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Charlotte Smith incorporated a few translations from Petrarch among her Elegiac Sonnets, [4] while Anna Seward's sonnet "Petrarch to Vaucluse" is an imitation written in the poet's name. [ 5 ] At the start of the 19th century, Capel Lofft expressed his sense of the importance of the sonnet's history to the new generation of English poets.
"Suburban Sonnet" is a poem by Australian poet Gwen Harwood. [ 1 ] It was first published in The Bulletin on 12 January 1963, [ 2 ] under the author's pen-name of "Miriam Stone", and later in several of the author's collections and in other Australian poetry anthologies.
Sonnet 1 is the first in a series of 154 sonnets written by William Shakespeare and published in 1609 by Thomas Thorpe. [2] Nineteenth-century critics thought Thorpe might have published the poems without Shakespeare's consent, but modern scholars don't agree and consider that Thorpe maintained a good reputation.
In form, each 'sonnet' comprises four sets of internally rhyming quatrains, where the final quatrain either sums up the poem's drift or else serves as a turning point that takes the meaning in a new direction. In this way it corresponds roughly to the final couplet of the conventional Shakespearian sonnet.
Sonnet 101 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man. The three other internal sequences include the procreation sonnets (1–17), the Rival Poet sequence (78–86) and the Dark Lady sequence (127–154).
This sets the sonnet apart from Smith's later River Arun poems, which "[see] the poet-historian as a preservationist with special power." [ 5 ] Instead, "To the South Downs" (alongside "Written at the Close of Early Spring" and "To Spring" in the first edition of Elegiac Sonnets ) is a classically Romantic poem, "specifically because those ...
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Sonnet 6 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a procreation sonnet within the Fair Youth sequence. The sonnet continues Sonnet 5, thus forming a diptych. It also contains the same distillatory trope featured in Sonnet 54, Sonnet 74 and Sonnet 119. [2]