Editing Sonnet (section)

====20th century====
As part of his attempted renewal of poetic prosody, [[Gerard Manley Hopkins]] had applied his experimental [[sprung rhythm]] to the composition of the sonnet, amplifying the number of unstressed syllables within a five- (or occasionally six-) stressed line – as in the rhetorical "[[The Windhover]]", for example. He also introduced variations in the proportions of the sonnet, from the 10{{frac|1|2}} lines of the [[curtal sonnet]] "[[Pied Beauty]]" to the amplified 24-line [[caudate sonnet]] "That Nature is a Heraclitean Fire". Though they were written in the later Victorian era, the poems remained virtually unknown until they were published in 1918.<ref>Norman White, "Hopkins, Gerard Manley (1844–1889)", ''Oxford Dictionary of National Biography'', Oxford University Press.</ref>

The undergraduate [[W. H. Auden]] is sometimes credited with dispensing with rhyme altogether in "The Secret Agent".<ref>Robert E. Bjork, W. H. Auden's "The Secret Agent", ''ANQ: A Quarterly Journal of Short Articles, Notes and Reviews'', [https://www.tandfonline.com/doi/full/10.1080/0895769X.2020.1833702 8 November, 2020]</ref> He went on to write many conventional sonnets later, including two long sequences during the time of international crisis: [[Journey to a War|"In Time of War"]] (1939) and [[The Double Man (book)|"The Quest"]] (1940), in which "the use of geography and landscape to symbolise spiritual and mental states" owes something to the earlier example of [[Rainer Maria Rilke|Rilke]].<ref>R. G. Cox, "The Poetry of W. H. Auden", ''The Modern Age''( Volume 7 of the ''Pelican Guide to English Literature'' (1961), pp. 386-7</ref> Sequences by some other poets have been more experimental and looser in form, of which a radical example was "Altarwise by owl-light" (1935), ten irregular and barely rhyming quatorzains by [[Dylan Thomas]] in his most opaque manner.<ref>Julian Scutts, ''A Defence of Wandering and Poetry'' (2019), [https://books.google.com/books?id=5t2rDwAAQBAJ&dq=%22altarwise+by+owl+light%22&pg=PA154 "A critical survey of the linguistic features of Altarwise by Owl-light], pp. 155ff</ref> 

In 1978 two later innovatory sequences were published at a period when it was considered that "the sonnet seems to want to lie fallow, exhausted", in the words of one commentator.<ref>[[D. M. Black]], quoted in ''Agenda'' 26.2, Summer 1998, p.49</ref> [[Peter Dale (poet)|Peter Dale]]'s book-length ''One Another'' contains a dialogue of some sixty sonnets in which the variety of rhyming methods are as diverse as the emotions expressed between the speakers there.<ref>[https://waywiser-press.com/product/one-another The Waywiser Press], revised edition 2002</ref> At the same time, [[Geoffrey Hill]]'s "An Apology for the Revival of Christian Architecture in England" appeared in ''Tenebrae'' (1978), where the challenging thirteen poems of the sequence employ half-rhyme and generally ignore the volta.<ref>{{Cite web|url=https://www.poetryfoundation.org/poems/48462/an-apology-for-the-revival-of-christian-architecture-in-england|title=Poetry Foundation|date=26 April 2024 }}</ref> [[Seamus Heaney]] also wrote two sequences during this period: the personal "Glanmore Sonnets" in [[Field Work (poetry collection)|''Field Work'']] (1975);<ref>{{Cite web|url=https://www.brinkerhoffpoetry.org/poems/glanmore-sonnets|title=Seamus Heaney - "Glanmore Sonnets"|website=www.brinkerhoffpoetry.org}}</ref> and the more freely constructed elegiac sonnets of  "Clearances" in  ''[[The Haw Lantern]]'' (1987).<ref>{{Cite web|url=https://www.poetryfoundation.org/poems/57042/clearances|title=Clearances by Seamus Heaney|first=Poetry|last=Foundation|date=17 April 2024|website=Poetry Foundation}}</ref>