Is the sonnet relevant as a form anymore?

The sonnet has redefined humanities understanding of poetry, it has struck a deep chord with our poetic soul and its effect on literature will not be forgotten soon. The great masters of the sonnet spun them with such skill that they could make the hearts of the bravest men quiver and bring them to tears. But the burning question we must ask ourselves now is whether the masters of this form have taken their secrets to the grave along with the sonnet, or whether this powerful form still has a life of its own.

Before a deep question like this can be answered, we must first try and understand what makes a sonnet such a powerful form of poetry, then analyse whether that poetic power is still relevant today. A sonnet is a poem with stanzas, 14 lines, any of several fixed verse or rhyme schemes {typically in rhymed iambic pentameter} and includes two parts. The first part the octave or the question being posed and the second part the sestat or the answer to the question. But, the true beauty of a sonnet doesn’t merely lie in its form and structure. Since a sonnet is such a short form of poetry every word and line must and can be used to pack a solid punch, in its meaning, language or sound. Words do not have to be wasted on creating or connecting a story; this gives the sonnet a distinct advantage in the concentration and quality of its content. Of course in order to wield this powerful advantage a poet must be able to place that monstrous amount of energy and soul into each line of the sonnet in order to take full advantage of its structure and strike a deep chord with the reader, as deep as the poet can push. Certain linguist tools have been developed in order to enable a poet to do just this. Due to their brief nature, sonnets can deal with abstract ideas and concepts with more prowess, their stunning impact is interesting as it also allows for certain ambiguity, paradox and thus space for thought making them thought provoking and gripping. The idea of stating a theme and then developing, expanding, contradicting or just merely playing with it is so effective because it ensures that the poet must delve deep into any theme he discusses and not just scratch at the surface, this in turn draws the reader as deep as the poet’s thought has dared to venture.

Even from this brief description of sonnets it is easy to see how fundamental they were in the development of poetry. Contemporary poetry has evolved from many of the concepts laid out by sonnets. Modern forms of poetry have carried forward the idea of abstracting, elaborating and questioning but all these concepts are rooted deep in the fundamentals of sonnets. Even if some do not find sonnets to be as relevant in today’s context as they were before, we must understand that many of the forms that are relevant, come from their foundations in the fundamental chemistry of sonnets that man kind has become addicted to. Everything from the incredible flow, beautiful language and compact {short and sweet} nature of the sonnet has appealed to humanity. In my opinion, contemporary poetry has borrowed many ideas from the sonnet form and has imbibed its appealing essence.

Understanding the evolution of something is one of the best ways to judge its merit, in any context. By analysing the forces that shaped it we can appreciate its refinement over the ages and understand its full value. Sonnets started off in the 14th century and the pioneer was an Italian scholar and poet Fransesco Petrarca. His sonnets also known as Italian sonnets started the concept of dividing the sonnet into two parts, an octet which started off with a problem or proposition, followed up with a sestet which provided a solution, these two parts had a clear break in between them known as a “volta” or turn usually around the ninth line. Even in more contemporary sonnets, which don’t follow this strict structure of having a “turn” there is still a perceptible changed in mood or tone that differentiates the two. This shows how indispensable a tool this precise and concise two-part system is. It is perfect for getting a point or idea across succinctly and powerfully. This is where one of the biggest strengths in the idea of a sonnet lies and why it can still be considered relevant today and even if it isn’t, why contemporary poetry has assimilated and imbibed this powerful structural tool. A complicated topic or question can be stated and then immediately addressed, this allows the poet to focus his attention on understanding the problem and solution instead of worrying about how to present them, thus the efficiency in handling a sonnets structure translates into more energy being poured into the essence of the concept the poet is trying to express.

After the period of the Italian sonnets, sonnets were introduced to England by Thomas Wyatt where they flourished under masters such as William Shakespeare, Edmund Spenser, Michael Drayton, Samuel Daniel, Fulke Greville, William Drummond of Hawthornden, and many others in a new form called sonnet sequences which were a series of sonnets dealing with a specific theme. At this time sonnets were generally about love of a women but the exception was shakespeares sequence which dealt with many other themes such as morality and politics and is where a true master of the artform can be found. Shakespeares sonnets can be seen as an evoltion of the sonnet form, experimenting with numerous themes, they demonstrate the versitatlity of the idea of a sonnet and describe how sonnets can evolve and in the process form the base on which new types of poetry have evolved. In fact shakespeare sonnets where seen as a prototype of a new kind of “modern” love poetry. The success of this evolution of the sonnet form can be seen in the outstanding cross-cultural importance and influence of the sonnets. This is demonstrated by the large number of translations that have been made of them. There is no major written language into which the sonnets have not been translated, including Latin, Turkish, Japanese, Kiswahili and Esperanto. This indicates a very basic human primeveal human appreciation for this form of poetry.

