Exploring the Rhyme Scheme in Sonnets: A Comprehensive Guide

Sonnet, a beloved form of poetry, has captivated readers and poets for centuries with its unique structure and thematic depth. One critical aspect of sonnet writing is the rhyme scheme. Understanding how to align the rhymes properly can significantly enhance the poem's narrative and rhythm. This guide will delve into the intricacies of rhyming lines within sonnets, focusing on both the Shakespearean and Petrarchan forms.

Introduction to Sonnet Rhyme Schemes

Sonnets, whether they follow the Petrarchan or Shakespearean form, adhere to specific rhyme schemes that define their structure and the flow of the poem. The Petrarchan sonnet, named after the famous Italian poet Francesco Petrarca, is also known as the Italian sonnet. It consists of 14 lines and follows the rhyme scheme ABBAABBA, with the first eight lines (octave) establishing the theme, and the last six lines (sestet) presenting a conclusion or resolution.

Understanding the Rhyme Schemes

The Shakespearean sonnet, also referred to as the English sonnet, expands on the Petrarchan form by including a rhyme in the final six lines. While the first eight lines (octave) maintain the same rhyme scheme (ABABCDCD), the final six lines (sestet) offer flexibility, allowing for two main rhyme schemes: AAAAAA or BABBAA.

Shakespearean Sonnet Rhyme Scheme: AAAAAA

In a Shakespearean sonnet where the final six lines follow the AAAAAA rhyme scheme, the lines that rhyme follow the pattern: Lines 9 and 11 rhyme with each other (A) Lines 10 and 12 rhyme with each other (A) Line 13 does not rhyme with any of the other lines but contributes to the unrhymed AAAAAA pattern (A)

For the AAAAAA rhyme scheme, the rhyme pattern in the last six lines is as follows:

Line 9 Line 10 Line 11 Line 12 Line 13 Line 14

Each of these lines rhymes with the lines immediately after it, forming a continuous flow of AAAA in the sestet.

Shakespearean Sonnet Rhyme Scheme: BABBAA

Alternatively, the final six lines can follow the BABBAA rhyme scheme, which allows for a more varied and complex rhyme pattern:

Line 9 Line 10 Line 11 Line 12 Line 13 Line 14

Here, the rhyme pattern is as follows:

Line 9 rhymes with Line 11 (B) Line 10 rhymes with Line 12 (B) Line 13 rhymes with Line 14 (A)

The BABBAA rhyme scheme provides a more varied and structured conclusion, making the poem seem more intentional and balanced.

Examples of Sonnet Rhyme Schemes in Practice

To better understand how these rhyme schemes work in practice, let's examine two examples of Shakespearean sonnets:

Example 1: Petrarchan Sonnet (Italian Sonnet)

ABBAABBA CDECDE

An example of a Petrarchan sonnet would adhere to the rhyme scheme ABBAABBA, followed by a sestet with a different rhyme scheme. For instance, CDECDE, where C and D rhyme in the sestet, providing a change from the purely octave rhyme scheme:

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.
Oh no! it is an ever-fixed mark
That looks on tempests, and is never mov'd.

It is the star to every wand'ring bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
In whereabouts he doth already come.

In this example, the first eight lines (octave) establish the theme of true, unchanging love, while the final six lines (sestet) provide a turn or shift, possibly addressing the challenges faced by such love.

Example 2: Shakespearean Sonnet (English Sonnet)

ABABCDCDEFEFGG

For a Shakespearean sonnet, the rhyme scheme is ABABCDCDEFEFGG, with the final six lines following one of the two rhyme schemes discussed earlier (AAAAAA or BABBAA).

When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time's waste.

Then can I drown an eye, quiet a throstle,
Sweeten the sounds that spring from Lenin's bough,
Or diving into the boiling oceans prove
A plentiful intptr in exiled woe.

And died they in name alone! Their worms are green
And felt for them. This useless mourning I
Except you be my friend, whom I will strain
From death's prey, and by you attended.

In this example, the first eight lines (octave) reflect on past memories and the passage of time, while the final six lines (sestet) offer a resolution or turn in the narrative, such as the speaker's reliance on a friend to save them from despair.

Conclusion

Understanding and mastering the rhyme schemes in sonnets is crucial for poets looking to create engaging, structured, and meaningful works. Whether you choose the Petrarchan ABBAABBA, CDECDE, or the Shakespearean ABABCDCDEFEFGG (with a final AAAAAA or BABBAA in the sestet), each approach provides a unique framework for exploring deep themes and emotions.

By carefully crafting your rhymes, you can enhance the musicality and emotional impact of your sonnet, making your words resonate deeply with readers.

Frequently Asked Questions

Q: Can a sonnet include multiple rhyme schemes within the sestet?

A: No, a sonnet should maintain a consistent rhyme scheme throughout, as defined by the form. However, the sestet (lines 9 through 14) does offer some flexibility in the Shakespearean form with options like AAAAAA or BABBAA. Within these schemes, the rhymes should be consistent and carefully considered to maintain the poem's structure and flow.

Q: How important is the rhyme scheme in a sonnet?

A: The rhyme scheme is integral to the form of a sonnet. It provides a framework for the poem's structure, helping to create a musical and rhythmic quality that complements the content and themes of the poem. While it is not the sole focus, a well-executed rhyme scheme can enhance the overall reading experience.

Q: Are there any sonnet forms beyond Petrarchan and Shakespearean?

A: Yes, while Petrarchan and Shakespearean sonnets are the most well-known, there are other forms, such as Spenserian sonnets, which combine aspects of both Petrarchan and Shakespearean structures. Additionally, some poets have experimented with free-verse sonnets, maintaining a sonnet form without strict rhyme or meter constraints.

Note: If you need further assistance or would like to explore different sonnet forms and rhyme schemes, feel free to ask!