Editing Sonnet (section)

===In Dutch ===
In the Netherlands [[Pieter Corneliszoon Hooft]] introduced sonnets in the Baroque style, of which ''Mijn lief, mijn lief, mijn lief: soo sprack mijn lief mij toe'' presents a notable example of sound and word play.<ref>Harold B. Segel, ''The Baroque Poem'', New York, 1974, pp.268–9</ref> Another of his
sonnets, dedicated to [[Hugo Grotius]], was later translated by [[Edmund Gosse]].<ref>{{cite web| url = http://www.bartleby.com/342/222.html| title = Pieter Corneliszoon Hooft (1581–1647), "To Hugo Grotius"| date = 4 October 2022}}</ref> In later centuries the sonnet form was dropped and then returned to by successive waves of innovators in an attempt to breathe new life into Dutch poetry when, in their eyes, it had lost its way. For the generation of the 1880s it was [[Jacques Perk]]'s sonnet sequence ''Mathilde'' which served as a rallying cry. And for a while in the early years of the new century, [[Martinus Nijhoff]] wrote notable sonnets before turning to more modernistic models.<ref>Reinder P. Meijer, ''Literature of the Low Countries'', Martinus Nijhoff, 1978; pp.237–8, 304–5</ref>

Following the [[Second World War]], avant-garde poets declared war on all formalism, reacting particularly against the extreme subjectivity and self-aggrandisement of representatives of the 1880s style like [[Willem Kloos]], who had once begun a sonnet "In my deepest being I'm a god". In reaction, [[Lucebert]] satirised such writing in the "sonnet" with which his first collection opened: <poem>::I/ me/ I/ me// me/ I/ me/  I// I/ I/ my// my/ my/ I<ref>Marc Kregting, [https://www.tijdschriftskut.nl/category/tekstsoort/essay "Mijn oorlog of de jouwe: over 'sonnet' van Lucebert"], ''Skut'', July 2019</ref></poem> But by the end of the 20th century, formalist poets such as [[Gerrit Komrij]] and [[Jan Kal]] were writing sonnets again as part of their own reaction to the experimentalism of earlier decades.<ref>''Turning Tides'' (ed. Peter van de Kamp), Story Line Press, 1994, p.389</ref>