DOCSLIB.ORG

SUGGESTED SONNETS 2015 / 2016 Season the English-Speaking Union National Shakespeare Competition INDEX of SUGGESTED SONNETS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SUGGESTED SONNETS 2015 / 2016 Season the English-Speaking Union National Shakespeare Competition INDEX of SUGGESTED SONNETS SUGGESTED SONNETS 2015 / 2016 Season The English-Speaking Union National Shakespeare Competition INDEX OF SUGGESTED SONNETS Below is a list of suggested sonnets for recitation in the ESU National Shakespeare Competition. Sonnet First Line Pg. Sonnet First Line Pg. 2 When forty winters shall besiege thy brow 1 76 Why is my verse so barren of new pride 28 8 Music to hear, why hear’st thou music sadly? 2 78 So oft have I invok’d thee for my muse 29 10 For shame deny that thou bear’st love to any, 3 83 I never saw that you did painting need 30 12 When I do count the clock that tells the time 4 90 Then hate me when thou wilt, if ever, now, 31 14 Not from the stars do I my judgment pluck, 5 91 Some glory in their birth, some in their skill, 32 15 When I consider everything that grows 6 97 How like a winter hath my absence been 33 17 Who will believe my verse in time to come 7 102 My love is strengthened, though more weak… 34 18 Shall I compare thee to a summer’s day? 8 104 To me, fair friend, you never can be old, 35 20 A woman’s face with Nature’s own hand painted 9 113 Since I left you, mine eye is in my mind, 36 23 As an unperfect actor on the stage 10 116 Let me not to the marriage of true minds 37 27 Weary with toil, I haste me to my bed, 11 120 That you were once unkind befriends me now, 38 29 When in disgrace with fortune and men’s eyes 12 121 ’Tis better to be vile than vile esteemed, 39 30 When to the sessions of sweet silent thought 13 124 If my dear love were but the child of state, 40 34 Why didst thou promise such a beauteous day 14 126 O thou, my lovely boy, who in thy power 41 40 Take all my loves, my love, yea, take them all. 15 129 Th’ expense of spirit in a waste of shame 42 43 When most I wink, then do mine eyes best see, 16 130 My mistress’ eyes are nothing like the sun; 43 53 What is your substance, whereof are you made, 17 131 Thou art as tyrannous, so as thou art, 44 54 O, how much more doth beauty beauteous seem 18 138 When my love swears she is made of truth 45 55 Not marble nor the gilded [monuments] 19 140 Be wise as thou art cruel; do not press 46 60 Like as the waves make towards the pebbled shore 20 141 In faith, I do not love thee with mine eyes, 47 61 Is it thy will thy image should keep open 21 143 Lo, as a careful housewife runs to catch 48 62 Sin of self-love possesseth all mine eye 22 144 Two loves I have, of comfort and despair, 49 63 Against my love shall be, as I am now, 23 145 Those lips that Love’s own hand did make 50 65 Since brass, nor stone, nor earth, nor boundless sea 24 147 My love is as a fever, longing still 51 66 Tired with all these, for restful death I cry: 25 148 O me, what eyes hath love put in my head, 52 69 Those parts of thee that the world’s eye doth view 26 149 Canst thou, O cruel, say I love thee not 53 71 No longer mourn for me when I am dead 27 154 The little love-god, lying once asleep, 54 The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 2 When forty winters shall beseige thy brow And dig deep trenches in thy beauty's field, Thy youth's proud livery, so gazed on now, Will be a tattered weed of small worth held. Then being asked where all thy beauty lies, Where all the treasure of thy lusty days, To say within thine own deep-sunken eyes Were an all-eating shame and thriftless praise. How much more praise deserved thy beauty's use, If thou couldst answer “This fair child of mine Shall sum my count and make my old excuse,” Proving his beauty by succession thine. This were to be new made when thou art old And see thy blood warm when thou feel'st it cold. The English-Speaking Union Education. Scholarship. Understanding. 1 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 8 Music to hear, why hear'st thou music sadly? Sweets with sweets war not, joy delights in joy. Why lov’st thou that which thou receiv’st not gladly, Or else receiv’st with pleasure thine annoy? If the true concord of well-tuned sounds, By unions married, do offend thine ear, They do but sweetly chide thee, who confounds In singleness the parts that thou shouldst bear. Mark how one string, sweet husband to another, Strikes each in each by mutual ordering, Resembling sire and child and happy mother Who all in one, one pleasing note do sing; Whose speechless song, being many, seeming one, Sings this to thee: “Thou single wilt prove none.” The English-Speaking Union Education. Scholarship. Understanding. 2 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 10 For shame deny that thou bear'st love to any, Who for thyself art so unprovident. Grant, if thou wilt, thou art beloved of many, But that thou none lov’st is most evident. For thou art so possessed with murderous hate That ’gainst thyself thou stick’st not to conspire, Seeking that beauteous roof to ruinate Which to repair should be thy chief desire. O, change thy thought, that I may change my mind. Shall hate be fairer lodged than gentle love? Be as thy presence is, gracious and kind, Or to thyself at least kind-hearted prove. Make thee another self for love of me, That beauty still may live in thine or thee. The English-Speaking Union Education. Scholarship. Understanding. 