The evolution of the sonnet does not stop here infact it accelerates even more rapidly indicating what a perfect blueprint the sonnet was , on which a variety of forms of poetry have evolved. The enduring nature of the sonnet can be seen during the restoration when even though sonnets were not written the resolute art bounced back under the careful handling of another great master, william wordsworth during the time of the french revolution. After this sonnets were written throughout the 19th century and poets such as Shelley and Hopkins spurred on the evolution of the sonnets by producing fascinating new works such as “Ozzymandias” and “Pied beauty”, which somewhat strayed from the original form but still could not help but retain the priceless essence of a sonnet. Infact , by the end of the 19th century the sonnet had evolved into a form of great flexibility and served as a base on which poetry of widely differing themes and styles could be compiled upon. Shortly after this with the advent of free verse, the sonnet reached its next hurdle as it was seen as somewhat old-fashioned and fell out of use for a time among some schools of poets. However, a number of 20th-century poets, including Wilfred Owen, John Berryman, Edwin Morgan, Edna St. Vincent Millay, Jorge Luis Borges, Pablo Neruda, Joan Brossa, Rainer Maria Rilke, and Seamus Heaney, successfully rose to the challenge of reinvigorating the form. Finally the 21st century has seen a strong resurgence of the sonnet form, as there are many sonnets now appearing in print and on the Internet. On the internet we have seen the advent of hyper text sonnets which incorporate music , pictures and video into the sonnet form. Successful contemporary forms of sonnets include Vikram Seth’s “golden bridge”. Sonnets were used here to compose a novel, therefore setting it apart, which may account for its great popularity.

As you can see through the sonnets history it has gone through powerful changes which makes it still appeal to modern audiences, and the duarbility it has shown by retaining its fundamental essence is what merits recogniton. Even in its purest form a sonnet can still be appealing but the most amazing thing is that when it is modified to suit a particular purpose it still retains the feel of a sonnnet. That precise , packed and powerful essence which can express any feeling, idea or point effortlessly. Be it a shakespearean sonnet or a new age hyper text sonnet. The sonnet form still retains its indissolvable character and this property is what makes it so powerful. But like any powerful tool, it requires a skilled master to weild. Just like many masters in the past have revived the form I believe the sonnet can never run out of steam. When ever it lags , a new master will emerge and rejuvinate it, because the form itself is so enduring in the collective sub concious of humanity. The sonnet has been used for the basis for the evolution and creation of numerous poetic forms and in itself has undergone a steady evolution. But the winning formula at the heart of the sonnet has remained unchanged mainly because of its success and appeal which I believe will continue to be relevant as long as humanity has an ear for the art of language.

Quantifying this winning formula is another story altogether, the best way to do it is to analyse examples of sonnets, four of which I shall look at here. My aim is to identify exactly what it is that makes this form so beautiful and thus inescapably relevant not only in today’s context but any context for that matter. Some of these sonnets are modified versions of the original sonnet form and show how fresh ideas have rejuvenated the form.

An example of this modified sonnet is George Meredith’s “Modern Love”. The structure of the sonnet has been modified here, elongated from 14 to 16 lines. The description of a marriage falling apart is undeniable powerful and even though Meredith changes the structure of the sonnet slightly, many of the tools he uses such as metonymy, allegory and rich, packed language has originated from the idea of sonnets. An example of the powerful language is in the line “she wept with waking eyes”. The effect of the words “waking” and “wept” compacted together in the typically succinct sonnet style is extremely effective as it describes the complicated state of a deep sadness that pervades every part of a person’s soul, even as their mind barely blinks into consciousness, a sadness which stems from a place deep within them is there to greet them. This sadness is further detailed in “ strange low sobs… strangled mute, like little gasping snakes, dreadfully venomous to him.” The introduction of the serpent metaphor as a linguistic tool to get the message across powerfully and concisely is what a sonnet is all about. The first part of the sonnet has served to create a feeling of despair, which is almost tangible, and this has been achieved in such a short space, each word filled with meaning. To further solidify this marital despair, personification and allegories are used in “midnight makes / Her giant heart of Memory and Tears / Drink the pale drug of silence, and so beat Sleep’s heavy measure”. This line brings the ideas of “memory”, “tears”, “silence” and “sleep” literally to life. These abstract concepts become characters in a dramatic play inside our minds. Here the images and concepts grab our attention and the personification draws us into the sonnet, almost like we are one of the characters in this depressing play. The sonnet shows of its ability to include the reader and drawing him into the feelings being described, this is surely a powerful sonnet tool and outlines just how effect the sonnet form can be.

