"On the Sonnet" v. "Sonnet" Outline

Thesis: Although both poets believe that structure alone cannot guarantee a sonnet’s worthiness, John Keats demonstrates how a proper sonnet can express an idea within structural constraints in “On the Sonnet” while Billy Collins wryly comments on the cliché pretentiousness of some sonnets in “Sonnet.”

Structure: while Keats’s structure implies an intrinsic complexity within proper sonnets, Collins reveals that a sonnet must simply adhere to a few basic structural guidelines.  

• Keats metaphorically suggests that one listen to the lyre “and see what may be gained / By ear industrious, and attention meet” (Keats lines 8-9). Not only does Keats tell the reader that a sonnet must be “industrious[ly]” considered, but he also forces the reader to digest the structure of the sonnet by using anastrophe in these lines. By inverting the normal syntactical structure to fit into the rhyme scheme and constraints of the sonnet structure, Keats demonstrates the precision and creativity necessary for writing a good sonnet.

• Collins, in contrast, suggests that “All we need is fourteen lines, well, thirteen now, / and after this one just a dozen” (Collins 1-2). The structure of this sonnet does not seem forced at all; rather, it has a natural flow as if Collins simply moved onto the next line when he reached the necessary number of syllables. Although no specific rhyme scheme is used within the poem, the structure does fit the criteria of a sonnet just as “On the Sonnet” does.

Diction: While Collins utilizes simple diction in his sonnet, Keats incorporates very descriptive vocabulary that elevates his subject matter.

• Collins believes that writing sonnets is a simple task unless “iambic bongos must be played” (Collins line 6). The rhythmical iambic meter is compared to the beating of a bongo drum. Collins’s diction is accessible and clear, forming a distinct image in the reader’s mind. The poem is unpretentious and relatively simple, proving that the specific structure of a sonnet need not signify a complex idea within the poem. A sonnet is not admirable simply because it is a sonnet; to be satisfactory, the idea must have some merit.

• Keats refers to “Misers of sound and syllable” (Keats line 10). Like Collins, Keats believes that sonnets must present a worthy idea and not rely on the fact that they are in the structure of a sonnet. However, he uses very formal diction to eloquently express his ideas, demonstrating what a proper sonnet should be in his opinion.

Tone: Collins’s wry tone starkly contrasts the formal tone in Keats’s sonnet.

• Collins wryly suggests that a few lines in a sonnet are all that are needed to “launch a little ship on love’s storm-tossed seas” (Collins line 3). Collins deliberately incorporates the cliché comparison between a journey at sea and being in love, an idea that is repeated throughout poetry and literature. He suggests that many sonnets merely reflect an overused cliché idea in a formal structure, creating an unoriginal poem.

• Keats hopes, “Let us find, if we must be constrained, / Sandals more interwoven and complete / To fit the naked foot of Poesy” (Keats 6). Keats likewise suggests that structure can hinder creativity, and he introduces the idea that a good sonnet must carry some well-thought-out, or “interwoven and complete,” idea in order to create a worthy poem. Although both poets express the same idea, Collins uses a slightly mocking tone as he uses a line that he thinks is cliché to prove his point while Keats’s formal tone invokes a more serious and literal interpretation of what he says.  

Allusion: Although both poets incorporate allusions into their sonnets, Keats uses allusions to eloquently express his idea while Collins uses allusion to mock the pretentiousness of some poets writing sonnets.

• Keats compares the structure of the sonnet to shackles: “And like Andromeda, the sonnet sweet / Fettered” (Keats lines 2-3). Andromeda was a beautiful woman punished for her mother’s actions by being chained to a rock. A sonnet, Keats implies, can carry a beautiful idea but is often constrained by the focus placed on the structure.

• Collins says that at the end of the sonnet, “Laura will tell Petrarch to put down his pen, / take off those crazy medieval tights, / blow out the lights, and come at last to bed” (Collins 12-14). Petrarch was a famous poet who wrote sonnets, many of which were about Laura. Collins pokes fun at his work, suggesting that although a sonnet may sound extremely deep and eloquent due to the structure, the subject matter may not be as grand as it is presented as. 
  