3 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET 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] silver'd 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 defense Save breed, to brave him when he takes thee hence. The English-Speaking Union Education. Scholarship. Understanding. 4 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 14 Not from the stars do I my judgment pluck, And yet methinks I have astronomy— But not to tell of good or evil luck, Of plagues, of dearths, or seasons’ quality; Nor can I fortune to brief minutes tell, Pointing to each his thunder, rain and wind, Or say with princes if it shall go well By oft predict that I in heaven find. But from thine eyes my knowledge I derive, And, constant stars, in them I read such art As truth and beauty shall together thrive, If from thyself to store thou wouldst convert; Or else of thee this I prognosticate: Thy end is truth's and beauty's doom and date. The English-Speaking Union Education. Scholarship. Understanding. 5 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 15 When I consider everything that grows Holds in perfection but a little moment, That this huge stage presenteth nought but shows Whereon the stars in secret influence comment; When I perceive that men as plants increase, Cheered and checked even by the selfsame sky, Vaunt in their youthful sap, at height decrease, And wear their brave state out of memory; Then the conceit of this inconstant stay Sets you most rich in youth before my sight, Where wasteful Time debateth with Decay, To change your day of youth to sullied night; And, all in war with Time for love of you, As he takes from you, I engraft you new. The English-Speaking Union Education. Scholarship. Understanding. 6 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 17 Who will believe my verse in time to come If it were filled with your most high deserts? Though yet, heaven knows, it is but as a tomb Which hides your life and shows not half your parts. If I could write the beauty of your eyes And in fresh numbers number all your graces, The age to come would say “This poet lies; Such heavenly touches ne'er touched earthly faces.” So should my papers yellowed with their age Be scorned like old men of less truth than tongue, And your true rights be termed a poet's rage And stretched meter of an antique song. But were some child of yours alive that time, You should live twice—in it and in my rhyme. The English-Speaking Union Education. Scholarship. Understanding. 7 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 18 Shall I compare thee to a summer's day? Thou art more lovely and more temperate.
Load more

Recommended publications
  • Booklet Shakespeare 3
    SONNET 1 From fairest creatures we desire increase, That thereby beauty’s rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou, contracted to thine own bright eyes, Feed’st thy light’st flame with self-substantial fuel, Making a famine where abundance lies, Thyself thy foe, to thy sweet self too cruel. Thou that art now the world’s fresh ornament And only herald to the gaudy spring, Within thine own bud buriest thy content And, tender churl, makest waste in niggarding. Pity the world, or else this glutton be, To eat the world’s due, by the grave and thee. 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, 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, Featur'd like him, like him with friends possess'd, Desiring this man's art and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself 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; For thy sweet love remember'd such wealth brings That then I scorn to change my state with kings.
    [Show full text]
  • By William Shakespeare: Translation Studies
    TRANSLATION PROCESS IN “SONET 12” BY WILLIAM SHAKESPEARE: TRANSLATION STUDIES Mayasari Faculty of Languages and Communication, Universitas Harapan Medan, Indonesia ABSTRACT The paper revisits the concepts of translation process by Newmark (1988). Translation as a product is a written text in a target language as the end result of a translation process for a source-language text. Following the Newmark‟s (1988) theory, the writer analyzed the text around the analysis of the source text, transfer of the text into the target language and revision of the translation. Keywords: Translation Process, Newmark’s Theory, Sonet 12 INTRODUCTION language by the same message or statement in another language” Since the study discusses the Newmark emphasizes that translation translation analysis, the definition of is a process of rendering written translation should to be known. Here message, from source language to some definition of translation from target language without adding or experts. According to Newmark reducing the message. The following is (1988:7) “Translation is a craft a diagram about how to translate a text consisting in the attempt to replace a by Newmark (1988:4): written message statement in one writers, norms, culture and setting and tradition. TranslatorS should keep the originality of each Lelement from the source language. The only change on the translation processc is the form. The form of the source languageu is changed by the form of the targetl language. The form of language trefers to words, phrases, clauses,u sentences, paragraphs, etc. r Furthermore, translator should consider the In translating a text, there are appropriate form in the target language four important elements, they are such as lexicon and grammatical 193 structure.
