Learn how to write a sonnet in iambic pentameter, just like did. Discover the rhythm and rhyme scheme of the quatrains and couplets that make up a Shakespearean sonnet.
Both ‘How Do I Love Thee? (Sonnet 43)’ by Elizabeth Barrett Browning and Shakespeare’s ‘Sonnet 116’ explore the ideas of love and romance in the traditional form of a sonnet. Whereas Browning writes about the intense love she felt towards her...
"Gray himself has given us in the Pembroke MS. the date of this Poem. He writes at the end of it ''At Stoke Aug. 1742.''
The personal element in this and the following Ode is of the strongest. West had been dead little more than two months when Gray wrote it. Our poet was still estranged from Walpole, from whom he had parted at Reggio, but he had written, on West's death, a letter to Ashton [footnote: Gray and His Friends, p. 172.], couched in friendly terms, although there is little doubt that Ashton's mischief-making had brought about the famous quarrel and that Ashton was never really forgiven. Of the four members of the Quadruple Alliance, as they were called at Eton (Gray, Walpole, Ashton and West), West was the one friend who was left to Gray in '42; and when he died Gray must have felt very isolated. His life-long friendship with Wharton he contracted at Cambridge before his travels; yet, though he addressed him from Florence in 1740 as ''My dear, dear Wharton, which is a dear more than I give anybody else,'' it is noticeable that there is no extant letter to Wharton between this and one in April 1744. Seeing how religiously Wharton treasured every memento of Gray, I am inclined to think that this friendship had been allowed to lapse during the temporary break up of Gray's association with Cambridge.
The sad circumstances of West's death must also be remembered, as bearing upon the profound melancholy of the Eton Ode; his end is said to have been accelerated by the painful discovery of the sin - some say the crime [footnote: See Gray and His Friends, pp. 15-17.] - of a mother whom he tenderly loved. Both in his own family and in West's, Gray had already, at the age of twenty-six, sad experience of the workings of those fury Passions which he has vividly described.
When Gray writes ''Ah, fields beloved in vain'' he has in mind a friendship broken up, partly by estrangement, and partly by death; and when, in the succeeding Ode, written in the same month (Aug. 1742) he prays
''The gen'rous spark extinct revivehis yearning for the renewal of the broken tie with Walpole reveals itself. The train of reflection in these lines remained with him; it prompts him to write to Chute, the common friend of Walpole and himself, in 1746, after his reconciliation with Walpole, ''Our imperfections may at least excuse, and perhaps recommend us to one another; methinks I can readily pardon sickness, and age, and vexation, for all the depredations they make within and without, when I think they make us better friends, and better men, which I am persuaded is often the case.''
Teach me to love and to forgive,
Exact my own defects to scan,
What others are, to feel, and know myself a Man''
This issue is anchored by a remarkable final piece. Closing the magazine, we find a 16-page, four-part long story by Steven Heighton. “To Everything a Season” is the work of a confident, assured writer. Heighton had just been named a finalist for the Journey Prize the previous year, and received a National Magazine Award for fiction. In the decades since this publication, he has released works of poetry, essays, and fiction, and has been widely recognized for his work, including with a Governor General’s Award for Poetry in 2016.
Barton: The atmosphere in "Down Burned Road" is not only a product of the "remote" location of Carrie and Yurig's house, but of the "writerly" resonances I also catch. I know of your interest in H. P. Lovecraft and the story's mention of the Black Forest makes me think of the Brothers Grimm. Can you talk about how genre fiction and folk tales may have influenced you in the composition of this story?
And so far, Shakespeare’s sonnet has done what he promised it would! See how tightly this sonnet is written, how complex, yet well-organized it is? Now that you know how to write a sonnet, try writing one your own!
