A sonnet is a form of poetry that originated in Europe, mainly Italy: the Sicilian poet Giacomo da Lentini is credited with its invention.^[1] They commonly contain 14 lines. The term "sonnet" derives only from the Occitan word sonet and the Italian word sonetto, both meaning "little song" or "little sound". By the thirteenth century, it signified a poem of fourteen lines that follows a strict rhyme scheme and specific structure. Conventions associated with the sonnet have evolved over its history. Writers of sonnets are sometimes called "sonneteers," although the term can be used derisively. One of the best-known sonnet writers is William Shakespeare, who wrote 154 of them (not including those that appear in his plays). A Shakespearean, or English, sonnet consists of 14 lines, each line containing ten syllables and written in iambic pentameter, in which a pattern of an unstressed syllable followed by a stressed syllable is repeated five times. The rhyme scheme in a Shakespearean sonnet is a-b-a-b, c-d-c-d, e-f-e-f, g-g; the last two lines are a rhyming couplet.

Traditionally, English poets employ iambic pentameter when writing sonnets, but not all English sonnets have the same metrical structure: the first sonnet in Sir Philip Sidney's sequence Astrophel and Stella, for example, has 12 syllables: it is iambic hexameters, albeit with a turned first foot in several lines. In the Romance languages, the hendecasyllable and Alexandrine are the most widely used metres.

Italian (Petrarchan) sonnet[link]

The Italian sonnet was created by Giacomo da Lentini, head of the Sicilian School under Emperor Frederick II.^[2] Guittone d'Arezzo rediscovered it and brought it to Tuscany where he adapted it to his language when he founded the Neo-Sicilian School (1235–1294). He wrote almost 250 sonnets.^[3] Other Italian poets of the time, including Dante Alighieri (1265–1321) and Guido Cavalcanti (c. 1250–1300) wrote sonnets, but the most famous early sonneteer was Petrarca (known in English as Petrarch). Other fine examples were written by Michelangelo.

The structure of a typical Italian sonnet of this time included two parts that together formed a compact form of "argument". First, the octave (two quatrains), forms the "proposition," which describes a "problem," followed by a sestet (two tercets), which proposes a resolution. Typically, the ninth line creates what is called the "turn" or "volta," which signals the move from proposition to resolution. Even in sonnets that don't strictly follow the problem/resolution structure, the ninth line still often marks a "turn" by signaling a change in the tone, mood, or stance of the poem.

Later, the a-b-b-a, a-b-b-a pattern became the standard for Italian sonnets. For the sestet there were two different possibilities: c-d-e-c-d-e and c-d-c-c-d-c. In time, other variants on this rhyming scheme were introduced, such as c-d-c-d-c-d.

The first known sonnets in English, written by Sir Thomas Wyatt and Henry Howard, Earl of Surrey, used this Italian scheme, as did sonnets by later English poets including John Milton, Thomas Gray, William Wordsworth and Elizabeth Barrett Browning. Early twentieth-century American poet Edna St. Vincent Millay also wrote most of her sonnets using the Italian form.

This example, On His Blindness By Milton, gives a sense of the Italian rhyming scheme; <poem style="margin-left: 2em"> When I consider how my light is spent (a)

Ere half my days, in this dark world and wide, (b)
And that one talent which is death to hide, (b)
Lodged with me useless, though my soul more bent (a)

To serve therewith my Maker, and present (a)

My true account, lest he returning chide; (b)
"Doth God exact day-labor, light denied?" (b)
I fondly ask; but Patience to prevent (a)

That murmur, soon replies, "God doth not need (c)

Either man's work or his own gifts; who best (d)
Bear his mild yoke, they serve him best. His state (e)

Is Kingly. Thousands at his bidding speed (c)

And post o'er land and ocean without rest; (d)
They also serve who only stand and wait." (e)

</poem>

Dante's variation[link]

Most Sonnets in Dante's La Vita Nuova are Petrarchan, but some are not. Chapter VII^[4] gives sonnet O voi che per la via, with two sestets (AABAAB AABAAB) and two quatrains (CDDC CDDC), and Ch. VIII, Morte villana, with two sestets (AABBBA AABBBA) and two quatrains (CDDC CDDC).

