『Sonnets』のカバーアート

Sonnets

Sonnets

著者： Edna St. Vincent Millay
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Immerse yourself in the lyrical beauty and emotional depth of sonnets as you explore a rotating collection of timeless works that celebrate the nuances of love, nature, and the human experience. Each episode features a new complete audiobook, inviting listeners to delve into the rhythm and structure that define this cherished poetic form. From reflections on personal journeys to meditations on the passage of time, the sonnets presented here offer a rich tapestry of themes that resonate across cultures and generations. This is not a single story but a series of unique explorations that highlight the versatile power of language and expression. Join us as we uncover the elegance and intricacies of sonnet writing, allowing each episode to transport you to different emotional landscapes and inspire your own appreciation for poetry. Discover a new book with every episode and let the beauty of sonnets enrich your listening experience.Copyright Single Author Genre アート 天文学 天文学・宇宙科学 文学史・文学批評 科学
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  • According to Promise, or The Lord’s Method of Dealing with His Chosen People-Charles H. Spurgeon

    According to Promise, or The Lord’s Method of Dealing with His Chosen People-Charles H. Spurgeon
    2026/08/28
    It has been observed that within the narrow confines of a sonnet the mind can turn around but cannot take flight. Some of Millay’s sonnets, though, resemble the narrow confines of a loaded pistol (with a silencer), at the end of which the reader feels propelled to a higher emotional plane. Nevertheless, the predominant mood is melancholy, regret for the brevity of life and especially for the death of her husband. Today’s world can accept more readily than her own the feminism of her poetry and her casual but touching references to love outside of marriage. Millay’s syntax can become challenging, but her most profound utterances are simply phrased (“I do not think I would”) and often startlingly colloquial: “you may whistle for me.” Millay does not follow exclusively the Shakespearean or the Italian rhyme scheme in her sonnets but varies at will. Her iambic meter is (except as indicated below) as strict as Milton’s, with the same love of enjambment and inverted feet to obscure rhymes and to create bouncing rhythms and sudden turns. Her handling of the sonnet form departs rarely but sometimes radically from tradition, as when a heptameter line (of seven feet) replaces the pentameter at the end of a sonnet, a regular feature of the final lines of “Sonnets from an Ungrafted Tree”; e.g., “And some old catalogue, and a brown, shriveled apple core.” She also permits an extrametrical weak syllable at the caesura and occasional other weak, nearly negligible syllables elsewhere, usually justified as pronounceable elisions, like “risen” (ris’n), “blossoming” (bloss’ming), “enemy” (en’my); yet sometimes not, like “ne(ver),” “ult(i)mate,” “flat(tened).” (Summary by T. A. Copeland)
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    4 時間 31 分
  • Dream Tales and Prose Poems-Ivan Turgenev

    Dream Tales and Prose Poems-Ivan Turgenev
    2026/08/27
    It has been observed that within the narrow confines of a sonnet the mind can turn around but cannot take flight. Some of Millay’s sonnets, though, resemble the narrow confines of a loaded pistol (with a silencer), at the end of which the reader feels propelled to a higher emotional plane. Nevertheless, the predominant mood is melancholy, regret for the brevity of life and especially for the death of her husband. Today’s world can accept more readily than her own the feminism of her poetry and her casual but touching references to love outside of marriage. Millay’s syntax can become challenging, but her most profound utterances are simply phrased (“I do not think I would”) and often startlingly colloquial: “you may whistle for me.” Millay does not follow exclusively the Shakespearean or the Italian rhyme scheme in her sonnets but varies at will. Her iambic meter is (except as indicated below) as strict as Milton’s, with the same love of enjambment and inverted feet to obscure rhymes and to create bouncing rhythms and sudden turns. Her handling of the sonnet form departs rarely but sometimes radically from tradition, as when a heptameter line (of seven feet) replaces the pentameter at the end of a sonnet, a regular feature of the final lines of “Sonnets from an Ungrafted Tree”; e.g., “And some old catalogue, and a brown, shriveled apple core.” She also permits an extrametrical weak syllable at the caesura and occasional other weak, nearly negligible syllables elsewhere, usually justified as pronounceable elisions, like “risen” (ris’n), “blossoming” (bloss’ming), “enemy” (en’my); yet sometimes not, like “ne(ver),” “ult(i)mate,” “flat(tened).” (Summary by T. A. Copeland)
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    6 時間 22 分
  • Lamia-John Keats

    Lamia-John Keats
    2026/08/26
    It has been observed that within the narrow confines of a sonnet the mind can turn around but cannot take flight. Some of Millay’s sonnets, though, resemble the narrow confines of a loaded pistol (with a silencer), at the end of which the reader feels propelled to a higher emotional plane. Nevertheless, the predominant mood is melancholy, regret for the brevity of life and especially for the death of her husband. Today’s world can accept more readily than her own the feminism of her poetry and her casual but touching references to love outside of marriage. Millay’s syntax can become challenging, but her most profound utterances are simply phrased (“I do not think I would”) and often startlingly colloquial: “you may whistle for me.” Millay does not follow exclusively the Shakespearean or the Italian rhyme scheme in her sonnets but varies at will. Her iambic meter is (except as indicated below) as strict as Milton’s, with the same love of enjambment and inverted feet to obscure rhymes and to create bouncing rhythms and sudden turns. Her handling of the sonnet form departs rarely but sometimes radically from tradition, as when a heptameter line (of seven feet) replaces the pentameter at the end of a sonnet, a regular feature of the final lines of “Sonnets from an Ungrafted Tree”; e.g., “And some old catalogue, and a brown, shriveled apple core.” She also permits an extrametrical weak syllable at the caesura and occasional other weak, nearly negligible syllables elsewhere, usually justified as pronounceable elisions, like “risen” (ris’n), “blossoming” (bloss’ming), “enemy” (en’my); yet sometimes not, like “ne(ver),” “ult(i)mate,” “flat(tened).” (Summary by T. A. Copeland)
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    45 分
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