    [Show full text]
  • Poetry-II-Teacher-Sample-3Rd-Ed.Pdf
    Contents Contents How to Use This Study Guide with the Text & Literature Notebook ......5 Notes & Instructions to Teacher ....................................................................7 Taking With Us What Matters .......................................................................9 Four Stages to the Central One Idea ............................................................13 How to Mark a Book ......................................................................................18 THE ENGLISH RENAISSANCE PERIOD Introduction ................................................................................................... 22 Basic Features & Background ....................................................................... 24 Queen Elizabeth On Monsieur’s Departure ............................................................................. 30 Speech to the Troops at Tilbury ..................................................................... 33 Edmund Spenser – from The Faerie Queene, Canto I ..............................................37 Christopher Marlowe – The Passionate Shepherd to His Love ...............................47 Sir Walter Raleigh – The Nymph’s Reply to the Shepherd .......................................50 Sir Philip Sidney – Sonnet 31 ...............................................................................................54 George Peele – A Farewell to Arms .....................................................................................57 Robert Southwell – The Burning Babe .............................................................................60
    [Show full text]
  • Understanding Shakespeare – Sonnets 116 and 130 Grade Ten
    2-10th pages 68-257.12 8/6/04 11:41 AM Page 244 Understanding Shakespeare – Sonnets 116 and 130 Grade Ten Skill Focus Levels of Thinking Remember Understand Apply Analyze Close Reading Grammar Composition Close Reading Reading Strategies Types (modes) Inference Expository Paraphrase definition Summary Literary Elements Diction connotation denotation vocabulary Theme Figures of Speech Metaphor Sound Devices Rhyme Rhythm Literary Techniques Irony Literary Forms Verse Materials and Resources • “Sonnet 116” by William Shakespeare • “Sonnet 130” by William Shakespeare Lesson Introduction Even younger students puzzle out much of the meaning of a Shakespearean sonnet and enjoy listening for rhythm and rhyme patterns. This kind of activity helps students become aware of the sound devices an author uses to lend music to a text and to connect meaningful words and phrases through the use of sound. In order to do the first two activities, students will need instruction about what a sonnet is and how it is structured. This information can be provided by the teacher or inferred from a group study of several sonnets and their structure. Iambic pentameter is a meter that consists of repeated patterns of unstressed and stressed syllables. An iamb consists of two syllables, the first unstressed, the second stressed. A pattern of five iambs to a line is called iambic pentameter; for example: /When in/ disgrace/ with for/tune and/ men’s eyes/ I all/ alone/ beweep/ my out/cast state..../ 244 2-10th pages 68-257.12 8/6/04 11:41 AM Page 245 Close Reading In these two lines, every second syllable has a heavier stress than that which precedes it.
    [Show full text]
  • Death, Be Not Proud POEM TEXT THEMES
    Get hundreds more LitCharts at www.litcharts.com Death, be not proud POEM TEXT THEMES 1 Death, be not proud, though some have called thee THE POWERLESSNESS OF DEATH 2 Mighty and dreadful, for thou art not so; In this sonnet, often referred to by its first line or as 3 For those whom thou think'st thou dost overthrow “Holy Sonnet 10,” the speaker directly addresses 4 Die not, poor Death, nor yet canst thou kill me. death, seeking to divest it of its powers and emphasize that 5 From rest and sleep, which but thy pictures be, man, though fated to die, is more powerful than death itself. The poem paints a picture of death as prideful—vain, even—and 6 Much pleasure; then from thee much more must flow, works to deflate death’s importance by arguing firstly that 7 And soonest our best men with thee do go, death is nothing more than a rest, and secondly that following 8 Rest of their bones, and soul's delivery. this rest comes the afterlife, which contradicts death’s aim of 9 Thou art slave to fate, chance, kings, and desperate bringing about a final end. With death’s powerlessness proven men, by the end of the poem, it is death itself, not man, who is going 10 And dost with poison, war, and sickness dwell, to die. 11 And poppy or charms can make us sleep as well The speaker clearly argues against death being treated as 12 And better than thy stroke; why swell'st thou then? something strong and important.
