Sonnet — Definition, Form, and Examples
What is a sonnet?
The sonnet is a widely recognized form of poetry that dates back to 13th century Italy. All sonnets have 14 lines and include a volta. The rhyme scheme and meter may vary based on the type of sonnet. The four types of sonnets are Shakespearean, Petrarchan, Spenserian, and Miltonic.
The English sonnet comes from the Italian sonetto, meaning “little sound or song.” Sir Thomas Wyatt introduced these traditional sonnets to England in the early 16th century. Wyatt’s contemporary, Henry Howard, Earl of Surrey, adapted the Italian form to establish the structure Shakespeare later used.
Shakespearean sonnets
Also known as an English sonnet, the form became popular with William Shakespeare’s sonnets during the Elizabethan era. English sonnets typically revolve around the concept of romance and beauty that includes a question or argument in the opening quatrain (first four lines).

The rest of the poem then develops the question or argument until the speaker comes to an answer or response to the question posed in the first lines. This response typically occurs in the final couplet (two lines) of the poem.
Petrarchan sonnets
Also known as an Italian sonnet, the Petrarchan sonnet was named after Italian poet Petrarch and became popular in the 14th century. While this form is named after Francesco Petrarch, the originator was Giacomo da Lentini, an Italian poet from 13th century Sicily. The Petrarchan version is the original form of the sonnet.
While mainly focusing on love, Petrarchan sonnets can cover a variety of additional themes, including fame, talent, virtue, and patience. The Italian sonnet also typically incorporate a blazon, which is elaborate praise or, occasionally, excessive scorn for the subject.
Spenserian sonnets
Developed by the English poet Edmund Spenser in the 16th century, the Spenserian sonnet reorganizes the structure of the Shakespearian sonnet into rhyming couplets to place less pressure on the final lines to answer the question or resolve the argument.
Miltonic sonnets
Poet John Milton popularized the Miltonic sonnet in the 17th century. Miltonic sonnets’ subject matter is less focused on love and other emotional subjects; instead, they revolve around politics, intellectual pursuits, and spirituality. Miltonic poems often include an internal struggle or conflict with less emphasis on the natural world.
Sonnet form
Each type of sonnet contains 14 lines, some rhyme scheme, a volta, and meter.

Lines: 14
Rhyme Scheme: Although the rhyme scheme varies by type, each has a set pattern.
Volta: Also known as a turn, the volta indicates a shift in the speaker’s understanding of the poem’s subject, which leads to an insight of some kind. The volta typically takes place when transitioning from the octave to the sestet or between the last quatrain and couplet.
Meter: Sonnets are generally written in iambic pentameter, which consists of five sets of one unstressed and one stressed syllable, giving each line 10 total syllables. However, the metric pattern can vary slightly.
Each of the four main types of sonnets has its own distinct form:
Shakespearean
Structure: Three quatrains (4 lines each; 12 total lines) and a couplet (2 lines)
Rhyme Scheme: ABAB CDCD EFEF GG
Petrarchan
Structure: One octave (8 lines) and one sestet (6 lines)
Rhyme Scheme: ABBAABBA CDECDE or ABBAABBA CDCDCD
Spenserian

Structure: Three quatrains (4 lines each; 12 total lines) and a couplet (2 lines)
Rhyme Scheme: ABAB BCBC CDCD EE
Miltonic
Structure: One octave (8 lines) and one sestet (6 lines)
Rhyme Scheme: ABBAABBA CDECDE
Sonnet examples
The following examples incorporate the structure of the four types of sonnets:
Shakespearian
Sonnet 59 by William Shakespeare
(1) If there be nothing new, but that which is (A)
Hath been before, how are our brains beguil'd, (B)
Which, labouring for invention, bear amiss (A)
The second burthen of a former child! (B)
(5) O, that record could with a backward look, (C)
Even of five hundred courses of the sun, (D)
Show me your image in some antique book, (C)
Since mind at first in character was done! (D)
That I might see what the old world could say (E)
10) To this composed wonder of your frame; (F)
Whether we are mended, or whe'r better they, (E)
Or whether revolution be the same. (F)
O! sure I am, the wits of former days (G)
To subjects worse have given admiring praise. (G)
Petrarchan
“How Do I Love Thee?” by Elizabeth Barrett Browning
(1) How do I love thee? Let me count the ways. (A)
I love thee to the depth and breadth and height (B)
My soul can reach, when feeling out of sight (B)
For the ends of being and ideal grace. (A)
(5) I love thee to the level of every day's (A)
Most quiet need, by sun and candle-light. (B)
I love thee freely, as men strive for right. (B)
I love thee purely, as they turn from praise. (A)
I love thee with the passion put to use (C)
(10) In my old griefs, and with my childhood's faith. (D)
I love thee with a love I seemed to lose (C)
With my lost saints. I love thee with the breath, (D)
Smiles, tears, of all my life; and, if God choose, (C)
I shall but love thee better after death. (D)
Spenserian
Sonnet LXV by Edmund Spenser
(1) "One day I wrote her name upon the strand, (A)
But came the waves and washed it away: (B)
Again I wrote it with a second hand, (A)
But came the tide and made my pains his prey. (B)
'Vain man,' said she, 'that dost in vain assay (B)
(5) A mortal thing so to immortalize, (C)
For I myself shall like to this decay, (B)
And eke my name be wiped out likewise.' (C)
'Not so,' (quod I) 'Let baser things devise (C)
(10) To die in dust, but you shall live by fame: (D)
My verse your virtues rare shall eternize (C)
And in the heavens write your glorious name: (D)
Where, when as death shall all the world subdue, (E)
Our love shall live, and later life renew.'" (E)
Miltonic
“When I Consider How My Light Is Spent” by John Milton
(1) "When I consider how my light is spent, (A)
Ere half my days in this dark world and wide, (B)
And that one talent which is death to hide (B)
Lodged with me useless, though my soul more bent (A)
(5) To serve therewith my Maker, and present (A)
My true account, lest He returning chide; (B)
'Doth God exact day-labor, light denied?' (B)
I fondly ask. But Patience, to prevent (A)
That murmur, soon replies, 'God doth not need (C)
(10) Either man's work or His own gifts. Who best (D)
Bear His mild yoke, they serve Him best. His state (E)
Is kingly: thousands at His bidding speed, (C)
And post o'er land and ocean without rest; (D)
They also serve who only stand and wait.'" (E)