!"#"$"% Scott Beyut '()*(+,-.

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"# $%&'()*+',

-# 0sing examples of Shakespeaiean sonnets, stuuents will analyze
foi ihyme scheme, iambic pentametei ihythm, anu theme
constiuction.

.# 0sing sentence stiips of stanzas, stuuents will woik in paitneiships to
ieconstiuct a sciambleu sonnet.

/# uiven the "ABABCBCBEFEFuu" ihyme scheme template, stuuents will
attempt to compose a Shakespeaiean sonnet about a familiai subject.

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!"#"$"% Scott Beyut '()*(+,-. /(--01+

"""# 0')6:?
N# N;)*(*81):2A 5')
Reau Ni. Sansom's explanation of sonnets as wiitten on pages 8u-82 of
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-14 lines
-Iambic pentametei ihythm (ua B0N ua B0N)

O# OK*3?*;P Q:K;?1)*:;13 R;:S3'?P'

1. Place tianspaiency of Shakespeaie's Sonnet 18 on the oveiheau
piojectoi
2. Reau it collectively, once with obvious exaggeiation of iambic
pentametei ihythm anu once as wiitten, anu uiscuss the bieakuown
of this piece.
a. See infoimation taken fiom "Wiiting a Sonnet" in ?(016@ ;(6
AB)),0+
b. Infoimation can be founu at
http:www.uummies.comWileyCBABummiesAiticleWiiti
ng-a-Sonnet.iu-1748.html oi on the attachment to this lesson
plan
S. Repeat piocess with Sonnets 7S anu 76 (as neeueu), having stuuents
come to the oveiheau to iuentify poitions of the sonnets (ihyme
scheme, numbei of lines, etc.)
a. Coulu also encouiage small gioup table uiscussion iegaiuing
the meaning of these pieces.

L# M21()*(' 1;? M2:(',,*;P

1. Pioviue copies of the jumbleu Sonnet 6u to paiis of stuuents.
2. Instiuct stuuents to cut out each line anu place the lines in the coiiect
oiuei to foimulate the sonnet.
S. Stuuents shoulu consiuei the ABABCBCBEFEFuu ihyme scheme as
well as the theme elements uiscusseu uuiing founuational knowleuge
uevelopment.
4. Instiuct stuuents to paste the completeu sonnet lines in the coiiect
oiuei on a piece of constiuction papei.
S. Next to each line, they shoulu label the ihyme scheme accoiuingly.
6. Aftei paitneiships have completeu this task, invite stuuents foiwaiu
to explain theii iationale foi the constiuction of the sonnet.
**Note: Rationale is moie impoitant than 1uu% coiiect constiuction
of the sonnet.

!"#"$"% Scott Beyut '()*(+,-. /(--01+

T# ";?'8';?';) M21()*('
1. Pioviue stuuents with sonnet constiuction template.
2. Invite them to choose an eveiyuay topic ielevant to them.
S. Reminu them of the vital aspects of a well-constiucteu Shakespeaiean
sonnet

U# L3:,K2'
1. When possible, invite stuuents to shaie theii completeu sonnets
oially.
2. Stuuents in the class aie inviteu to iesponu with positive comments
iegaiuing the aspects of a Shakespeaiean sonnet each piesentei was
successful in achieving.


































!"#"$"% Scott Beyut '()*(+,-. /(--01+




18
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.

















!"#"$"% Scott Beyut '()*(+,-. /(--01+




73

That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang.
In me thou seest the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire
Consumed with that which it was nourish'd by.
This thou perceivest, which makes thy love more strong,
To love that well which thou must leave ere long.















!"#"$"% Scott Beyut '()*(+,-. /(--01+




-.

Why is my verse so barren of new pride,
So far from variation or quick change?
Why with the time do I not glance aside
To new-found methods, and to compounds strange?
Why write I still all one, ever the same,
And keep invention in a noted weed,
That every word doth almost tell my name,
Showing their birth, and where they did proceed?
O! know sweet love I always write of you,
And you and love are still my argument;
So all my best is dressing old words new,
Spending again what is already spent:
For as the sun is daily new and old,
So is my love still telling what is told.
