The sonnet is then drawn together beautifully and succinctly with the lines “ like sculptured effigies they might be seen / Upon the marriage-tomb, the sword between; / Each wishing for the sword that severs all. The imagery of the “sword” and “tomb” again makes the message powerful and clear, with the greatest economy of words. “sculptured effigies” not only refers to the doomed couple in a metaphorical manner, but also symbolises their eternal despair, two ideas packed into one phrase. It takes skilled precision on the writer’s part to do this, but remember the time tested blue prints of the sonnet are always there to help him. This is what makes the form so powerful, the framework and formula of compressing powerful poetry is what the sonnet is all about, and is what makes the sonnet so timeless. Even though this is a modified modern sonnet, the very fact that the writer makes copious use of the secrets of the sonnet form is what helps to make this poem so powerful. This clearly indicates the broad relevance of the sonnet form and how it ideas from it can be incorporated into newer poetry, because those ideas are so powerful and effective.

Another example where a sonnet has been slightly customised to suit the needs of the author can be seen in the sonnet, “On finding a small fly crushed in a book” by Charles Tennyson Turner. Here the break or turn and the rhyme scheme differs from contemporary sonnets in order to reflect the train of thoughts in the author’s mind and to create a more personal touch, as if he is reflecting about the crushed fly he finds in a book. But the beauty of the sonnet form is still evident and the tools associated with it can be seen clearly.

The poet has taken the simple concept of a fly crushed in a book and packed into that seemingly tiny description a whole host of philosophical questions. Here we have a relatively simple and summarised concept {live fly in book – book shuts – dead fly in book} being packed with powerful concepts. Approaching this sonnet in steps we see that the poet first sets up the description of the dead fly, “ But thou has left thine own fair monument, / thy wings gleam out and tell me what thou wert:”. The poet describes the dead fly in beautiful simplicity, “fair monument” and “wings gleam out”. He has superimposed the two ideas of permanence and impermanence into one phrase “fair monument”, even though the fly is merely mortal, its wings and smudge is immortal, the mark it has left behind still remains. The poet then goes onto describe the fly as it was still living, this is where the turn or Volta happens, and the order is effective, its almost like a flashback, “ pure relics of a blameless life, that shine”. The term “blameless life” is beautiful in its simplicity and indicates the innocence of the fly. Finally the poet drops his bombshell for which he has built his sonnet up in such a short space, “the closing book may stop our vital breath, / yet leave no lustre on our page of death”. The “closing book” here is a powerfully concise metaphor that encompasses death. The poet has managed to refer to the idea of the impermanence of an individual and the insignificance of his existence by using a simple book metaphor, “leave no lustre on our page of death”. We shall leave now mark behind like the fly did. This incredibly complex idea of impermanence is conveyed so powerfully by such simple means, the phrase “page of death” invokes so many different interpretations. This is what is meant by economy of words and is what the sonnet form encourages especially in the ironical couplet at the end, which is an integral part of sonnet structure. The structure of the sonnet has evolved and been designed to pack a powerful punch in the end.

Another sonnet, which conveys a powerful message with infinite simplicity and conciseness, is “Ozymandias”. Here the poet presents complex statements on the impermanence of power and the finite nature of tyranny when compared to the humble skill of craftsmen. Again the sonnet form is slightly modified away from the Shakespearean style in its rhyme, but the essence of the sonnet is still evident.
The sculpture found in the desert is used to convey these powerful ideas; again here we see the typical sonnet use of symbolism and representation in, “ half sunk, a shattered visage lies, whose frown, / And wrinkled lip, and sneer of cold command, tell that its sculptor well those passions read / which yet survive, stamped on these lifeless things/”. In true sonnet style the simple description of the destroyed sculpture is packed with meaning. Phrases such as “half sunk”, “shattered visage” and “lifeless things” indicate how the emperor’s mighty power has crumbled when faced with the sands of time {the desert setting is no mistake}. All his achievements have been forgotten and have “sunk” away, the life drained out of not only him but his legacy as well. On the other hand we see the humble craftsmen whose skill in statue carving “which yet survive’ even longer than the mighty emperors legacy. Indeed the emperor is all but forgotten, what catches our attention is the craftsman’s passion and skill in depicting the tyranny of the emperor through his “wrinkled lip” and “sneer of cold command”. The latter phrase is beautiful, the words “sneer”, “cold” and “command” feel and sound like they’ve been spat out of someone’s mouth in disgust and hatred. We can clearly tell that this emperor was not loved nor was his greatness immortal.

