Samuel Peralta here…
The University of Western Ontario in Canada stands in March amid the grounds of a mild winter, in London, Ontario. Its graystone tower and historical buildings evoke the era from its founding in 1878.
Western’s motto, emblazoned on the University coat of arms, and intertwined with symbols of Canada, is “Veritas et Utilitas” – truth and service.
It is in this spirit that Western excels in the areas of life sciences, social sciences, business and law.
Trailblazers include former faculty member Frederick Banting, who won the Nobel Prize in Medicine for the discovery of insulin; space shuttle astronauts Bjarni Tryggvason and Roberta Bondar; and Professor James J. Talman – who from the 1930s to 1969 was the University’s Chief Librarian.
A humble, witty gentleman with a fondness for tweed, Talman spent decades building up the renowned library collection at Western, eventually amassing 700,000 volumes by the end of his tenure.
In the 1940s, he spent time in Britain, buying up used books from shops and collectors – in the tens of thousands – before turning the job over to agents.
In March 1969 – almost exactly 44 years ago to the day, as I write this – Talman found himself negotiating particularly hard for a couple of boxes of rare books from a collector and dealer in California.
Those books – 450 in all – would, at the end of his talks, cost the University nearly $200,000.
Today they are priceless.
Those volumes now form the cornerstone of what is arguably Western’s most prized collection, books – many of them first editions – by and about the 17th century poet John Milton.
John Milton (1608–1674) is best known for having written one of most renowned epic poems in the English language, “Paradise Lost”.
His eloquence and power, in both prose and poetry, were strong influences on his contemporaries, and many today continue to draw inspiration from his works.
Outspoken in politics and an activist for religious reform, Milton was stricken with an eye condition that some render as glaucoma or bilateral retinal detachment.
In any case, by 1654 he was totally blind, and had to dictate his writings to assistants, including the poet Andrew Marvell.
Despite this setback, his poetic vision and the power in his voice continued unabated.
Many of his best-known works were written during this remarkable period, including “Paradise Lost”, and numerous sonnets, including “On His Blindness”.
Today, the University of Western Ontario carries over 800 volumes of works by Milton, recognized as one of the finest collections in the world.
Not normally available to the general public and students, over a few months in 2008-2009, a selection was put on display for the first time at Western’s Archives and Research Collections Centre, as part of Milton’s 400th birthday celebration.
That celebration was, for some at the library, a high mark in the building of a collection that includes first edition volumes from the 17th century right through to the present day.
Among these is a 1668 edition of Milton’s magnum opus, “Paradise Lost”. That volume is reported to have been Milton’s personal copy.
Apart from his magnum opus in blank verse, Milton is revered for another revolution in poetics, in the sonnet.
First, he wrenched the sonnet out of its traditional role as a love poem, and brought it to bear on social and political issues.
Second, he crafted what is now known as the Miltonian, or Miltonic, sonnet – as a variant to the highly popular Petrarchan sonnet.
Like other sonnets, the Miltonian sonnet is made of 14 lines of ten syllables per line (iambic pentameter). The first part is a set of 8 lines (an octave) and then a set of 6 lines (a sestet).
Milton’s octaves invariably follow the Petrarchan rhyme scheme – ABBA-ABBA.
His sestets use a number of rhyme schemes, but his favorite was CD-CD-CD, followed closely by CDE-CDE (adhering more to the Petrarchan form).
In rough order of usage, Milton also used the rhyme schemes CD-CD-EE, CDD-CDC, CDE-DEC and CDC-EED for the sestets.
Traditionally, the octave forms the proposition of the poem, and the sestet the resolution, with the ninth line initiating the turn (volta).
However, I find that I don’t have to consciously adhere to the proposition-volta-resolution format.
This is because my work is heavily based on storytelling – and naturally falls into that traditional cadence, even if the subject is modern, nothing Milton would ever recognize, such as a snowblower.
In my last Form for All article, I provided a glimpse into a collaborative artistic journey I’d started, with Canadian artist Heather Horton.
It began with her painting “Refracted Portrait” and, inspired by that painting, my trireme sonnet “Ice at the Window.”
Just nine days ago, in last Tuesday’s Open Link Night, I presented a new sonnet in that series, inspired by Heather’s work “After the Storm”.
This was “Winter Fray”, a modern piece that looks like free verse, but that is, in actuality, a Miltonian sonnet.
WINTER FRAY
Samuel Peralta
Six inches, after the first storm. A whir
of blades across the snow-packed pavement’s trench,
and the blower splattered across the fence
a Pollock canvas, an hoarfrost-strewn blur
from the Tecumseh engine’s angry burr.
