Tuesday, November 25, 2025

Two Sonnets

One of the most interesting types of poetry to flourish in the time of Shakespeare (1564-1616) was the sonnet sequence. A number of poets wrote sonnets, and three who composed the best sonnet sequences of that period are Sir Philip Sidney (1554-1586), Edmund Spenser (1552-1599), and Shakespeare. These poets inherited the sonnet form from early English poets who in turn adapted the form from the Italian poet Francesco Petrarch (1307-1374). Petrarch was born in Arzezzo, Italy. He initially studied law but chose to become instead a minor ecclesiastic official (a cleric) in the church against his father’s wishes. Together, father and son moved to France and in 1327 he saw Laura de Noves while at mass in Avignon and shortly after began composing sonnets telling of his love for her and his devotion to her. Later, Laura died in the plague of 1348, but Petrarch persisted in his adoration of her until his own death. In all, he wrote 317 sonnets in his sequence. All of these profoundly talented poets explore the subject of love in their sonnets but only Spenser celebrates love as a bliss that is consummated in the happy union (of marriage) between the man and the woman.

An early translation of one of Petrarch’s sonnets is by Thomas Wyatt (1503-1542). It is a dramatic rendition of a timid and intimidated man by an unyielding woman:

   The Long Love that in my Thought doth Harbour
                          

The long love that in my thought doth harbour
And in mine heart doth keep his residence
Into my face preseth with bold pretence
And therein campeth, spreading his banner.
She that me learneth to love and suffer
And will that my trust and lust's negligence
Be reigned by reason, shame, and reverence
With his hardiness taketh displeasure.
Wherewithall unto the heart's forest he fleeth,
Leaving his enterprise with pain and cry,
And there him hideth and not appeareth.
What may I do when master feareth
But in the field with him to live and die?
For good is the life ending faithfully.

The speaker in the sonnet dramatizes the conflict between his desire for the woman he loves and her angry response to his display of passion. With sudden military-like force his passion spreads across his face, revealing for all to see the irrepressible love he feels. Until this embarrassing moment, he seems to have managed to suppress that emotion, clearly surrendering to the ‘command’ she “taught” him about expressing his feelings. Her rebuke instills him with fear and sends him and his “love” retreating into the thickets of his “heart’s forest.” There it will set up camp, but no doubt love will escape again and provoke the ire of the woman who scorns the man she completely subjugates.

Like Wyatt, Sir Philip Sidney understood the anguish of unrequited love. He fell in love with Penelope Devereux (1563-1607), but she married another man. The experience inspired his sonnet sequence Astrophel and Stella. Through the 108 sonnets, Astrophel paints a meditative, self-exploration of his love for Stella that is psychologically complex and also playfully amusing. In the first sonnet of the sequence Sidney introduces the theme of finding the inspiration to write poetry.

                  Sonnet 1

Loving in truth and fain in verse my love to show,
That she, dear she, might take some pleasure of my pain,
Pleasure might cause her read, reading might make her know
Knowledge might pity win, and pity grace obtain,
I sought fit words to paint the blackest face of woe;
Studying inventions fine her wits to entertain,
Oft turning others' leaves, to see if thence would flow
Some fresh and fruitful showers upon my sunburn'd brain.
but words came halting forth, wanting invention's stay;
Invention, Nature's child, fled step-dame Study's blows;
And others' feet still seem'd but strangers in my way.
Thus great with child to speak and helpless in my throes,
Biting my truant pen, beating myself for spite,
'Fool,' said my Muse to me, 'look in thy heart, and write.'

The first line of the sonnet tells the reader two important ideas. First, Astrophel’s love for Stella is genuine and unaffected, “Loving in truth,” and second, Astrophel intends to impart his love through poetry, “and fain in verse my love to show.” Admirable as it is to write love poems to the woman he desires, Astrophel’s means of accomplishing his aim is flawed, even though he perceives a logic to his method. When Stella reads this first sonnet, she might be pleased, which might make her want to read more of his poems. As she does, she will come to know his “pain,” giving her “knowledge” which “might” cause her “pity” and that pity for Astrophel might conceivably her “grace obtain.” After lines 1-4, Astrophel could be on his way to capturing Stella’s love, but in fact, he is only moving himself further from accomplishing his goal. Line 5 produces the crux of his effort, “I sought fit words to paint the blackest face of woe,” but also reveals the flaw in his method. The verb to “paint” perhaps betrays something inauthentic in Astrophel’s manner of composition, something superficial in the way he is attempting to communicate his love. Lines 6-12 reveal an obstacle Astrophel mistook for a way to find those “fit words” to express himself. He searches other poets and poems for suitable “inventions fine” to “entertain” Stella with and discovers that plagiarizing other poets cannot engender poetic creation. In fact, searching for the right words from “others’ leaves” only leave him interminably pregnant, unable to give birth to poem(s) that persuade her to love him too. 

Sunday, November 9, 2025

Wordsworth's "Intimation Ode"

  Of all the poetry William Wordsworth (1770-1850) wrote, three stand among the greatest of the 19th century: Tintern Abbey; Ode; Intimations of Immortality; and The Prelude. His Ode has garnered praise and admiration and might even be viewed as his crowning masterpiece. It is a beautiful and fascinating poem that contemplates what is lost as we “mature” from children to adults. Written in irregular Pindaric ode, it takes the reader through eleven stanzas of 204 lines. I have included a link to Michael Sheen’s fine reading of the poem for anyone who wants to also hear the poem read aloud. (If possible, view the poem in desktop mode to see an accurate shape of the text.)

The Duality of Robert Frost