Occitan sonnet[link]

The sole confirmed surviving sonnet in the Occitan language is confidently dated to 1284, and is conserved only in troubadour manuscript P, an Italian chansonnier of 1310, now XLI.42 in the Biblioteca Laurenziana in Florence.^[5] It was written by Paolo Lanfranchi da Pistoia and is addressed to Peter III of Aragon. It employs the rhyme scheme a-b-a-b, a-b-a-b, c-d-c-d-c-d. This poem is historically interesting for its information on north Italian perspectives concerning the War of the Sicilian Vespers, the conflict between the Angevins and Aragonese for Sicily.^[5] Peter III and the Aragonese cause was popular in northern Italy at the time and Paolo's sonnet is a celebration of his victory over the Angevins and Capetians in the Aragonese Crusade:

An Occitan sonnet, dated to 1321 and assigned to one "William of Almarichi", is found in Jean de Nostredame and cited in Giovanni Crescembeni, Storia della volgar Poesia. It congratulates Robert of Naples on his recent victory. Its authenticity is dubious. There are also two poorly-regarded sonnets by the Italian Dante de Maiano.

English (Shakespearean) sonnet[link]

Henry Howard, Earl of Surrey, c.1542 by Hans Holbein

William Shakespeare, in the famous "Chandos" portrait. Artist and authenticity unconfirmed. National Portrait Gallery (UK).

When English sonnets were introduced by Thomas Wyatt in the early 16th century, his sonnets and those of his contemporary the Earl of Surrey were chiefly translations from the Italian of Petrarch and the French of Ronsard and others. While Wyatt introduced the sonnet into English, it was Surrey who gave it a rhyming meter, and a structural division into quatrains of a kind that now characterizes the typical English sonnet. Having previously circulated in manuscripts only, both poets' sonnets were first published in Richard Tottel's Songes and Sonnetts, better known as Tottel's Miscellany (1557).

It was, however, Sir Philip Sidney's sequence Astrophel and Stella (1591) that started the English vogue for sonnet sequences: the next two decades saw sonnet sequences by William Shakespeare, Edmund Spenser, Michael Drayton, Samuel Daniel, Fulke Greville, William Drummond of Hawthornden, and many others. These sonnets were all essentially inspired by the Petrarchan tradition, and generally treat of the poet's love for some woman; with the exception of Shakespeare's sequence. The form is often named after Shakespeare, not because he was the first to write in this form but because he became its most famous practitioner. The form consists of fourteen lines structured as three quatrains and a couplet. The third quatrain generally introduces an unexpected sharp thematic or imagistic "turn"; the volta. In Shakespeare's sonnets, however, the volta usually comes in the couplet, and usually summarizes the theme of the poem or introduces a fresh new look at the theme. With only a rare exception, the meter is iambic pentameter, although there is some accepted metrical flexibility (e.g., lines ending with an extra-syllable feminine rhyme, or a trochaic foot rather than an iamb, particularly at the beginning of a line). The usual rhyme scheme is end-rhymed a-b-a-b, c-d-c-d, e-f-e-f, g-g.

This example, Shakespeare's Sonnet 116, illustrates the form (with some typical variances one may expect when reading an Elizabethan-age sonnet with modern eyes):

<poem style="margin-left: 2em"> Let me not to the marriage of true minds (a) Admit impediments, love is not love (b)* Which alters when it alteration finds, (a) Or bends with the remover to remove. (b)* O no, it is an ever fixèd mark (c)** That looks on tempests and is never shaken; (d)*** It is the star to every wand'ring bark, (c)** Whose worth's unknown although his height be taken. (d)*** Love's not time's fool, though rosy lips and cheeks (e) Within his bending sickle's compass come, (f)* Love alters not with his brief hours and weeks, (e) But bears it out even to the edge of doom: (f)*

If this be error and upon me proved, (g)*

I never writ, nor no man ever loved. (g)*

</poem>

* PRONUNCIATION/RHYME: Note changes in pronunciation since composition.
** PRONUNCIATION/METER: "Fixed" pronounced as two-syllables, "fix-ed."
*** RHYME/METER: Feminine-rhyme-ending, eleven-syllable alternative.