Against winter, this is your armament –
a 2-stage, 11-hp, 30-inch,
pull-start, self-propelled silverback monster.
She fought back with seven inches, her scrawl
strafed across the night’s blackboard sky like chalk.
A quick change of spark plugs after a stall,
and you push her across the border, back.
In the morning’s ceasefire, the white crystal
of last night’s fray reveals a silver Rorschach.
—–
Tonight, I invite you to contribute your own Miltonian sonnet, in the more traditional formats as laid out here – ABBA-ABBA-CDCDCD, or ABBA-ABBA-CDECDE.
It would be tempting to make your poem about love, as sonnets swing that way – but if you can craft it around a different core – as I did, in “Winter Fray” – that would be in the spirit of Milton’s poetics.
Don’t forget to take in the poems of your comrades-in-writing, if you will, and leave them your thoughts about their work. Thank you.
—–
Samuel Peralta – on Twitter as @Semaphore – is the author of five titles in The Semaphore Collection – three of which have hit the top of the Amazon Kindle best sellers list in poetry. His literary honours include awards from the BBC, UK Poetry Society, a Palanca Award, and shortlists for the League of Canadian Poets and ARC Poem of the Year.
Copyright (c) Samuel Peralta. All rights reserved.
“After the Storm” copyright (c) Heather Horton, used with permission.
Other images public domain / via WikiMedia Commons or as attributed.
brian miller said:
very cool sam…and loving your collaboration as well…i enjoyed reading through Milton’s sonnets the last couple days…i had my usual bit of fun, but think i actually adhered to the scheme…and the syllables…ha that is some snow blower as well…i like your nod to storytelling…that is where my bent lies as well…
Samuel Peralta / Semaphore said:
Thanks Brian! I also re-read a lot of Milton over the past week or so, and there are many classics here.
I agree with you, that your bent lies in storytelling, that’s part of the power of your work…. and you stuck to the scheme? Well, I’ll have to see it to believe it!
Björn Rudberg (brudberg) said:
I love storytelling in form of sonnets.. And struggling with this form was quite a lot of fun. Thank you for the great background, I should really read Milton…
brian miller said:
you did a great job…and struggle is right…not an easy form at all, took me quite some time, and even then…smiles…
Samuel Peralta / Semaphore said:
Thanks for stopping by, Bjorn! You probably already know Milton without knowing it – there is so much of his work that has crept into our psyche, we hardly think the lines were written in the 17th century.
claudia said:
very cool article sam..loved that you also told us a bit about milton’s background and i love that he freed the sonnet from the love corner as well, even though there are wonderful love sonnets, i’m really just about to discover how variable this form is…much enjoyed…cool collaboration as well with heather..love her painting
Samuel Peralta / Semaphore said:
Milton’s sonnets are amazing, they were quite modern for their time. You can imagine him causing a furor among the more traditional poets, with his blank verse epics and re-arrangements of the Petrarchan formalisms. What a rebel! 😉
claudia said:
what a rebel indeed…i have a weak spot for rebels..smiles
Tony Maude said:
Thanks for the really interesting article, Sam. I had no idea about University of Western Ontario’s Milton collection – that would be something to see.
Am I right in thinking that Milton’s development of the sonnet wasn’t so much in the rhyme scheme as in the placement of the volta or turn. In Italian and Petrarchan sonnets the turn comes strictly at the end ot the octave; Milton was far more flexible in his positioning. For example, in On His Blindness the volta comes after the second foot of the eighth line.
Having hown that I’ve done some research on this, I now have to head off to try and write a Miltonian/Miltonic sonnet. Wish me luck … smiles
claudia said:
smiles…you will do well…have fun writing
brian miller said:
smiles…i think that is the one i read before writing mine tony…best of luck…i imagine though you will have no problem..smiles…
Samuel Peralta / Semaphore said:
Tony, you are absolutely right about Milton’s contribution. More than the formalism, he was – by his day’s standards – a modernist, an writer who pushed the envelope, choosing contemporary subject matter, daring to challenge the traditional poetic verse structures by moving the placement of voltas, re-arranging the rhyme schemes, playing with sustained blank verse. He was quite a revolutionary.
1jdadam said:
Loved every word! It is so good to read about such a dedicated Curator of rare books, so seldom is their work acknowledged. Yet, I believe, it is their collections that are to them their highest manifestation! Oh, Milton, always a welcomed read! Now I may add Peralta to my list. Thank you!
claudia said:
smiles..peralta is surely a good addition to the list… and so true what you say about curators of rare books as well
brian miller said:
ha. he has a few books that would be cool to have on your shelf…sam def knows how to work a form….i love old books too…the smell of them….