Following the success of our , in which we highlighted select back issues in honour of the , we decided to cast our gaze back, chronologically, over our complete backlist…to include (eventually!) brief reviews of every issue not previously covered. Featured issues will be highlighted on our website biweekly. is hot off the press, and we're celebrating with a spotlight review of This Place a Stranger, edited by Vici Johnstone. Publisher Caitlin Press calls it a "sometimes tragic, sometimes uproariously funny" collection of travelogues from Canadian women. And here's a snapshot of what Malahat book reviewer Kirsten Fogg said about the collection:I’ve travelled on my own many times and the clear prose of This Place a Stranger: Canadian Women Travelling Alone would have been a welcome companion. In the past, I’ve started books about adventuring women only to put them down, disappointed because the focus was on the external rather than the more interesting and complex internal journey. Yvonne Blomer, Shannon Webb-Campbell, and the other authors of the twenty-three essays in this collection, have layered and woven the personal with the public, and candid honesty with pertinent details so we get a real sense of who the writer is in that particular place.Don't think you have the time to write? Ottawa writer and blogger rob mclennan dishes up hearty advice on snapping out of the writers' block mentality and strengthening your time-management regime.Attention is a muscle, one that requires development. I know writers that require a soundless space and enforced solitude; I acknowledge that for some this is the only way to proceed, but it all seems a bit precious, akin to suggesting that one can’t do any work until life is perfect and calm (which never happens, as you know). Silence and attention are not mutually exclusive. So you want to write?Malahat’s summer 1985 issue is a rich picnic basket of reading materials filled with literary forms and styles to suit the tastes of any reader—perfect for taking to the beach. As an appetizer, there are eight poems about angels by Gail Harris that complement the cover photograph (by David Tasker) of a divine cemetery statue.
I’ve travelled on my own many times and the clear prose of This Place a Stranger: Canadian Women Travelling Alone would have been a welcome companion. In the past, I’ve started books about adventuring women only to put them down, disappointed because the focus was on the external rather than the more interesting and complex internal journey. Yvonne Blomer, Shannon Webb-Campbell, and the other authors of the twenty-three essays in this collection, have layered and woven the personal with the public, and candid honesty with pertinent details so we get a real sense of who the writer is in that particular place.
She talks about why
she is drawn to writing persona poems and how she was able to write about
places she has never personally visited in her most recent book, Porthole Views
of the World. You'll find her favorite prompt, as well as why she decided to enter
the Indiana Master Naturalist program.
"Many parallels with the thought of these two lines have been noted, although it is not clear that G[ray]. had any one of them in mind: e.g. Sophocles, Ajax 554-5: 'of woes thou knowest naught, for ignorance is life's extremest bliss'; Terence, Hecyra 286-7: nam nos omnes quibus est alicunde aliquis obiectus labos, / omne quod est interea tempus prius quam id rescitumst lucrost (If our path ahead is blocked with any trouble, all the time before we find it out is always pure gain); Davenant, The Just Italian V i Song: 'Since Knowledge is but sorrow's Spy, / It is not safe to know'; Prior, To the Hon C. Montagu 33-6: 'If We see right, We see our Woes: / Then what avails it to have Eyes? / From Ignorance our Comfort flows: / The only wretched are the Wise.' Edmund Blunden, in a pamphlet entitled The Musical Miscellany (Tokyo, 1949) p. 5, pointed out a close parallel with a song by Lewis Theobald, 'The Invitation' 10-11, in The Musical Miscellany ii (1729) 157: 'Then, like true Sons of Joy, Let's laugh at the Precise: / When Wisdom grows austere, 'tis Folly to be wise.' See also Pope, Essay on Man i 77-85 (showing that 'His happiness depends on his Ignorance to a certain degree') ; Cicero, De Divinat. II ix 22; II Henry IV III i 45, 53-6; and Izaak Walton, Life of Wotton (Wotton's reflections on his school-days at Winchester, noted in the Gentleman's Mag. lxviii (1798) 481). Other 'sources' have been discovered in Euripides, Martial, Montaigne and Robert Heath."