The Prologue to Romeo and Juliet is also a sonnet, as is Romeo and Juliet's first exchange in Act One, Scene Five, lines 104–117, beginning with "If I profane with my unworthiest hand" (104) and ending with "Then move not while my prayer's effect I take." (117).^[11]

In the 17th century, the sonnet was adapted to other purposes, with John Donne and George Herbert writing religious sonnets, and John Milton using the sonnet as a general meditative poem. Both the Shakespearean and Petrarchan rhyme schemes were popular throughout this period, as well as many variants.

The fashion for the sonnet went out with the Restoration, and hardly any sonnets were written between 1670 and Wordsworth's time. However, sonnets came back strongly with the French Revolution. Wordsworth himself wrote hundreds of sonnets, of which amongst the best-known are Upon Westminster Bridge, The world is too much with us and the sonnet London, 1802 addressed to Milton; his sonnets were essentially modelled on Milton's. Keats and Shelley also wrote major sonnets; Keats's sonnets used formal and rhetorical patterns inspired partly by Shakespeare, and Shelley innovated radically, creating his own rhyme scheme for the sonnet "Ozymandias". Sonnets were written throughout the 19th century, but, apart from Elizabeth Barrett Browning's Sonnets from the Portuguese and the sonnets of Dante Gabriel Rossetti, there were few very successful traditional sonnets. In Canada during the last decades of the century, the Confederation Poets and especially Archibald Lampman were known for their sonnets, which were mainly on pastoral themes. Gerard Manley Hopkins wrote several major sonnets, often in sprung rhythm, such as "The Windhover", and also several sonnet variants such as the 10½-line curtal sonnet "Pied Beauty" and the 24-line caudate sonnet "That Nature is a Heraclitean Fire." By the end of the 19th century, the sonnet had been adapted into a general-purpose form of great flexibility.

This flexibility was extended even further in the 20th century. Among the major poets of the early Modernist period, Robert Frost, Edna St. Vincent Millay and E. E. Cummings all used the sonnet regularly. William Butler Yeats wrote the major sonnet Leda and the Swan, which used half rhymes. Wilfred Owen's sonnet Anthem for Doomed Youth was another sonnet of the early 20th century. W. H. Auden wrote two sonnet sequences and several other sonnets throughout his career, and widened the range of rhyme-schemes used considerably. Auden also wrote one of the first unrhymed sonnets in English, "The Secret Agent" (1928). Robert Lowell wrote five books of unrhymed "American sonnets," including his Pulitzer Prize-winning volume The Dolphin (1973). Half-rhymed, unrhymed, and even unmetrical sonnets have been very popular since 1950; perhaps the best works in the genre are Seamus Heaney's Glanmore Sonnets and Clearances, both of which use half rhymes, and Geoffrey Hill's mid-period sequence 'An Apology for the Revival of Christian Architecture in England'. The 1990s saw something of a formalist revival, however, and several traditional sonnets have been written in the past decade.

Spenserian sonnet[link]

A variant on the English form is the Spenserian sonnet, named after Edmund Spenser (c.1552–1599) in which the rhyme scheme is, abab, bcbc, cdcd, ee. A Spenserian sonnet does not appear to require that the initial octave set up a problem that the closing sestet answers, as with a Petrarchan sonnet. Instead, the form is treated as three quatrains connected by the interlocking rhyme scheme and followed by a couplet. The linked rhymes of his quatrains suggest the linked rhymes of such Italian forms as terza rima. This example is taken from Amoretti.