Dorian Gray #4

            As Dorian Gray begins to succumb to corruption and cruelty, the portrait Basil painted of him reveals his true inner nature. After watching Sibyl’s abysmal performance with Basil and Harry, Dorian approaches her in the dressing room and declares that he no longer loves her. Dorian cruelly leaves his love weeping at his feet, even as she explains that the reason she can no longer act is because her love for Dorian surpasses the art she has created in the past. Back at home, Dorian notices that his portrait has “a touch of cruelty in the mouth” that had not been present in the past (Wilde 66). He immediately recalls his wish in Basil’s studio that the portrait would age while he remained young. Dorian, though still believing that he was in the right, begins to feel profound regret for the way he treated Sibyl. As he looks at the portrait, a “sense of infinite pity, not for himself, but for the painted image of himself, came over him” (67). Dorian loves his beauty more than anything, so the loss of beauty even in a picture of himself devastates him. He vows that the portrait will become his conscience, reminding him not to listen to Harry’s theories anymore. He decides that the portrait “would be a guide to him through life, would be to him what holiness is to some, and conscience is to others, and the fear of God to us all” (70). Dorian recognizes that Harry’s influence is bad for him. As he contemplates his morality, Dorian decides to make amends to Sibyl and try to repair their relationship. The portrait has the potential to positively influence Dorian and keep him on the right track. Unfortunately, Harry subsequently arrives and tells him that Sibyl has committed suicide. Dorian can no longer repair the damage, so he decides to listen to Harry and pretend that she was merely a figure in a work of art, just acting out a story. The portrait will no longer be his conscience but would “bear the burden of his shame” (77). He accepts that his soul, and the portrait, will continue to be corrupted, but he is complacent because his beauty will remain intact. Perhaps he could have turned his life around, but since Sibyl has died he has no reason to. The portrait will continue to deteriorate and his soul will as well. Already he is hiding the portrait from the world, and hopefully he does not hide it from himself as well. 

Dorian Gray #3

            The romantic relationship between Sibyl Vane and Dorian Gray is opposed by all but the two of them. Mrs. Vane cares little for her daughter’s wellbeing, and considers it an inconvenient time for Sibyl to fall in love as her brother is leaving for Australia. She tells Sibyl, “I have so much to think of, I must say that you should have shown more consideration” (Wilde 45). Mrs. Vane is a very self-focused woman, but even so, her cavalier attitude about her daughter’s potential marriage demonstrates a certain skepticism. It seems as though she does not believe that Sibyl has actually fallen in love. Mrs. Vane fills her life with theater, treating every event in her life as if it were a moment onstage. The manner in which she analyzes the benefits of the marriage shows the same superficiality. Sibyl’s brother, on the other hand, is concerned for Sibyl’s happiness and safety. When he misses Dorian pass by in the park, he tells Sibyl, “I wish I had [seen him], for as sure as there is a God in heaven, if he ever does you any wrong, I shall kill him” (50). Jim Vane is not attractive like his sister, yet his depth of emotion and his honesty are much greater than other characters in the novel. What he lacks in beauty, he makes up for in character. His apprehension about the relationship makes the reader more wary than the mother’s displeasure since he genuinely cares for Sibyl.

            Just as Sibyl’s family opposes the relationship, Basil and Harry do as well. Basil is shocked when he hears that Dorian is engaged: “But think of Dorian’s birth, and position, and wealth. It would be absurd for him to marry so far beneath him” (53). Basil genuinely seems to care about Dorian’s wellbeing, just as Jim cares for Sibyl. He thinks that Dorian is rushing into a relationship that he will never be able to undo. However, he does not tell Dorian that he disagrees with his relationship. Harry, on the other hand,  is very forthcoming as he tells Dorian the downfalls of marriage: “Women, as some witty Frenchman once put it, inspire us with the desire to do masterpieces, and always prevent us from carrying them out” (58). Harry cares less for Dorian’s happiness than he does for his own experiment. Harry enjoys influencing Dorian, and he knows that marriage will affect him. Similar to Mrs. Vane’s preoccupation with the “scene,” Harry is always focused on controlling what happens around him. Only Dorian and Sibyl see their relationship as a good idea.