Samuel Peralta / Semaphore said:
Brian, thanks… I need to get some of those ebooks into paper… someday…
Samuel Peralta / Semaphore said:
Thanks so much, Claudia… 🙂
Samuel Peralta / Semaphore said:
Thanks so much! I really had fun writing this essay, there were so many amazing things to discover about the University of Western Ontario… and about Milton…. and about snowblowers!
Mary said:
Good afternoon, Sam. A very interesting article you provided today. I will be working on a sonnet later today (hopefully), but meanwhile just wanted to say hello to everyone here in the pub!! Going out for a VERY early dinner. Be back later on!
claudia said:
nice of you saying hello mary and enjoy the dinner..
brian miller said:
nice…where are you going? any where good?
dinner is still a bit off for me…a few errands…and getting my hair cut right now…ha…better not move too much or they might shave something off i dont want…
Samuel Peralta / Semaphore said:
Mary… looking forward to seeing what you come up with! Hope you have a wonderful dinner, in the meantime!
1jdadam said:
Oh shame on me for not acknowledging “After the Storm” by Heather Horton! Being a retired Fine Art Dealer I generally would do so first. The image is beautiful and I was struck by the expression of childhood coming to terms with maturity on the face of her subject! I love being an observer and thank you for this offering!
Samuel Peralta / Semaphore said:
Yes, Heather’s work is remarkable that way. You can see her other work on her site http://www.heatherhorton.com
Semaphore / Samuel Peralta said:
Thanks for stopping by, everyone! Hope you enjoyed the article as much I did researching and writing it.
I am in transit at the moment, so I will get to everyone’s comments and poems when I get back home tonight.
Looking forward to this!
aprille said:
So enjoyable Sam, thank you for bringing Milton a little closer.
BTW, were you allowed to touch some of those first editions?
I suppose all these 700,000 books have meanwhile been ‘googlegobbled’?
Samuel Peralta / Semaphore said:
Touch those first editions? Are you kidding?! I would be afraid, myself, to breathe on them!
All the valuable work during the exhibition was behind glass or lock-and-key, to keep the all-too-eager away.
Not sure about those works being google-ized, but I wouldn’t be surprised.
hypercryptical said:
Thank you for reminding me of Milton Sam and your enjoyable educational article. Will visit other poets now.
Anna :o]
Samuel Peralta / Semaphore said:
Thanks for stopping by to read, Anna! Hope to cross paths with you later tonight!
myrthryn said:
Sonnets are a wonderful form, yet few seem to like writing them. Cheers!
Samuel Peralta / Semaphore said:
Thanks, it’s one of the reasons I love writing sonnets – modern poets have largely abandoned form, but I hope to show that the freedom many seek in free verse can also be found in structure.
myrthryn said:
If you want to see some really tight structure, follow my piece of eight category…
Samuel Peralta / Semaphore said:
Hmmm… intriguing…
L said:
Whata work-out. Hard. My first sonnet ever.
brian miller said:
woot..great job too…really descriptive piece…would be hard pressed to tell it was your first…smiles…and it def is a bit of work…
Samuel Peralta / Semaphore said:
It is a work-out, I agree, but so worth it in the end, don’t you think? Will get there in a little bit…. thanks so much for giving it a try!
Gretchen Leary said:
Yours came out awesome!
Samuel Peralta / Semaphore said:
Thanks! “Against the Tide” was excellent, you did a great job!
Gretchen Leary said:
Thank-you 🙂
Samuel Peralta / Semaphore said:
“At the Level Crossing” was fantastic – cinematic but personal – well-crafted.
Gretchen Leary said:
This was the hardest one yet for me but I think I only broke the rule of rhyme for near rhyme once. This was a good challenge. Now I am off to bed. It’s been good reading everyone’s sonnets. Very interesting where we each drew our inspiration from 🙂
claudia said:
just coming from you place..think you did a good job gretchen
Samuel Peralta / Semaphore said:
Such a subtlety – ‘his’ and ‘His’ – underline an amazingly balanced piece.
Tony Maude said:
Rather than beat myself up for not being able to write something fresh for this prompt, I’ve linked up the poem I wrote for Anna’s prompt last week. I hope that’s acceptable 🙂 It is a sonnet.
