Editing Sonnet (section)

===Hebrew===
The Hebrew name for a sonnet is ''shir zahav'', deriving from a numerological play on words. Literally 'golden song', the consonants of ''zahav'' also stand for numbers adding up to fourteen, so that the term can also mean 'song of fourteen lines'.<ref>''Gardens and Ghettos: The Art of Jewish Life in Italy'' (University of California, 2023), [https://books.google.co.uk/books?id=QU3hEAAAQBAJ&pg=PT567&dq=%22shir+zahav%22&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwjnpcqIwvCIAxUvVUEAHQRoOb0Q6AF6BAgNEAI#v=onepage&q=%22shir%20zahav%22&f=false "A millennium of Hebrew poetry in Italy"]</ref>

The first sonnets in [[Medieval Hebrew poetry]] were probably composed in Rome by [[Immanuel the Roman]] around the year 1300, less than a century after the advent of the Italian sonnet.<ref name="DB">{{cite journal |last1=Bregman |first1=Dvora |title=The Emergence of the Hebrew Sonnet |journal=Prooftexts |date=September 1991 |volume=11 |issue=3 |pages=239 |jstor=20689314 |url=https://www.jstor.org/stable/20689314 |access-date=9 May 2022}}</ref><ref name="IL">{{cite web |last1=Levy |first1=Isabelle |title=Immanuel of Rome and Dante |url=https://digitaldante.columbia.edu/history/immanuel-of-rome-and-dante-levy |website=Digital Dante |publisher=Columbia University Libraries |access-date=9 May 2022}}</ref> 38 sonnets are included in his [[maqama]] collection ''Mahberot Immanuel'' that combine elements of both the quantitative metre traditional to Hebrew and Arabic verse and Italian syllabic metre. Predominantly dealing with love, they were rhymed ABBA ABBA CDE CDE.<ref name="IL"/>

Immanuel's work provided a ready model for the second wave of Italo-Hebrew sonnet writers. The first printed edition of ''Mahberot Immanuel'' appeared in [[Brescia]] in 1492, followed by a second edition published in Constantinople in 1535. The new crop therefore coincided with the adoption of the sonnet in other European literatures at the start of the 16th century and persisted into the Baroque period of the following century, with more than eighty poets taking up the form. Though there was now a shift of focus to religious themes, love poetry was not excluded, particularly in the sonnets of David Okineira of [[Salonika]].<ref>Dvora Bregman, [https://www.academia.edu/19054917/The_Golden_Way_The_Hebrew_Sonnet_during_The_Renaissance_and_Baroque_Periods ''The Golden Way The Hebrew Sonnet during The Renaissance and Baroque Periods''], Arizona Center for Medieval and Renaissance Studies), Tempe, Arizona, 2006</ref> The Baroque practice of incorporating sonnets along with other verse into plays, as had Shakespeare in England and Lope da Vega in Spain, was also to be found in [[Moses ben Mordecai Zacuto]]'s ''Yesod Olam'' (Foundation of the World, 1642) and in ''Asirei ha-Tiqva'' (Prisoners of Hope, 1673), an allegorical play by [[Joseph de la Vega]]. A further revival of the Hebrew sonnet followed in the 18th century, associated with Samson Cohen Modon (1679–1727), [[Moshe Chaim Luzzatto]] and his cousin, Ephraim Luzzatto (1729–1792), who are regarded as founders of modern Hebrew literature.<ref>Dvora Bregman, "The Emergence of the Hebrew Sonnet", [https://www.jstor.org/stable/20689314?read-now=1&seq=1  Prooftexts, Vol. 11, No. 3 (September 1991), p. 232]</ref>

That the form persisted into the 20th century was celebrated by [[Shaul Tchernichovsky]] in his ''Maḥberet ha-Sonetot'' (Berlin 1923), in which appeared a sonnet of his own celebrating its continuity since the time of Immanuel of Rome: "Thou art dear to me, how dear to me, ''Sonetot, O shir zahav''".<ref>[https://www.academia.edu/19054917 Bregman 2006, p.1]</ref> The same author was responsible for introducing the [[crown of sonnets]] into Hebrew poetry.