Texte condensé de: Thèse--Lettres--Paris--Paris IV-Sorbonne, 1987. Titre de soutenance : L'Art de Quevedo dans ses sonnets. / Bibliogr. p. 527-615. Index.

Thesis (Ph. D.)--Columbia University, 1938. / Vita. Includes bibliographical references (p. [259]-266) and index.

Thesis (Ph. D.)--Universität Bern. / Vita. Includes bibliographical references (p. 87-88).

Inaug.-diss.--Greifswald. / Lebenslauf. "Benutzte literatur": p. [5].

The following thesis is an attempt to illustrate the development of style in English Renaissance poetry from the beginning of the Reformation, under Henry VIII, through the Elizabethan and Jacobean periods, to the Restoration of the monarchy in 1660, using, as a principal guide to this development, the work of the major sonneteers: Wyatt and Surrey, Spenser, Sidney, Shakespeare, Donne, and Milton. The fundamental theorem upon which the thesis rests is dependent upon the following assumptions: that the unifying principle which gives art its structure resides in the artist's subconscious and is largely beyond his wilful control; that this principle is shaped to a great extent by various forces in the artist's intellectual environment which help to mold his whole personality; and that the structure of art in general and of poetry in particular must therefore reflect at least the more general characteristics of that intellectual environment, regardless of the artistes individual peculiarities. Even a very cursory examination of the intellectual history of the English Renaissance will reveal that the period is in a state of constant flux and can be divided into three distinct but consecutive phases: the ordered, certain world of the High Renaissance is brought to the peak of its stability during the last two decades of the sixteenth century; in the 1950’s it begins to show clear signs of breaking down, under the shattering impact of Copernicus and the New Philosophy, and by the early seventeenth century it has collapsed into chaos and generated a thoroughgoing neurotic insecurity; the remainder of the seventeenth century is devoted to a gradual philosophical reintegration, working toward the ultimate solidarity of eighteenth century rationalism, and reaching its first plateau with the relative calm of the early Restoration period. These three phases of intellectual development are all clearly represented In the literature of the period, as well as in the other arts, in the High Renaissance, mannerist, and baroque styles. The sonnets of the Renaissance are particularly useful for illustrating the development of literary style for three reasons: they are compact, well-defined, and therefore very convenient microcosms of poetic structure which, because of their precise definition, lend themselves readily to a comparative study; they display a great deal of attention to the strictly formal aspects of poetry and are therefore more than casually relevant to an examination of style; and finally, they are written in greater quantity than any of the shorter poetic forms and they appear continuously throughout the period in the work of most of the major poets. It appears that among the sonneteers of the Renaissance, Spenser, Donne, and Milton are respectively the most distinct representatives of the High Renaissance, mannerist, and baroque styles in poetry. Spenser, in his ordered ritualistic treatment of NeoPlatonism and courtly love typifies the High Renaissance; Donne, in his disingenuous inversion of Elizabethan idealism, reflects the insecurity of the Jacobean period; and Milton, in his broadly comprehensive affirmation of new certainties of vision, exhibits there integration of baroque thought. Wyatt and Surrey are working toward the Spenserian conception of poeticunity; Sidney is working away from Spenser, or at least from what Spenser represents, even though his sonnets appear several years earlier; and Shakespeare is progressively more and more caught up in the movement towards mannerism which is displayed so consistently in the poetry of Donne, in the sonnets of these seven poets, then, the style of English poetry can be seen to run through a complete cycle, reflecting in miniature not only the structural principles of art in general but the whole intellectual development of England's, golden age. / Arts, Faculty of / English, Department of / Graduate

Although I've read and written poetry for my own pleasure for about twenty years now, I've only seriously studied and written poetry on a consistent basis for the past two years. In this sense, I still consider myself a beginning poet. When attempting to pursue an art form as refined and historically informed as poetry, only after spending a number of years reading and writing intensively would I no longer consider myself a beginner, but a practitioner of the art. I've grounded my early development as a poet in concision, voice, and imagination, and hope to build upon these ideas with other poetic techniques, theories, and forms as I go forward. I am particularly interested in mastering the sonnet form, a concise and imaginative form that will allow me to further develop my skills. Hopefully, the works in this thesis reflect that effort.

Submitted to the Faculty of Arts in fulfilment of the requirements for Master of Arts in the Department of African Languages at the University of Zululand, 1987. / This study has been made possible by our desire to look into the feasibility and effectiveness of the Western poetic devices in the writing of sonnets in Zulu. In chapter one the aim of this study is clearly spelt out. We hope that at the end of the investigation, we shall come out with some suggestions and possibilities of a Zulu type of a sonnet, for, we feel that there was a reason for the English to choose a different style from the Italian. The second chapter deals specifically with the definition of terms. These include, inter alia, the concept "sonnet" as espoused by various linguists; iambic pentameter and the rhyme scheme. In chapter three we firstly defined the major characteristics of sonnets. These major structural features of a sonnet are clearly depicted in Kreuzer's (1955:224) definition of a sonnet, that a sonnet is: a fourteen-line lyric poem, in iambic pentameter, following one or more rhyme schemes. It is clear, therefore, that a sonnet should consist of fourteen iambic pentameter lines and should follow a required rhyme scheme. Furthermore, in this chapter, the two types of sonnets were briefly outlined, namely the Petrarchan or Italian and the English or Shakespearean. The fourth chapter dealt with the formal elements of the three selected poets* sonnets in this investigation, namely, Ntuli, Masuku and Nxumalo. We looked closely into the division into fourteen lines, the iambic pentameter as well as the rhyme scheme that is being followed. As we scrutinised all the sonnets, these poets have contributed, with regard to these three external structural features, we also paid particular attention to their significance, that is, whether they contributed anything towards the delivery and portrayal of ideas contained in each sonnet. Content in Ntuli's,. Masuku's and Nxumalo's sonnets is analysed in the fifth chapter. In our analytic study of content, we looked closely into what each poet was writing about - the proposition each was advancing or the story each poet was telling in each sonnet. We came across a variety of subjects ranging from those discussing death to those that were purely social and political, and those with a religious background. We also looked closely into the approaches and artistic devices which the sonneteers employed in the portrayal of the ideas in their works of art. We noticed that these ranged frcm the less effective straight-forward prosaic narration to the more concentrated use of vivid imagery coupled with the rich and well-chosen words and ideophones. In this chapter we also examined the effectiveness of rhyme in the portrayal of content. In chapter six we analysed Ntuli's, Masuku's and Nxumalo's sonnets with particular attention on the meaning that is conveyed in each of the sonnets they have contributed. We also looked very closely into the techniques the poets employed to relay the four aspects of meaning to the readers, namely, Sense, Intention, Feeling and Tone. We also examined the effectiveness of Masuku's rhyme in the conveyance of the meaning in the sonnets whether it was contributory or not. The possibility of a Zulu type of a sonnet is dealt with in the seventh chapter. The last chapter is the general conclusion where all our observations and suggestions are summarised.

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Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Appendices in Spanish. Typescript. Vita. Includes bibliographical references (leaves 242-252). Also available on the Internet.