its unique musicality, that Immanuel showed his deepest poetic insight and refinement.
Some fifteen or sixteen years later, Hopkins was to offer similar pronouncements on the sonnet form in a letter to Richard Watson Dixon, carefully distinguishing between the Shakespearian sonnet and the Italian sonnet, 'which is the sonnet proper'.

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