I've come up with a new Sonnet variation, the Rosarian Sonnet. It combines elements of the Petrarchan, Shakespearian, and
Pushkin Sonnet forms.
Its layout can be represented in poetic notation thus:
a
a
b
c
c
d
d
b
e
e
f
g
g
f
In this way the Sonnet is divided into two halves, in keeping with tradition. In a compromise between the Petrarchan and Shakespearian forms, where the Volta
(or 'shift' in thought) occurs after lines 8 and 12 respectively, the Volta in the Rosarian Sonnet occurs after line 10.
I'm uncertain whether it's better the concluding quatrain should be f,g,g,f or f,g,f,g (envelope rhyme or alternating rhyme), and I can see
justifications for both. Maybe we can keep this optional. Another option is to incorporate the 'b' rhyme of the first half of the Sonnet into the
concluding quatrain.
More info on the Rosarian, and many examples can be found here: The Poets Garret
Leave a comment
PoeticRaine
08/18/08
Original comment »
PoeticRaine
08/16/08
PoeticRaine
08/09/08
Original comment »
passionsdaughter
08/04/08
Hugs,
Nicole
PoeticRaine
07/30/08
Original comment »
PoeticRaine
07/26/08
passionsdaughter
07/23/08
Hugs,
Nicole
PoeticRaine
07/21/08
passionsdaughter
07/02/08
Hugs Nicole
PoeticRaine
06/24/08
Have an Amazing Day
*Hugs Rox*
Leave a comment