<poem style="margin-left: 2em"> Happy ye leaves! whenas those lily hands

Happy ye leaves! whenas those lily hands, (a) Which hold my life in their dead doing might, (b) Shall handle you, and hold in love's soft bands, (a) Like captives trembling at the victor's sight. (b) And happy lines on which, with starry light, (b) Those lamping eyes will deign sometimes to look,(c) And read the sorrows of my dying sprite, (b) Written with tears in heart's close bleeding book. (c) And happy rhymes! bathed in the sacred brook (c) Of Helicon, whence she derived is, (d) When ye behold that angel's blessed look, (c) My soul's long lacked food, my heaven's bliss. (d) Leaves, lines, and rhymes seek her to please alone, (e) Whom if ye please, I care for other none. (e) </poem>

Urdu Sonnet[link]

In the Indian Sub-continent sonnets have been written in Assamese, Bengali, Dogri, English, Gujerati, Hindi, Kashmiri, Malyalam, Manipuri, Marathi, Nepali, Oriya, Sindhi and Urdu language.^[12]Urdu poets also influenced by English and other European poets took to writing sonnets in Urdu language rather late.^[13] Azmatullah Khan (1887-1923) is believed to have introduced this format to Urdu Literature in the very early part of 20th century. The other renowned Urdu poets who wrote sonnets were Akhtar Junagarhi, Akhtar Sheerani, Noon Meem Rashid, Mehr Lal Soni Zia Fatehabadi, Salaam Machhalishahari and Wazir Agha.^[14] This example, a sonnet by Zia Fatehabadi taken from his collection Meri Tasveer^[15] which is in the usual English (Shakespearean) sonnet rhyme-scheme is also end-rhymed a-b-a-b, c-d-c-d, e-f-e-f, g-g.

         ڈبکںی

" Dubkani "

Pas e pardaa kisii ne mere armaanon kii mehfil ko (a)

Kuchh is andaaz se dekhaa, kuchh aise taur se dekhaa (b)

Ghubaar e aah se de kar jilaa aainaa e dil ko (a)

Har ik soorat ko maine khoob dekhaa, ghaur se dekhaa (b)

Nazar aaii na woh soorat, mujhe jiskii tamanaa thii (c)

Bahut dhoondaa kiyaa gulshan mein, veeraane mein, bastii mein (d)

Munnawar shamma e mehar o maah se din raat duniyaa thii (c)

Magar chaaron taraf thaa ghup andheraa merii hastii mein (d)

Dil e majboor ko majrooh e ulfat kar diyaa kisne (e)

Mere ahsaas kii ghahraiion mein hai chubhan gham kii (f)

Mitaa kar jism, merii rooh ko apnaa liyaa kisne (e)

Jawanii ban gaii aamaajagaah sadmaat e paiham kii (f)

Hijaabaat e nazar kaa sisilaa tod aur aa bhii jaa (g)

Mujhe ik baar apnaa jalwaa e rangiin dikhaa bhii jaa. (g)

Free translation:

(Staying concealed, from behind a curtain someone has watched

The congregation of my longings and desires (grow),

Have done so in the manner that has caused my sighs

To bring alive my heart wherein I have frantically sought to find

Reflected that face which I have failed to locate anywhere else

Be it in a garden or in a desolate place or a crowd.

Even though the Sun and the Moon keep alit this world day and night

Yet my own world stays surrounded by pitch-black darkness

(I ask) who has forced my helpless heart to lose faith?

Who has deeply wounded my feelings pricking them with sadness?

Who has after obliterating my body come to own my soul?

That my youth has caused me to suffer endless grief.

Come, end this game of hide and seek and reveal yourself

And show me for once your bright and radiant self.)