!"#"$"% Scott Beyut '()*(+,-. /(--01+

Student Version


60
---------------------------------------------------------------------------------
Crooked elipses 'gainst his glory fight,
---------------------------------------------------------------------------------
In sequent toil all forwards do contend.
---------------------------------------------------------------------------------
Praising thy worth, despite his cruel hand.
---------------------------------------------------------------------------------
Like as the waves make towards the pebbled shore,
---------------------------------------------------------------------------------
And delves the parallels in beauty's brow,
---------------------------------------------------------------------------------
Crawls to maturity, wherewith being crown'd,
---------------------------------------------------------------------------------
And nothing stands but for his scythe to mow:
---------------------------------------------------------------------------------
Each changing place with that which goes before,
---------------------------------------------------------------------------------
Nativity, once in the main of light,
---------------------------------------------------------------------------------
Feeds on the rarities of nature's truth,
---------------------------------------------------------------------------------
So do our minutes hasten to their end;
---------------------------------------------------------------------------------
Time doth transfix the flourish set on youth
---------------------------------------------------------------------------------
And Time that gave doth now his gift confound.
---------------------------------------------------------------------------------
And yet to times in hope my verse shall stand,
---------------------------------------------------------------------------------


!"#"$"% Scott Beyut '()*(+,-. /(--01+





Teacher Version



60

Like as the waves make towards the pebbled shore,
So do our minutes hasten to their end;
Each changing place with that which goes before,
In sequent toil all forwards do contend.
Nativity, once in the main of light,
Crawls to maturity, wherewith being crown'd,
Crooked elipses 'gainst his glory fight,
And Time that gave doth now his gift confound.
Time doth transfix the flourish set on youth
And delves the parallels in beauty's brow,
Feeds on the rarities of nature's truth,
And nothing stands but for his scythe to mow:
And yet to times in hope my verse shall stand,
Praising thy worth, despite his cruel hand.











!"#"$"% Scott Beyut '()*(+,-. /(--01+


_____________
(Title)

____________________________________________ (A)

____________________________________________ (B)

____________________________________________ (A)

____________________________________________ (B)

____________________________________________ (C)

____________________________________________ (D)

____________________________________________ (C)

____________________________________________ (D)

____________________________________________ (E)

____________________________________________ (F)

____________________________________________ (E)

____________________________________________ (F)

____________________________________________ (G)

____________________________________________ (G)

*Reread your sonnet. Clap out the rhythm. Double check your rhyme scheme.


!"#"$"% Scott Beyut '()*(+,-. /(--01+

Poetry For Dummies excerpt
Writing a Sonnet

-It must consist of 14 lines.
-It must be written in iambic pentameter (duh-DUH-duh-DUH-duh-DUH-duh-
DUH-duh-DUH).
-It must be written in one of various standard rhyme schemes.
If you're writing the most familiar kind of sonnet, the Shakespearean,
the rhyme scheme is this:
A B A B C D C D E F E F G G
Every A rhymes with every A, every B rhymes with every B, and so
forth. You'll notice this type of sonnet consists of three quatrains (that
is, four consecutive lines of verse that make up a stanza or division
of lines in a poem) and one couplet (two consecutive rhyming lines of
verse).
Ah, but there's more to a sonnet than just the structure of it. A sonnet
is also an argument it builds up a certain way. And how it builds
up is related to its metaphors and how it moves from one metaphor
to the next. In a Shakespearean sonnet, the argument builds up like
this:

First quatrain: An exposition of the main theme and main metaphor.

Second quatrain: Theme and metaphor extended or complicated; often, some
imaginative example is given.

Third quatrain: Peripeteia (a twist or conflict), often introduced by a "but" (very
often leading off the ninth line).

Couplet: Summarizes and leaves the reader with a new, concluding image.

The argument of Sonnet 18 goes like this:
First quatrain: Shakespeare establishes the theme of comparing "thou" (or
"you") to a summer's day, and why to do so is a bad idea. The metaphor is
made by comparing his beloved to summer itself.






!"#"$"% Scott Beyut '()*(+,-. /(--01+


Second quatrain: Shakespeare extends the theme, explaining why even the
sun, supposed to be so great, gets obscured sometimes, and why
everything that's beautiful decays from beauty sooner or later. He has
shifted the metaphor: In the first quatrain, it was "summer" in general, and
now he's comparing the sun and "every fair," every beautiful thing, to his
beloved.

Third quatrain: Here the argument takes a big left turn with the familiar "But."
Shakespeare says that the main reason he won't compare his beloved to
summer is that summer dies but she won't. He refers to the first two
quatrains her "eternal summer" won't fade, and she won't "lose
possession" of the "fair" (the beauty) she possesses. So he keeps the
metaphors going, but in a different direction. And for good measure, he
throws in a negative version of all the sunshine in this poem the
"shade" of death, which, evidently, his beloved won't have to worry about.

Couplet: How is his beloved going to escape death? In Shakespeare's poetry,
which will keep her alive as long as people breathe or see. This bold
statement gives closure to the whole argument it's a surprise.

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