A sonnet sequence is a group of sonnets thematically unified to create a long work, although generally, unlike the stanza, each sonnet so connected can also be read as a meaningful separate unit.
The sonnet sequence was a very popular genre during the Renaissance, following the pattern of Petrarch. This article is about sonnet sequences as integrated wholes. For the form of individual sonnets, see Sonnet.
Sonnet sequences are typically closely based on Petrarch, either closely emulating his example or working against it. The subject is usually the speaker's unhappy love for a distant beloved, following the courtly love tradition of the troubadours, from whom the genre ultimately derived. An exception is Edmund Spenser's Amoretti, where the wooing is successful, and the sequence ends with an Epithalamion, a marriage song.
Although many sonnet sequences at least pretend to be autobiographical, the genre became a very stylised one, and most sonnet sequences are better approached as attempts to create an erotic persona in which wit and originality plays with the artificiality of the genre. Thus one could regard the emotions evoked to be as artificial as the conventions with which they are presented.
Read more about Sonnet Sequence: List of Italian Sonnet Sequences, List of English Sonnet Sequences, Notable Later Sequences, See Also
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Go, look within, and ask if peace be there:
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“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)