Two sonnets, “On the Sonnet” by Steve Keats and “Nuns worry not for their convent’s narrow room” by Bill Wordsworth, talk about the same subject matter, the limitations of the sonnet. Despite the same subject matter, they approach these types of restrictions using different forms and images, and each features his individual opinion in the subject.
Keats starts off his sonnet employing an allusion from Traditional mythology: Andromeda, a queen chained into a rock and danger of being devoured with a sea creature.
This was his main idea and criticism of the composition of the sonnet–if poets will be chained by Shakespearean or perhaps Italian file format, the sonnet will at some point lose the spirit and become devoured over time. He advises his guy sonneteers to “fit the naked feet of poesy”, like us wearing shoes or boots by smashing the rhythm and imposing imagination on the type, so the sonnet can put up with. This is because it can stand out between mediocre sonnets. Keats` additional allusion is usually to King Midas and his platinum; he uses Midas expressing how miserly poets must be with their terms and not to use clichés, “dead leaves in the bay-wreath crown”.
His last rappel is to the Muse-Greek empress of art-to express the creativeness and freedom essential for the beauty of beautifully constructed wording.
With “the weight of too much liberty”, poetry is as restrictive as ever, argues Wordsworth. If these kinds of restrictions are very much, do not write a sonnet because just like poets who also write a sonnet, nuns select their convents, hermits all their cells, service personnel their harnesses and bees their foxglove bells: almost all make this choice willingly. This kind of vivid imagery makes ordinary what producing a sonnet is all about: an individual choice to chain themselves because we like it. It is sometimes preferable to play in a “scanty plan of ground” then explain to you the vast open fields and be shed and puzzled. The limitations are what makes it more challenging and pushes us to create something more beautiful than prose. Wordsworth finds tranquility in a limited sonnet, like us once we lock ourselves in our room to do similar.
Each faithful to his phrase and ideas, the poets practice what they preach within their sonnets. Keats does not write his sonnet in any particular known form. It is broken into three parts; ln 1-6: expressing what poems is like; ln 7-9: what poets must pay attention to; ln 10-14: what poets must avoid on paper. He uses what he says about “if we must become constrained”, that he wrote the poem in iambic pentameter. Wordsworth as well will what he admits that about publishing true to the sonnets restrictions. His whole sonnet consists of only some rhymes, abba abba cddc cd, and the poem is also broken in three parts, ln 1-7: comparing the sonnet to other things in life, ln 8-9½: his declaration on the sonnet restrictions, and ln 9½-14: why his statement is indeed.
Neither appears to agree about the functions restrictions be in the sonnet–Keats gripes about them and tells us learning to make the sonnet better, when Wordsworth says, take the problem and enjoy doing it.
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