The poet has slightly modified the structure to actually enhance one of the properties of the sonnet form; the ironical couplet that is usually found at the end of a sonnet. This has been elongated to into three lines, two push the point home with even more vigour, “nothing besides remains. Round the decay / of that colossal wreck, boundless and bare / the lone and level sands stretch far away.” These last lines leave a lasting image in our heads like a fadeout at the end of a touching and powerful movie. This allows time for reflection and thought about the ideas discussed in the sonnet. The last line, “ lone and level sands stretch away” actually stretches away in our minds as well, like the slow fadeout so we can reflect on the “decay” and “wreck” power has created along with the “bare” legacy it has left behind. The power packed essence of a sonnet has definitely been retained and the modification of this sonnet’s form has actually greatly enhanced it. This indicates that there is no harm in playing around with this type of poetry, due to its appealing essence and flexibility its perfect for experimenting with and adapting.

Finally the best example of the majesty of a sonnet can be seen from the hands of a true master, William Wordsworth. Yes, it takes mastery to create beautiful poetry, but writing using the sonnet form, or using ideas from the sonnet makes it a lot easier. Many of the tools Wordsworth uses to write this sonnet have been adapted and used in all the sonnets I have discussed before. In fact the essence of a sonnet is the same throughout all the poems and this probably aided their success. Simplicity reaches levels of perfection in this sonnet, Wordsworth has used the basic tools that have been created by the sonnet form, just like the other poets have done but the difference is the skill he has achieved with those tools. The opening line is simple and succinct and herein lies its beauty, “ earth has not anything to show more fair”, nothing on this earth can compare to the sight of London in the morning light, the language is short and simple but tremendously sweet in its compactness as well. Wordsworth then claims that this sight would touch anybody, thus, “dull would he be of soul who could pass by”, this line is beautifully phrased especially the term “dull of soul” which attributes a physical description to something as abstract as a soul, allowing the reader to actually engage with the concept and understand it fully.

Wordsworth then goes onto to literally bring London alive and give her form, “the city now doth like a garment wear / The beauty of the morning; silent, bare”. This personification helps create a tangible form we can relate to and in doing so makes his description simple and easy for us to access, and this is done with just a clever personification. The essence of London is dramatised and again the reader has been drawn onto the stage no longer a mere spectator but an actor himself, weaving and performing with the very poetry he is reading. The beautiful description of the setting following this, “ temples lie / open unto the fields, and to the sky; all bright and glittering in the smokeless air.”, creates an almost ethereal feeling. London by morning is given a tangible spiritual feeling with “ temples”, “glittering in the smokeless air”. This is not an easy atmosphere to create but Wordsworth has done it using the sonnet form in the least amount of words but with the greatest impact. Even the sun has been given a human face, “ never did sun more beautifully steep / in his first splendour, valley, rock or hill;”. Here again the economy of words can be seen, this sonnet economy certainly doesn’t detract from effect instead it adds great value to it. The sun as a character is certainly more inspiring then a long winding description and his “splendour” is now tangible, something the reader can interact with. The sonnet form has certainly been used to great effect and as a last parting blow Wordsworth exclaims, “all that mighty heart is lying still!”. The personification is carried out till the very end of the sonnet and this continued packing of ideas into a human form is vastly effective. The focus shifts to the centre, the very core the spring of life that is the “mighty heart” of this giant organism. In beautiful binary opposition, this massive throbbing organ is actually “lying still” perhaps awed by the beauty of the morning just at the reader is in awe of the beauty of this sonnet.

In conclusion I believe that the sonnet form is still relevant and will always be relevant. This does not necessarily mean that sonnet written two hundred years ago will look like a sonnet written today, modifications will be made and this is necessary for the evolution of any form of anything. The concepts and ideas and tools that have evolved alongside a sonnet, namely its compact nature, the use of allegories, powerful metaphors and personifications, the ending couplet, the basic question and answer format as well as the turn in between, will be utilised in the evolution of the form and the transformation of this forms into another forms, and the integration of these ideas into other forms as well.