POETICA : 10
‘Most people ignore most poetry because
most poetry ignores most people’.
-
Adrian Mitchell
On
the Sonnet
By
John Keats
If by dull rhymes our English must be
chained,
And, like Andromeda, the Sonnet sweet
Fettered, in spite of painéd loveliness;
Let us find out, if we must be
constrained,
Sandals more interwoven and complete
To fit the naked foot of poesy;
Let us inspect the lyre, and weigh the
stress
Of every chord, and see what may be
gained
By ear industrious, and attention meet;
Misers of sound and syllable, no less
Than Midas of his coinage, let us be
Jealous of dead leaves in the bay-wreath
crown;
So, if we may not let the Muse be free,
She will be bound with garlands of her
own.
Theme
Poetry of Sonnets
The sonnet is one of the oldest, most fascinating,
challenging, teasing forms of poetry in the European literary tradition. It can
best be described as a beloved beauty adorned from head to foot in ornaments
from hair-pins, tiaras, earrings, nose-pins and necklaces, to armlets,
waist-chains down to the anklets, and foot-rings. It is an example of poetry of
exquisite embellishment. Not only in its tinkling sounds of embroidered rhymes,
but also in its other musical effects of assonance and alliteration, with all its
vivid and colourful imagery. Although laden with all this ornamentation, it’s
the meaning that happens to be most manipulated in most sonnets.
Besides the
strictest formulation of fourteen lines, with each line, generally, – an iambic
pentameter, woven into stanzas of intricate patterns of rhymes, it has, lastly,
stanzas divided into (1) eight (octet) and six lines (sestet) in the
traditional Italian model, or (2) three quatrains followed by a couplet in the
English variation. The most traditional rhyme scheme for (1) is ABBAABBA +
CDECDE or some variation in the sestet like CCDDEE.
When the sonnet crystallized its traditional form in
Italy around the 13th Century with Petrarch the rhyme scheme and
stanza division of (1) was nearly fixed and even when the form was imported in
England, the traditional Petrarchan form (1) was considered to be classically
pure.
But Italian being a romance language was more fluid
and flexible for rhyming than English which was a Germanic tongue with less
flexibility and lesser amplitude of rhymes. Hence, whereas in the traditional Petrarchan
mode the total number or rhymes was five (ABCDE), in English it was increased
to at least seven (ABCDEFG).
Even in its modern totally rhymeless form of verse,
poetry is marked by rhythm (rise and fall of intonation), much more palpably
than in prose, and by regular repetition of sounds through sound devices like
assonance, alliteration, etc or words, phrases, and even whole lines repeated
as refrain. When we speak of iambic we are speaking of this rhythm. Iambic
is a set of two syllables in which the first syllable is unstressed followed
closely by a stressed syllable – like aBOVE, aROUND. A full set of five such
alternately stressed syllables in a row are called iambic pentameters.
But all this rigmarole of technical terms of prosody
is needed only when you are analyzing the texture of the verse, like a doctor
looking at an X-Ray plate. To the common reader it is the sweetness and lilt of
the sonnet as a song which it is basically seen as.
All this anatomy of a sonnet can be discussed in
much greater detail elsewhere, but my purpose here is only to suggest that
writing a sonnet has been a teasing challenge for most poets – right from
Spenser, Shakespeare and Keats to the modernist poets like Robert Frost, W.H.
Auden and Sylvia Plath. The more important question here in my POETICA series
is what do we do if we try to write a sonnet today. The predominant theme of a
sonnet has always been love – the ever youthful emotion in life. So why not try
and write a sonnet, with all its traditional trappings, to express this
elemental emotion as we experience it in our lives today?
Trying to answer this question, I started a new
venture of attempting to write a sonnet in the easier mode of the Shakespearean
sonnet with seven rhymes. I started re-reading all his masterful creations in
this form. And then decided to try writing a Shakespearean sonnet taking the
cue from the first lines of some of his simpler sonnets. First I selected some
of his sonnets with easier opening lines which strike a theme more familiar to
the modern reader. Here is one example from about a dozen I have done so far
(which you can read here on this blog soon). It’s from the earlier part of Shakespeare’s
sonnet-sequence ; sonnet no, 22. See, only the first line is taken from
Shakespeare; on the continuing thirteen lines I try to build a fresh structure
upon that. Here is the first example.
My glass shall not
persuade me I am old
It has always beguiled
me, made me believe –
I’m always less or more
than what they hold
Though I always wear my
face on my sleeve.
Mirrors are clever
dissemblers all the time
Turning your left cheek
mole curiously on right
Enwrinkling
soft-cheeked maidens still in prime
Gainsaying all that
they say, or may or might.
Let my glass belie;
with my beloved in my arms
It can never dissuade
me of my eternal youth
With me sipping her
nectar lips, as my bed she warms,
And playing all our
luscious games of the mouth.
The glass will only
distort reality, most of all love,
So let’s forget it for
good, all its mischief to prove.
The rhyme scheme is
strictly of a Shakespearean sonnet -
three quatrains of three sets of alternating rhymes (ABAB, CDCD, EFEF) followed
by a rhyming couplet (GG). The theme is the universal theme of love presented
with the mirror as its metaphor of enigma. The rhyme words are familiar and simple.
The flow of thought is more akin to modern thinking. Even the opening line
could have been changed to – “My mirror shall not convince me to be old”. Or even in a totally different phrasing – “
Believe not your mirror if it says you are old.” In fact, this germinating idea
can be developed into an entirely different poem even under the framework of
the set rhyme scheme.
We shall continue this
discussion on one of the most loved poetic forms in the European poetic
tradition, with a variety and expanse that is astounding, in our continuing POETICA
episodes soon.
© Dr BSM Murty
Please read my first ten SHADOW SONNETS
on this blog tomorrow.
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