Editing Sonnet (section)

===Spanish===
{{Main|Spanish poetry}}
The poet [[Íñigo López de Mendoza, 1st Marquis of Santillana]] is credited as among the foremost to attempt "sonnets written in the Italian manner" (''sonetos fechos al itálico modo'') towards the middle of the 15th century. Since the [[Castilian Spanish|Castilian language]] and prosody were in a transitional state at the time, the experiment was unsuccessful.<ref>[https://books.google.com/books?id=Ic1RDwAAQBAJ ''The Spanish Golden Age Sonnet''], ed. John Rutherford, University of Wales Press, 2016.</ref> It was therefore not until after 1526 that the form was reintroduced by [[Juan Boscán]]. According to his account, he met [[Andrea Navagero]], the [[Republic of Venice|Venetian]] Ambassador to the Spanish Court, in that year while the latter was accompanying King [[Charles V, Holy Roman Emperor|Carlos V]] on a visit to the [[Alhambra]]. In the course of their literary discussion, Navagero then suggested that the poet might attempt the sonnet and other Italian forms in his own language.<ref>Juan Boscán, ''Epístola a la duquesa de Soma'', Girona University, 2017, [https://dugi-doc.udg.edu/bitstream/handle/10256/14701/LozanoAnguloAnna_Treball.pdf?sequence=1 pp. 35ff.]</ref>

Boscán not only took up the Venetian's advice but did so in association with the more talented [[Garcilaso de la Vega (poet)|Garcilaso de la Vega]], a friend to whom some of his sonnets are addressed and whose early death is mourned in another. The poems of both followed the Petrarchan model, employed the hitherto unfamiliar [[hendecasyllable]], and when writing of love were based on the [[Neoplatonism#Renaissance|neoplatonic]] ideal championed in ''[[The Book of the Courtier]]'' (''Il Cortegiano'') that Boscán had also translated. Their reputation was consolidated by the later 1580 edition of [[Fernando de Herrera]], who was himself accounted "the first major Spanish sonneteer after Garcilaso".<ref>Rutherford ed. 2016</ref> During the Baroque period that followed, two notable writers of sonnets headed rival stylistic schools. The [[culteranismo]] of [[Luis de Góngora]], later known as 'Gongorismo' after him, was distinguished by an artificial style and the use of elaborate vocabulary, complex syntactical order and involved metaphors. The verbal usage of his opponent, [[Francisco de Quevedo]], was equally self-conscious, deploying wordplay and metaphysical [[conceit]]s, after which the style was known as [[conceptismo]].

Another key figure at this period was [[Lope de Vega]], who was responsible for writing some 3,000 sonnets, a large proportion of them incorporated into his dramas. One of the best known and most imitated was ''Un soneto me manda hacer Violante''<ref>{{Cite web|url=https://es.wikisource.org/wiki/Un_soneto_me_manda_hacer_Violante|title=Un soneto me manda hacer Violante - Wikisource|website=es.wikisource.org}}</ref> (Violante orders me to write a sonnet), which occupies a pivotal position in literary history. At its first appearance in his 1617 comedy ''La niña de Plata'' (Act 3), the character there pretends to be a novice whose text is a running commentary on the poem's creation. Although the poet himself is portrayed as composing it as a light-hearted impromptu in the biographical film [[Lope (film)|''Lope'']] (2010), there had in fact been precedents. In Spanish, some fifty years before, [[Diego Hurtado de Mendoza (poet and diplomat)|Diego Hurtado de Mendoza]] had written the pretended impromptu, ''Pedís, Reina, un soneto''; and even earlier in Italian there had been the similarly themed ''Qualunque vuol saper fare un sonetto'' (Whoever to make a sonnet aspires) by the Florentine poet Pieraccio Tedaldi (b. ca. 1285–1290; d. ca. 1350).<ref>Jorge Leon Gusta, [https://www.lasnuevemusas.com/historia-de-un-soneto: "Historia de un poema"], 17 August 2021</ref> Later imitations in other languages include one in Italian by [[Giambattista Marino]] and another in French by [[François-Séraphin Régnier-Desmarais]], as well as an adaptation of the idea applied to the [[Rondeau (forme fixe)|rondeau]] by [[Vincent Voiture]].<ref>[https://www.jstor.org/stable/20499340 "Sonnets on the Sonnet"], ''The Irish Monthly'', Vol. 26, No. 304 (October 1898) (p. 518).</ref> The poem's fascination for U.S. writers is evidenced by no less than five translations in the second half of the 20th century alone.<ref>David Garrison, "English Translations of Lope de Vega's ''Soneto de repente''", ''Revista Canadiense de Estudios Hispánicos'' 19. 2 (Invierno 1995), [https://www.jstor.org/stable/27763199?read-now=1&refreqid=excelsior%3Ad3b5657f5255c60abe197657415e64b8&seq=2#page_scan_tab_contents pp. 311–325.]</ref>

The sonnet form crossed the Atlantic quite early in the Spanish colonial enterprise when Francisco de Terrazas, the son of a 16th-century conquistador, was among its Mexican pioneers. Later came two sonnet writers in holy orders, Bishop Miguel de Guevara (1585–1646) and, especially, Sister [[Juana Inés de la Cruz]]. But though sonnets continued to be written in both the old world and the new, innovation was mainly limited to the Americas, where the sonnet was used to express a different and post-colonial reality. In the 19th century, for example, there were two poets who wrote memorable sonnets dedicated to Mexican landscapes, [[Joaquín Acadio Pagaza y Ordóñez]] in the torrid zone to the south and [[Manuel José Othón]] in the desolate north.<ref>''An Anthology of Mexican Poetry'' (compiled by Octavio Paz), Indiana University, 1958</ref> In South America, too, the sonnet was used to invoke landscape, particularly in the major collections of the Uruguayan [[Julio Herrera y Reissig]], such as ''Los Parques Abandonados'' (Deserted Parks, 1902–08)<ref>{{Cite web|url=http://www.los-poetas.com/c/reiss1.htm|title=LOS PARQUES ABANDONADOSE|website=www.los-poetas.com}}</ref> and ''Los éxtasis de la montaña'' (Mountain Ecstasies, 1904–07),<ref>{{Cite web|url=http://www.los-poetas.com/c/reiss2.htm|title=Los éxtasis de la montaña|website=www.los-poetas.com}}</ref> whose recognisably authentic pastoral scenes went on to serve as example for [[César Vallejo]] in his evocations of Andean Peru.<ref>Gwen Kirkpatrick, ''The Dissonant Legacy of Modernismo'', University of California, 1989, [https://publishing.cdlib.org/ucpressebooks/view?docId=ft8g5008qb&chunk.id=d0e6745&toc.depth=1&toc.id=d0e6745&brand=ucpress p. 207.]</ref>

Soon afterwards, the sonnet form was deconstructed as part of the modernist questioning of the past. Thus, in the [[Argentine]] poet [[Alfonsina Storni]]'s ''Mascarilla y trébol'' (Mask and Clover, 1938), a section of unrhymed poems using many of the traditional versification structures of the form are presented under the title "antisonnets".<ref>{{cite journal |last1=Kuhnheim |first1=Jill |title=The Politics of Form: Three Twentieth-Century Spanish American Poets and the Sonnet |journal=Hispanic Review |date=Autumn 2008 |page=391 |url=https://kuscholarworks.ku.edu/bitstream/handle/1808/7507/kuhnheim_thepoliticsofform.pdf |access-date=22 July 2019}}</ref>