Modern sonnet[link]

With the advent of free verse, the sonnet was seen as somewhat old-fashioned and fell out of use for a time among some schools of poets.^{[citation needed]} However, a number of modern poets, including Wilfred Owen, John Berryman, George Meredith, Edwin Morgan, Robert Frost, Rupert Brooke, George Sterling, Edna St. Vincent Millay, Federico García Lorca, E.E. Cummings, Jorge Luis Borges, Pablo Neruda, Robert Lowell, Joan Brossa, Vikram Seth, Rainer Maria Rilke, Jan Kal, Ernest Hilbert, Kim Addonizio, and Seamus Heaney continued to use the form. Elizabeth Bishop's inverted "Sonnet" was one of her last poems. Ted Berrigan's book, THE SONNETS, is an arresting and curious take on the form. Paul Muldoon often experiments with 14 lines and sonnet rhymes, though without regular sonnet meter. The advent of the New Formalism movement in the United States has also contributed to contemporary interest in the sonnet. The sonnet sees its revival with the word sonnet. Concise and visual in effect, word sonnets are fourteen line poems, with one word per line. Frequently allusive and imagistic, they can also be irreverent and playful. The Canadian poet Seymour Mayne published a few collections of word sonnets, and is one of the chief innovators of the form. Also, Futility, by Wilfred Owen, is a good example of a 14 lined sonnet, around and about the first world war.

See also[link]

Types of sonnets[link]

• Caudate sonnet
• Curtal sonnet
• Pushkin sonnet

Groups of sonnets[link]

• Crown of sonnets
• Sonnet cycle
• Sonnet sequence

Forms commonly associated with sonnets[link]

• Fourteener
• Quatorzain

Notes[link]

Bibliography[link]

• I. Bell, et al. A Companion to Shakespeare's Sonnets. Blackwell Publishing, 2006. ISBN 1-4051-2155-6.
• Bertoni, Giulio (1915). I Trovatori d'Italia: Biografie, testi, tradizioni, note. Rome: Società Multigrafica Editrice Somu. 
• T. W. H. Crosland. The English Sonnet. Hesperides Press, 2006. ISBN 1-4067-9691-3.
• J. Fuller. The Oxford Book of Sonnets. Oxford University Press, 2002. ISBN 0-19-280389-1.
• J. Fuller. The Sonnet. (The Critical Idiom: #26). Methuen & Co., 1972. ISBN 0-416-65690-0.
• J. Hollander. Sonnets: From Dante to the Present. Everyman's Library, 2001. ISBN 0-375-41177-1.
• P. Levin. The Penguin Book of the Sonnet: 500 Years of a Classic Tradition in English. Penguin, 2001. ISBN 0-14-058929-5.
• S. Mayne. Ricochet, Word Sonnets - Sonnets d'un mot. Translated by Sabine Huynh. University of Ottawa Press, 2011. ISBN 978-2-7603-0761-2
• J. Phelan. The Nineteenth Century Sonnet. Palgrave Macmillan, 2005. ISBN 1-4039-3804-0.
• S. Regan. The Sonnet. Oxford University Press, 2006. ISBN 0-19-289307-6.
• M. R. G. Spiller. The Development of the Sonnet: An Introduction. Routledge, 1992. ISBN 0-415-08741-4.
• M. R. G. Spiller. The Sonnet Sequence: A Study of Its Strategies. Twayne Pub., 1997. ISBN 0-8057-0970-3.

External links[link]

• Sixty-Six: The Journal of Sonnet Studies
• BBC discussion on "The Sonnet". Radio 4 programme In our time. (Audio, 45 minutes)

The Verve
The Verve performing at Madison Square Garden in 2008.
Background information
Origin	Wigan, Greater Manchester, England
Genres	Alternative rock, neo-psychedelia, Britpop, shoegazing, dream pop, space rock
Years active	1990–1995, 1997–1999, 2007–2009
Labels	EMI, Hut, Virgin, Parlophone, Vernon Yard
Associated acts	RPA & The United Nations of Sound, Richard Ashcroft, The Black Ships, The Shining
Website	www.theverve.co.uk
Past members
Richard Ashcroft Nick McCabe Simon Jones Peter Salisbury Simon Tong