Samuel Peralta / Semaphore said:
I’m glad you did, as I wasn’t able to get a chance to read it the last time around. Great work!
David King said:
Challenging – I have my fingers crossed.
claudia said:
ha smiles…are you sure they’re crossed, not wrapped…? smiles… enjoyed your piece…christo wrapped also trees very close to where i live..looked awesome..
claudia said:
this is exactly what i love so much about art…it makes us see familiar things with different eyes…
Samuel Peralta / Semaphore said:
Challenging indeed! But you’re up to the challenge!
Heaven (@asweetlust) said:
Sam, thank you for the informative and wonderful post ~ So much to learn and appreciate about books and poetry ~
Wishing you all a Good Friday ~
Grace
Samuel Peralta / Semaphore said:
Thanks Grace, it was a wonderful journey of discovery in writing the essay, so I’m glad you liked it. Wishing you a wonderful Easter!
Heaven (@asweetlust) said:
Thank you for the lovely words Sam ~ Happy Easter to you ~
Grace
Susan L Daniels said:
Sam, thanks for the wonderful post/prompt. Just wanted to share with you that my piece was a tribute/channeling effort to Anais Nin, and the first line was a variation of something she wrote in “House of Incest,” from a paragraph I wish I had written:
“My first vision of earth was water veiled. I am of the race of men and women who see all things through this curtain of sea, and my eyes are the color of water.”
Samuel Peralta / Semaphore said:
I wrote you back on your blog, but just wanted to say here that intuition like you have with the words only comes from long hours of writing. Beautiful work.
Susan L Daniels said:
Sam–thanking you again here 😉
Sabio Lantz said:
Fascinating, Sam, thanx.
Question:
So, after reading your explanation (as poking around the web), it seems that “Miltonic” is exactly the same as “Petrarchan” or “Italian” sonnet. It just go the synonym in English due to Milton’s popularizing it. And then, to try to say, “No, it is more than that,…” people added:
(1) Not about love (as you did), but discusses interior, self-directed concerns
(2) the volta may come before the 8th line [you tell us 9th]. allowing the octave to run into the sestet as needed
These are the two I see. So, is that correct? If so, to make Miltonian, the break (if we do one), should come EARLIER than you tell us, no?
Tony Maude said:
Sabio,
The difference between the Miltonian/Miltonic sonnet and its Italian/Petrarchan antecedents is in the presence/absence and positioning of the volta/turn.
The Italian/Petrarchan sonnet rules require a volta and it must come between the octet and the sestet, which is why the word “But” appears so often at the beginning of sonnet sestets.
Milton’s development was to be far more flexible with the volta, introducing it earlier or later as his poems required; sometimes his sonnets have no volta at all!
Samuel Peralta / Semaphore said:
Sabio, sorry, I was taking the time to read the other poems, so it took me a while to get back here… but I see that Tony has been able to answer – thanks Tony!
Yes, the Italian/Petrarchan tradition was more prescriptive, while Milton tried to find more flexibility. He was not the first to move the volta – writers of Shakespearean sonnets (including William himself) are moved to create a volta, or volta-like turn, in the couplet.
You’ll notice that I’m pretty flexible in my sonnets. I can make them comply strictly, but if the line or phrase or rhyme demands a variation from standard, I let the music play itself.
Sabio Lantz said:
Thank you gentlemen !
Akila said:
glad to have written for this..hope i have fulfilled the criteria and happy to have learnt something new! 🙂
Samuel Peralta / Semaphore said:
Thanks for stopping by to try it out…. and you certainly did make it work!
kkkkaty1 said:
..have to run but will be back later ….K.
Samuel Peralta / Semaphore said:
See you later!
marousia said:
This was a fantastic challenge – loving all the different takes on the Miltonian sonnet – Thank you Sam!
Samuel Peralta / Semaphore said:
There were definitely many, many good sonnets over the past couple of nights, thanks to all of you 🙂
Snakypoet (Rosemary Nissen-Wade) said:
There is a poem I haven’t written yet, which might begin:
I used to think I couldn’t write a sonnet,
but Sam Peralta leads me gently on …
Instead I have written a different one over at my blog. Have to go out for some hours now; will be back to read others later.
Thank you Sam, for your tuition, which encourages me to try. 🙂
Samuel Peralta / Semaphore said:
Rosemary, I would be so honoured! Sonnets are much easier to write than people think… and it gets easier the more you try them.
I’ll be off to your site soon to have a look, thanks for keeping me company here in the pub!
ManicDdaily said:
Hey, Sam, thanks for all this. Such an interesting post. Much appreciated.
