The curtal sonnet, a shortened version devised by Gerard Manley Hopkins that maintains the proportions of the Italian form, substituting two six-stress tercets for two quatrains in the octave (rhyming ABC ABC), and four and a half lines for the sestet (rhyming DEBDE), also six-stress except for the final three-stress line. See Gerard Manley Hopkins’s “That Nature Is a Heraclitean Fire.” The caudate sonnet, which adds codas or tails to the 14-line poem. These three types have given rise to many variations, including: George Herbert’s “Love (II),” Claude McKay’s “America,” and Molly Peacock’s “Altruism” are English sonnets. See Thomas Wyatt’s “Whoso List to Hunt, I Know Where Is an Hind” and John Donne’s “If Poisonous Minerals, and If That Tree.” Wyatt and Surrey developed the English (or Shakespearean) sonnet, which condenses the 14 lines into one stanza of three quatrains and a concluding couplet, with a rhyme scheme of ABABCDCDEFEFGG (though poets have frequently varied this scheme see Wilfred Owen’s “Anthem for Doomed Youth”). The octave’s rhyme scheme is preserved, but the sestet rhymes CDDCEE. John Milton’s “When I Consider How my Light Is Spent” and Elizabeth Barrett Browning’s “How Do I Love Thee” employ this form. The Italian sonnet is an English variation on the traditional Petrarchan version. The Petrarchan sonnet, perfected by the Italian poet Petrarch, divides the 14 lines into two sections: an eight-line stanza (octave) rhyming ABBAABBA, and a six-line stanza (sestet) rhyming CDCDCD or CDECDE. There are many different types of sonnets. Literally a “little song,” the sonnet traditionally reflects upon a single sentiment, with a clarification or “turn” of thought in its concluding lines. A 14-line poem with a variable rhyme scheme originating in Italy and brought to England by Sir Thomas Wyatt and Henry Howard, earl of Surrey in the 16th century.
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