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octave + a sestet
abbaabba + cdecde, cdcdcd, or cdedec
Th octave presents a narrative, raises a question, or states a proposition, to which the sestet responds |
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three qutrains + a rhymed couplet
abab cdcd efef gg |
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| a fanciful notion, often expressed through an elaborate analogy or metaphor pointing to a striking parallel between otensibly dissimilar things |
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| exaggerated comparisons expresing the beuaty, cruelty, and charm of the beoved and the suffering of the forlorned lover. Idealized courtly love. |
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| An analogy identifying one object with another and asribing the first object one or more qualities of the second |
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| In a metaphor, the idea being expressed or th subject of the comparison |
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| In a metaphor, the image in which this subject is conveyed or the subjet communicated |
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A self-contradictory combination of words or smaller verbal units; usually noun-noun, adjective-adjective, adjective-noun, adverb-adverb, or adverb-verb
bitterwseet, darkness visible |
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| Father of modern English poetry; it is with his translations of Petrarch that tradition in English begins. |
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| Published by Richard Tottel; held nearly 100 Wyatt poems, it allowed many, not just aristocrats, to see the ideas and forms of the Eurpoean Renaissance. |
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| What to expect from Wyatt's sonnets |
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He uses typical Petrarchan conventions
He translates from Italian models, which means his themes or issues don't usually originate from him
He generally follows the rhyme sceme, abba cddc effe gg
He often presents two sides of love - spritual and physical - but never a union of the two (this differentiates him from Petrarch) |
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| Henry Howard, Earl of Surrey |
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| What to expect of Surrey's work |
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Much of his work handles the the traiditonal Petrarchan theme of love, with typical Petrarchan coneits
He uses a natural imagery that is more livlier and more "English" than that found in Petrarchan models
His language is often more modern than Wyatt's; his meanings are often clearer
Smoother rhymes, usually following the rhyme scheme, abab cdcd efef gg |
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| unrhymed but otherwise regualr verse, usually in iambic pentameter. Commonly used for long poems. |
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| the quintessential Rennaisance man. One of the first to write sonnet sequences; Astrophel and Stella, a sequence of sonnets about a single subject linked to one another |
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| The study of allegorical symbols, especially in the Bible |
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| Synbol for something that it is to come; The Old Testament was the New Testament in type |
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A person or thing represented or foreshadowed by or identified with an earlier type or symbol
The Old Testament is the New Testament concealed; The New Testament is the Old Testment revealed; the New Testament is the Old Testament in antitype |
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| A copy from the original; a type of something that has previously existed |
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An idealized model of a person, object, or concept, from which similar instances are derived, copied, patterned, or emulated
Christ is the archetype |
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Characters who reference Christ before he even existed are showing they are types of the antitype (Christ)
Characters born after Christ are ectypes of the archetype (Christ)
Because Christ is timeless, we are all both types of the antitype (Christ) and ectypes of the archetype (Christ)
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Church within which Sinners find refuge
Salvation provided by Christ; Ark of Safety |
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| Wood of the Ark (Typology) |
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| Judgement; Last Judgement |
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| One Door to enter the Ark (Typology) |
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| One way to God, through Christ |
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| Salvation through Baptism |
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| Sinner who rejects Church |
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| Noah's Wife's Disobediance to her Husband (Typology) |
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| Man's disobediance to God |
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| Man being saved by the grace of God |
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| type of the antiype Mary (though not meek and virtuous) |
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| Pottle of Malmsey (Typology) |
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| Covenant bewteen type/ectype Noah and antitype/archetype Christ |
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| The true work of art must particpate in order: it must consitute a perfect harmonious whole from which nothing can be subtracted, nothing altered without damaging its unity. |
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