328 SONNETS OF CONTEMPORARY STRUCTURE. NOBLE, JAMES ASHCROFT-A Supreme Hour, PFEIFFER, EMILY-The winged soul, Watchman, what of the night? REYNOLDS, JOHN HAMILTON-On the Picture of a Lady, ROBINSON, A. MARY F.-Lover's Silence, ROSSETTI, DANTE GABRIEL-Lost Days, Mary Magdalene at the door of Simon the Pharisee, PAGE 239 234 233 90 265 169 171 170 167 172 Do. 173 Do. III. Her Heaven, 174 SCOTT, WILLIAM BELL-A Garland for advancing years, 313 On the Birth of Thomas Carlyle's Great-nephew, 2d June 1880, . SHARP, WILLIAM-Spring Wind, SYMONDS, JOHN ADDINGTON-To the Genius of Eternal Slumber, TENNYSON, ALFRED-Montenegro, WALKER, WILLIAM SIDNEY 'They say that thou wert lovely on thy bier,' WATTS, THEODORE-Foreshadowings, . On the Mountains-I. Natura Benigna, To Alfred Tennyson, WEBSTER, AUGUSTA-Choosing, WHITE, JOSEPH BLANCO-TO Night, On hearing myself for the first time called an old man, æt. 50, Whitehead, CHARI.ES—‘Even as yon lamp within my vacant room,'. WILLIAMS, ISAAC-On the Death of a Worldly-minded Man, WORDSWORTH, WILLIAM-'It is a beauteous evening, calm and free,' On the Extinction of the Venetian Republic, SONNETS OF MISCELLANEOUS STRUCTURE. The sonnets in this sub-section are such as do not fall naturally into any one of the three greater groups. GRAY, DAVID-'Sweet Mavis! at this cool delicious hour,' HALLAM, ARTHUR HENRY-'The garden trees are busy with the shower,' 146 KEMBLE, FRANCES ANNE- Art thou already weary of the way,' LAMB, CHARLES- Work, NOEL, THE HON. RODEN-‘Stain not thy soul with the unholy strife,' . 'Wilt thou arouse thee from low lethargy?' POE, EDGAR ALLAN-Silence, ROSSETTI, CHRISTINA-After Communion, 303 137 98 151 69 230 231 126 189 SHELLEY, PERCY BYSSHE 'Ye hasten to the grave! what seek ye there,' SOUTHEY, ROBERT-Winter, TAYLOR, SIR HENRY-TO Robert Southey, TURNER, CHARLES TENNYSON-The Ocean, 84 85 68 114 121 The Prisoner, 123 The Lattice at Sunrise, 125 METRICAL FORMS IN EARLY ITALIAN POETS. To notify the various leading types of the early Italian sonnets (which have been referred to in classifying the English) may not be superfluous. FRA GUITTONE D'AREZZO. This author (perhaps too frequently and specially cited by critics) has 217 sonnets, of which 209 have the octave constructed on an alternate rhyme-scheme similar to that adopted by Shakspeare, except that two rhymes are employed instead of four. Eight of Guittone's sonnets are of the Petrarchian rhymearrangement; 158 of them have four rhymes only throughout, and 59 have five rhymes; 2 are of 16 lines. DANTE ALIGHIERI. There are 80 sonnets attributed to Dante, and no doubt most of these are genuine; 10 of the whole number have the octave constructed on the alternate rhyme-scheme running on two rhymes, the remaining 70 being of the arrangement known as Petrarchian; 52 of them have five rhymes throughout, and 28 have four rhymes; 12 close with a couplet, and 2 are of 16 lines. FRANCESCO PETRARCA. The series entitled In Vita di M. Laura contains 152 sonnets with five rhymes throughout, and 73 sonnets with four rhymes. The other series, In Morte di M. Laura, contains 51 sonnets with five rhymes, and 39 sonnets with four rhymes. The variation in all cases is in the sestet only: the octave running uniformly on two rhymes. Several of Petrarch's sonnets have in the octave the alternate rhyme-arrangement adopted in the great body of Guittone's sonnets, and one of METRICAL FORMS IN EARLY ITALIAN POETS. 331 Certain excep them closes with a couplet, but is otherwise regular as to form. tional, and wholly irregular, pieces of fourteen lines are found in Petrarch, and these are of the Ballata character. To follow the entire course of the voluminous series of poets preceding Dante might be to overload these indices with foreign matter. Suffice it that they may on an average be said to follow the same proportionate rule as Guittone. It may be well to note that the sonnet printed first in Italian collections, and dated 1200, being by Lodovico della Vernaccia, is of Petrarchian rhymearrangement, and has five rhymes. |