    [Show full text]
  • Sonnet 30 / Sonnet 75
    Directions: Read the following Shakespearean Sonnet. Mark the rhyme scheme next to the line of the poem. Then answer the questions below. 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, 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. 1. What is being described in each section of the poem? 1st Quatrain 2nd Quatrain 3rd Quatrain Couplet 2. Identify literary devices in the poem. You can put the line number and type of device. _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ 3. What idea is the author trying to convey? ______________________________________________________________________________________ ______________________________________________________________________________________
    [Show full text]
  • How to Read a Sonnet Two Quatrains Is the Octave; the by a Couplet, As in WS 73 Last Six Lines Is the Sestet
    Download this brochure as a PDF from VernBarnet.com 4 pages EXTERNAL SCAFFOLDING INTERNAL STRUCTURES (apart from meaning) (pattern of meaning) he “English” or Shakespearean” Within the external sonnet form, T sonnet consists of 14 lines of William Shakespeare (WS) draws iambic pentameter (you can easily his themes in various ways. speak one line in one breath) with the line end-rimes in a pattern of A. The same idea is pre- sented in three quatrains, abab-cdcd : efef-gg. Each set of four lines is a quatrain and the last two each with a different meta- lines are called a couplet, indented phor, a different angle on How to Read a Sonnet in Shakepeare’s Sonnets. The first the same theme, followed two quatrains is the octave; the by a couplet, as in WS 73 last six lines is the sestet. (dying day, dying year, in Shakespearean form An iamb is a set of two syllables dying fire, love now) and the first of which is unstressed and my 30. which means reading aloud the second stressed. Pentameter is B. The octave presents a a line of five feet. (A unit of rhythm in poetry is called a foot from po- theme, the third quatrain T summarizes it, and the cou- etry’s early association with dance; a line of poetry is like a measure of plet condenses it once again, as in WS 55 (you live in my T music.) Thus a line of iambic pen- tameter sounds lines) and my 15. T da DUM da DUM da DUM da DUM da DUM.
    [Show full text]
  • Poetry As Correspondence in Early Modern England
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Unfolding Verse: Poetry As Correspondence In Early Modern England Dianne Marie Mitchell University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Mitchell, Dianne Marie, "Unfolding Verse: Poetry As Correspondence In Early Modern England" (2017). Publicly Accessible Penn Dissertations. 2477. https://repository.upenn.edu/edissertations/2477 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2477 For more information, please contact [email protected]. Unfolding Verse: Poetry As Correspondence In Early Modern England Abstract This project recovers a forgotten history of Renaissance poetry as mail. At a time when trends in English print publication and manuscript dissemination were making lyric verse more accessible to a reading public than ever before, writers and correspondents created poetic objects designed to reach individual postal recipients. Drawing on extensive archival research, “Unfolding Verse” examines versions of popular poems by John Donne, Ben Jonson, Mary Wroth, and others which look little like “literature.” Rather, these verses bear salutations, addresses, folds, wax seals, and other signs of transmission through the informal postal networks of early modern England. Neither verse letters nor “epistles,” the textual artifacts I call “letter-poems” proclaim their participation in a widespread social
    [Show full text]
  • The Subversive Nature of the Dark Lady Sonnets: a Reading of Sonnets 129 and 144
    Annali di Ca’ Foscari. Serie occidentale [online] ISSN 2499-1562 Vol. 49 – Settembre 2015 [print] ISSN 2499-2232 «My Female Evil» The Subversive Nature of the Dark Lady Sonnets: a Reading of Sonnets 129 and 144 Camilla Caporicci (Ludwig-Maximilians-Universität, München, Deutschland) Abstract Shakespeare’s opposition towards some aspects of Stoic and Neoplatonic doctrines and religious fanaticism, particularly Puritanism, can be found in many of his plays. However, rather than focusing on the dramatic output, this essay will concentrate on Shakespeare’s Sonnets. The strongly subversive nature of the Dark Lady section is especially notable, although modern critical opinion is generally less inclined to acknowledge its subversive philosophical message because of the supposedly more ‘personal’ nature of lyrical expression compared to the dramatic. In fact, critics have generally chosen to focus their attention on the Fair Youth section, more or less intentionally ignoring the Sonnets’ second part, summarily dismissed as an example of parodic inversion of the Petrarchan model, thus avoiding an examination of its profound revolutionary character, that is – an implicit rejection of the Christian and Neo-platonic basis of the sonnet tradi- tion. Through a close reading of two highly meaningful sonnets, this essay will show that, in the poems dedicated to the Dark Lady, Shakespeare calls into question, through clear terminological reference, the very foundations of Christian and Neo-platonic thought – such as the dichotomous nature of creation, the supremacy of the soul over the body, the conception of sin et cetera – in order to show their internal inconsistencies, and to propose instead a new ontological paradigm, based on materialistic and Epicurean principles, that proclaims reality to consist of an indissoluble union of spirit and matter.
