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The Project Gutenberg EBook of Elizabethan Sonnet Cycles, by Thomas Lodge and Giles Fletcher This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Elizabethan Sonnet Cycles Phillis - Licia Author: Thomas Lodge and Giles Fletcher Editor: Martha Foote Crow Release Date: July 16, 2006 [EBook #18841] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK ELIZABETHAN SONNET CYCLES *** Produced by David Starner, Taavi Kalju and the Online Distributed Proofreading Team at http://www.pgdp.net ELIZABETHAN SONNET-CYCLES EDITED BY MARTHA FOOTE CROW PHILLIS BY THOMAS LODGE LICIA BY GILES FLETCHER KEGAN PAUL, TRENCH, TRUeBNER AND CO. PATERNOSTER HOUSE LONDON W.C. 1896 INTRODUCTION The last decade of the sixteenth century was marked by an outburst of sonneteering. To devotees of the sonnet, who find in that poetic form the moat perfect vehicle that has ever been devised for the expression of a single importunate emotion, it will not seem strange that at the threshold of a literary period whose characteristic note is the most intense personality, the instinct of poets should have directed them to the form most perfectly fitted for the expression of this inner motive. The sonnet, a distinguished guest from Italy, was ushered to by those two "courtly makers," Wyatt and Surrey, in the days of Henry VIII. But when, forty years later, the foreigner was to be acclimatised in England, her robe had to be altered to suit an English fashion. Thus the sonnet, which had been an octave of enclosed or alternate rhymes, followed by a sestette of interlaced tercets, was now changed to a series of three quatrains with differing sets of alternate rhymes in each, at the close of which the insidious couplet succeeded in establishing itself. But these changes were not made without a great deal of experiment; and during the tentative period the name "sonnet" was given, to a wide variety of forms, in the moulding of which but one rule seemed to be uniformly obeyed--that the poem should be the expression of a single, simple emotion. This law cut the poem, to a relative shortness and defined its dignity and clearness. Beyond this al
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