The Verve were an English rock band formed in 1989 in Wigan by lead vocalist Richard Ashcroft, guitarist Nick McCabe, bass guitarist Simon Jones and drummer Peter Salisbury. The guitarist and keyboard player Simon Tong later became a member. Beginning with a psychedelic sound indebted to shoegazing and space rock, by the mid-1990s the band had released several EPs and three albums. It also endured name and line-up changes, breakups, health problems, drug abuse and various lawsuits. Filter referred to them as "one of the tightest knit, yet ultimately volatile bands in history".^[1] The band's commercial breakthrough was the 1997 album Urban Hymns, one of the best-selling albums in UK Chart history, and the single "Bitter Sweet Symphony", which became a worldwide hit.^[2] In 1998, the band won two Brit Awards—winning Best British Group, appeared on the cover of Rolling Stone magazine in March, and in February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song.^[3][4][5]

Soon after this commercial peak, The Verve broke up in April 1999, citing internal conflicts.^[6] During an eight year split, Ashcroft dismissed talk of a reunion, saying: "You're more likely to get all four Beatles on stage."^[6] The band's original line-up reunited in June 2007, embarking on a tour later that year and releasing the album Forth in August 2008. In 2009, the band broke up for the third time.^[7]

History[link]

[edit] Formation and Verve (1989–1992)

The founding members of Verve met at Winstanley Sixth Form College, in the Metropolitan Borough of Wigan, Greater Manchester. The band's first gig was at a friend's birthday party at the Honeysuckle Pub, in Wigan, on 15 August 1990.^[8] Most of the band's early material was created through extensive jam sessions.^[9] Fronted by singer Richard Ashcroft, the band caused a buzz in early 1991 for its ability to captivate audiences with its musical textures and avant-garde sensibilities.

The group were signed by Hut Records in 1991^[10] and their first studio releases in 1992, "All In The Mind", "She's a Superstar", and "Gravity Grave" (along with the December 1992 Verve) saw the band become a critical success, making an impression with freeform guitar work by McCabe and unpredictable vocals by Ashcroft. Those first 3 singles reached the first spot in the UK Indie charts, and "She's a Superstar" did enter the UK Top 75 Singles Chart. The band saw some support from these early days in the United States in some music scenes in big cities like New York connected with psychedelic spacey music.

[edit] A Storm in Heaven (1993–1994)

1993's A Storm in Heaven was the band's full-length debut, produced by esteemed record producer John Leckie (of Radiohead, The Stone Roses, XTC and The Fall fame). "Blue" was released as the lead single and again managed to enter in the UK Top 75 at #69 and reached #2 in the Indie charts. The album was a critical smash, but was only a moderate commercial success, reaching #27 in the UK album chart that summer.^[10] The second single from the album, "Slide Away", topped the UK indie rock charts. During this period the band played a number of gigs with Oasis who, at the time, were relatively unknown.^[11]

In 1994, the band released the album No Come Down, a compilation of b-sides plus a live version of "Gravity Grave" performed at Glastonbury Festival in 1993. It was the band's first release under the name The Verve, following legal difficulties with the jazz label Verve Records.^[12]

The band then played on the travelling U.S. alternative rock festival, Lollapalooza, in the summer of 1994. A new mix of "Blue" was released in the U.S. to promote the band. The tour became notorious for the events of 11 July - Ashcroft was hospitalised for dehydration after a massive session of drinking,^[13] and Salisbury was arrested for destroying a hotel room in Kansas in a drug-fuelled delirium.^[14] However, the band were performing again the very next day.^[15] Ashcroft later recalled: "At the start, it was an adventure, but America nearly killed us."^[16]

[edit] A Northern Soul and first breakup (1995–1996)

The band's physical and mental turmoil continued into the chaotic recording sessions of the band's second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the neo-psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work. Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album (What's the Story) Morning Glory? to Ashcroft, and Ashcroft returned the gesture by dedicating the song "A Northern Soul" to Noel.