    [Show full text]
  • Exploring Shakespeare's Sonnets with SPARSAR
    Linguistics and Literature Studies 4(1): 61-95, 2016 http://www.hrpub.org DOI: 10.13189/lls.2016.040110 Exploring Shakespeare’s Sonnets with SPARSAR Rodolfo Delmonte Department of Language Studies & Department of Computer Science, Ca’ Foscari University, Italy Copyright © 2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract Shakespeare’s Sonnets have been studied by rhetorical devices. Most if not all of these facets of a poem literary critics for centuries after their publication. However, are derived from the analysis of SPARSAR, the system for only recently studies made on the basis of computational poetry analysis which has been presented to a number of analyses and quantitative evaluations have started to appear international conferences [1,2,3] - and to Demo sessions in and they are not many. In our exploration of the Sonnets we its TTS “expressive reading” version [4,5,6]1. have used the output of SPARSAR which allows a Most of a poem's content can be captured considering full-fledged linguistic analysis which is structured at three three basic levels or views on the poem itself: one that covers macro levels, a Phonetic Relational Level where phonetic what can be called the overall sound pattern of the poem - and phonological features are highlighted; a Poetic and this is related to the phonetics and the phonology of the Relational Level that accounts for a poetic devices, i.e. words contained in the poem - Phonetic Relational View.
    [Show full text]
  • The Integrity of a Shakespeare Sonnet L
    CHAPTER I THE INTEGRITY OF A SHAKESPEARE SONNET L. C. Knights has described Shake-speares Sonnets as "a miscellane- ous collection of poems, written at different times, for different purposes, and with very different degrees of poetic intensity."' This means, as Knights perfectly understood, that whereas each individual sonnet is a dis- cernible product of Shakespeare's art, the collection taken as a whole is not;* or, to focus this more sharply, that the poet's artistic responsibility be- gins and ends within the bounds of each sonnet. The separate sonnets reflect upon one another, of course, just as Shakespeare's separate plays do; and, again as in the case of the plays, Shakespeare has sometimes suggested sub- stantial links between different ones of them. The formal and expressive outlines of the individual sonnets are emphatic, however, and, as this chap- ter will argue, decisive. "The first necessity of criticism" is then, as Knights pointed out, "to assess each poem independently on its own merits.'" Knights's position is enhanced by a valuable observation recently made by Stephen Booth that "most of the sonnets become decreasingly complex as they proceed."-' As a "token demonstration" of their decreasing figurative complexity, Booth cites the fact that the conventional figure of time or death as an old man makes six of its seven appearances in the whole collection either within a third quatrain or a couplet; his individual discussions of Sonnets 12, 60, and 73 provide examples of more general poetic decline. Testimony for Booth's observation-and for Knights's point-is supplied by G.
    [Show full text]
  • Holden Caulfield Hat Amazon
    Holden caulfield hat amazon Continue So what exactly is the sone? Sone, 16. Literally a little song, the sone traditionally reflects upon a single emotion, with a description or return thought of its concluding lines. Learn about sones can be a fun activity and a great clue in understanding Shakespeare Sones. About Sonnets A sonnet is a poem written only in a certain format. You can define the poem's s sone with the following characteristics: 14 lines. All sones are 14 lines that can be divided into four sections called quads. It's a solid rhyme pattern. A Shakespearean sone rhyme scheme ABAB/CDCD/EFEF/GG (watch out for four separate sections of the rhyme scheme). Written with Iambic Pentameter. Sones are written in a poetic meter with 10 beats per line consisting of iambic pentameter, alternatively unstressed and stressful syc ate. Use this First Shakespeare Lesson Plan to study this activity and then go beyond it to get your children to start with the rhythm of Shakespeare's poetry, along with other readings and events. A sone can be divided into four sections, called quadruple. The first three quads each contains four rows and use an alternate rhyme scheme. The final quad, rhyming, consists of only two lines. There are 154 Shakespearean sonesnets. Instead of listing them all, list everything I'm connected to with Shakespeare Facts, which has a complete list as well as every full sone. Modern sonnets may be more accessible to most students than Shakespeare's, and Millay's may be a good introduction to both sonnet classic form and one of the most repetitive and popular themes, lost in love - easing into Shakespeare with a modern Sonnet.
    [Show full text]