The Romantic Sonnet Revival: Opening the Sonnet's Crypt

Abstract

AbstractDiscussions of the sonnet tradition often claim that the sonnet is ‘the most popular, enduring, and widely used poetic form in English.’ At first glance, the Romantic period in English seems to bear out these claims fully. Keats and Shelley, Byron, Wordsworth, Coleridge and Blake – the six, standard male authors of the Romantic‐period canon – all wrote sonnets of some type, and undeniably the form achieved extraordinary popularity in the late eighteenth and early nineteenth centuries. However, after its Elizabethan heyday, the sonnet in English had languished as a neglected and decidedly unfashionable form. Before the rise of Romanticism, the sonnet form in the 18th century appeared to be dead, a defunct and antiquated genre. Romanticism resurrected the sonnet and in doing so invented our notion of its widespread favor and timeless appeal. The sonnet, even a Shakespeare sonnet, only becomes a preeminent poetic genre in the age of Wordsworth and Keats, who wrote some of the most familiar sonnets in British literature. More accurately, however, we should credit the sonnet's revival to an age of Charlotte Smith, Mary Robinson and Anna Seward; poets, notably women poets, who, lying now at the margins of the male‐dominated Romantic canon, were essentially responsible for engaging and recuperating the moribund sonnet tradition in English. The question is repeatedly asked: Why did Romantic poets choose to revive such an outmoded form? A recent surge in critical attention to the Romantic sonnet, as part of Romanticist criticism's larger project of reclaiming texts and authors (especially women authors) long neglected and excluded by the standard canon, explores how the compact and demanding form of the sonnet could open up a space outside of the dominant literary authority in which poetic voices, excluded by gender or class, could appropriate for themselves the legitimacy of a cultural tradition that had long been closed. In opening the sonnet's 18th‐century crypt, Romanticism translates the abject relics of a dead poetic structure into a revitalized poetic space in which natural, spontaneous sentiment and diction could find expression.