(Have you ever read His Dark Materials – Golden Compass, Subtle Knife, The Amber Spyglass – retelling of Paradise Lost in a completely different setting, fantasy world.)
Hope you are well. Sorry I’m so late to the party. And thanks for your wonderful leading us through this. k.
Samuel Peralta / Semaphore said:
Funny you should ask, I have “His Dark Material” on my desk right now, a part of my (very large) to-read pile. Now that you’ve encouraged me, I think I’ll crack them open.
It was a fun party, but don’t worry about it. I’m just happy you passed by to say hi, I know how busy our lives can be. 🙂
ManicDdaily said:
No, I did a sonnet. I think I linked it. http://manicddaily.wordpress.com/2013/03/29/almond-trees-miltonian-self-doubt-bees-flash-friday-55/
It is kind of silly, but I did want to take advantage of sonneting since my favorite form.
Of HIs Dark Materials – The first two are the best – the first a very wonderful book but more of a children’s book; the second -The Subtle Knife, more profound – less shaped – really moving and beautiful. The third – well I felt he tried too much, though it’s certainly interesting. But the first two are quite perfect if you like that genre. k.
Samuel Peralta / Semaphore said:
I found the sonnet! Definitely bookmark-worthy 🙂
I always say, word-of-mouth is the best recommendation for books… I’ll start on “His Dark Materials” this weekend!
ManicDdaily said:
Thanks. Keep in mind, they ARE children’s books. Very dark and sophisticated to be sure, and I don’t think that the play was necessarily for children. Thanks again for great prompt. k.
ManicDdaily said:
ps – re busy – I finally completed my move yesterday! Epic! And today unloading truck. Crazy time. But at least this part of it all done. k.
brian miller said:
that has got to make you feel good k…glad the move is going well…now to unpack it all right? smiles.
Samuel Peralta / Semaphore said:
Congratulations on the epic move! I bet you heaved a HUGE sigh of relief. Find some glasses in those boxes and raise a toast. 🙂
Sabio Lantz said:
Evening Question to anyone:
To you poetic theoretical linguists:
I was curious about the origin of pentameter.
5-meter lines seem hard for me.
My mind seems to think in 4-meter.
I don’t know if that is because of music, hymns or what?
As I scan wiki on meter, it almost seems that meter happened by historical accident (a given writer, a given work) and then it became locked down by tradition.
Of course the language structure (phonemes, morphemes ..) play a role, but there still seem to be an arbitrary nature of meter choice.
Whether it is Persian, Sanskrit, Chinese, Latin or English…
Any thoughts or links you could send me to.
Thank you. (I do poetry to stop my mind from thinking like this!)
Samuel Peralta / Semaphore said:
I found a good answer in the Wikipedia entry for iambic pentameter:
“Several scholars have argued that iambic pentameter has been so important in the history of English poetry by contrasting it with the one other important meter (Tetrameter), variously called “four-beat,” “strong-stress,” “native meter,” or “four-by-four meter.” Four-beat, with four beats to a line, is the meter of nursery rhymes, children’s jump-rope and counting-out rhymes, folk songs and ballads, marching cadence calls, and a good deal of art poetry. It has been described… as based on doubling: two beats to each half line, two half lines to a line, two pairs of lines to a stanza. The metrical stresses alternate between light and heavy. It is a heavily regular beat that produces something like a repeated tune in the performing voice, and is, indeed, close to song. Because of its odd number of metrical beats, iambic pentameter… does not impose itself on the natural rhythm of spoken language. Thus iambic pentameter frees intonation from the repetitiveness of four-beat and allows instead the varied intonations of significant speech to be heard. Pace can be varied in iambic pentameter, as it cannot in four-beat…”
Sabio Lantz said:
Samuel,
I’ve found this fascinating article which gives those historical elements I was looking for — click here. Damn Latin! 🙂
Samuel Peralta / Semaphore said:
Sabio, that is an excellent article, thank you! Yes, Damn Latin! 🙂
Samuel Peralta / Semaphore said:
…And, I might add, it crystallizes many of the reasons why – after a long stretch of what I consider an apprenticeship in free verse (that still continues to this day) – much of my current writing inclines towards blank verse / iambic pentameter.
ninotaziz said:
Thanks Sam for the wealth of knowledge here..Just passing through.
I was at University of Western Ontario University in the fall of 1988, visiting friends. Beautiful university indeed. I wish I had known then what a fine library they had.
Samuel Peralta / Semaphore said:
Thanks for the kind words, glad you could stop by!