Dorian Gray #2

            Lord Henry serves as an outlet for Oscar Wilde’s radical, offensive, and paradoxical ideas in The Picture of Dorian Gray. Not only does Lord Henry exert influence over those around him, but he also is very blatant about his desire for power. He relishes in overturning common ideas and converting people into seeing his beliefs. The ability to influence so profoundly as to get people to accept views contrary to their own is the ultimate form of control. This is similar to doublethink in 1984; the Party’s ideas make logical sense simply because no one can contradict them. Harry presents his ideas so eloquently and matter-of-factly that others believe him as well. Perhaps what draws him to Dorian Gray is Dorian’s mutability. For Harry, speaking to Dorian “was like playing upon an exquisite violin. He answered to every touch and thrill of the bow…. There was something terribly enthralling in the exercise of influence” (Wilde 26). Unlike Basil, who knows when to ignore Harry’s suggestions and claims, Dorian accepts what Harry tells him as truth. Dorian has become somewhat dependent upon Harry, acknowledging that he will confess anything to him. Indeed, Dorian admits that he has fallen in love with an actress names Sybil Vane. Harry scoffs at him, claiming that “the people who love only once in their lives are really the shallow people. What they call their loyalty, and their fidelity, I call either the lethargy of custom or their lack of imagination” (36). Harry’s idea about love contradicts what most people believe. However, he presents it in a convincing way, forcing the reader to think about what he has said. Similarly, Harry influences the guests at his aunt’s luncheon. He responds to the Duchess’s question about regaining youth: “To get back one’s youth, one merely has to repeat one’s follies” (30). Harry’s claim contradicts the commonly held belief that one must learn from one’s mistakes. However, his argument persuades the guests to understand his side. Dorian in particular may be swayed by this idea in the future. Not only is he extremely susceptible to Harry’s assertions, but he also has an infatuation with his youth. Harry wields a significant amount of influence in the novel.

"Miniver Cheevy" Outline

Thesis: Edwin Arlington Robinson alludes to great feats of the past in order to establish an ironic contrast between the glory Miniver desires and the insignificance he has attained.

While alluding to famous people and nations of the past, Miniver seems to share no similarities with those he admires.

• Miniver “dreamed of Thebes and Camelot, / And Priam’s neighbors” (11-12). By alluding to strong nations, Miniver suggests that he desires the renown and glory associated with these names. He wants to be recognized as great and strong. However, he does not try to accomplish anything; he merely laments that he was not born during a different age.

• He “loved the Medici, / Albeit he had never seen one” (17-18). Again, Miniver draws upon famous names in order to feel important. His greatest desire is to be remembered and placed on pedestal like these people. Despite this goal, there is no evidence of him working toward it.

Although Miniver imagines himself in the shoes of glorious knights in past ages, looking condescendingly down upon average people, nothing suggests that he would have risen to this rank in society.  

• Miniver “missed the medieval grace / Of iron clothing” (23-24). Miniver alludes to the strength and honor of knights in contrast to the normal “khaki suits” of his own era (22). Miniver believes that he would have been the equivalent of a knight in another age, and he imagines that he has some connection to them. He “miss[es]” something that he never attained, and given his lack of effort, he probably would not have reached this status.   

• When thinking about his own time period, “Miniver cursed the commonplace” (21). Although he disdains the “commonplace” in his life, Miniver seems to be a part of it. He claims to hate the normality of his time, but any given time period seems normal to the people living in it. Miniver either does not realize or chooses to ignore the idea that he must take life into his own hands in order to reach his goal.  

Miniver acts as though he is doing something important with his life, but all evidence seems to point to the contrary.

• Miniver spends time dreaming about the past as he “rest[s] from his labors” (10). Robinson may be alluding to the story of creation, a biblical account describing how God worked for six days creating the earth and then took the seventh day to rest. God’s “rest” comes after an enormous amount of work and a huge accomplishment. Miniver does not appear to have done anything with his life, so he sounds incredibly insignificant in comparison.   
• As he bemoaned his misfortune, Miniver “kept on drinking” (32). Robinson reveals that Miniver spends his time drinking rather than attempting to accomplish anything with his life. Although he wishes he had been born in a different time period because he would have had the opportunity to undertake great feats, Miniver clearly has never tried to do anything noteworthy. In a different time period, it is unlikely that he would have accomplished anything either.