The band released the album's first single "This Is Music" in May, and it reached #35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed even better, reaching #28. This single was particularly new for The Verve as it was a soulful ballad. The album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months later, just before the release of the third single "History", which reached #24 in September. Ashcroft later stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it. It felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say, 'Yeah man, you did the right thing.' The others had been through the same thing. It was a mixture of sadness and regret, and relief that we would have some time away."^[17]

Ashcroft reunited with Jones and Salisbury just a few weeks after the breakup, but McCabe did not rejoin them. The new band hired former Suede guitarist Bernard Butler, but he spent only a couple of days with the band. The band then chose Simon Tong, a school friend credited with originally teaching Ashcroft and Jones to play guitar. The band made no live appearances for all of 1996, apart from a solo performance from Ashcroft supporting Oasis in New York.^[18] The rest of the year was spent playing and recording songs for a new album.

Commercial success and second breakup (1997–1999)[link]

However, in early 1997, Ashcroft decided to ask McCabe to return, claiming "I got to the point where nothing other than The Verve would do for me".^[19] McCabe obliged and with the original lineup back together (Tong remained on guitar alongside McCabe), the group went through a "spiritual" recording process to finish their third album Urban Hymns which was completed by early summer.

	"Bitter Sweet Symphony" noicon The lead track on their album, Urban Hymns, "Bitter Sweet Symphony" is renowned for its signature swirling orchestral melody.
Problems listening to this file? See media help.

For the first time in their career, The Verve experienced widespread commercial success with their new material. The album's first single "Bitter Sweet Symphony" entered the UK charts at number 2 in June 1997, but the song's success was marred by legal problems regarding ownership of the song. Even though the group had secured permission to use a sample of 4 bars of an orchestral rendition of "The Last Time" by The Rolling Stones, it was successfully argued that the group had relied too heavily on the song's original vocal melody as well, and they were forced to surrender copyright and royalties to Mick Jagger and Keith Richards.^[20][21] The music video for "Bitter Sweet Symphony", which received heavy rotation on MTV, focuses on Ashcroft lip-synching the song while walking down a busy London pavement, oblivious to what is going on around and refusing to change his stride or direction throughout.^[22][23] In August, the band began playing their first gigs in two years, beginning the Urban Hymns Tour. The next single, "The Drugs Don't Work" gave the band their first UK number 1 single in September.^[24] The album immediately reached number 1 on the charts later that month, knocking off Oasis' highly anticipated album Be Here Now in the process.^[24] The band saw an overwhelming increase in popularity overseas, and "Bitter Sweet Symphony" reached number 12 on the U.S. charts, the band's highest ever American position.^[25] The album reached the US Top 30, going platinum in the process.^[10]

Critic Mike Gee of iZINE said of this time, "The Verve, as he (Richard Ashcroft) promised, had become the greatest band in the world. ...The Verve were no longer the question mark or the cliché. They were the statement and the definition."^[26] By November the band released "Lucky Man" in the UK and reached number 7.^[24] At the 1998 Brit Awards in February, The Verve won the awards for Best British Group and Best British Album (Urban Hymns).^[27] The band's singles were given extensive airplay on US rock stations and Ashcroft, and band mates, appeared on the cover of Rolling Stone magazine in March 1998.^[4] Then, as the band was on a successful tour to promote the album, Jones collapsed on stage. This was the first of many problems to come for the band in the next months. In 1998, McCabe, Tong, Jones and drummer Leon Parr formerly with Mr. So & So and Mosque were commissioned for a soundtrack for a Jonny Lee Miller film which was recorded in Kilburn. These never made it to the final film due to delays on their part. At the 1998 MTV Video Music Awards, "Bitter Sweet Symphony" was nominated for Video of the Year, Best Group Video, and Best Alternative Video.^[28]

On 24 May of that year, the band played a homecoming concert in front of 33,000 fans in the grounds of Haigh Hall & Country Park, Aspull, supported by Beck and John Martyn. The band then played gigs in mainland Europe. However, on 7 June a post-show bust-up at Düsseldorf-Philipshalle left McCabe with a broken hand and Ashcroft with a sore jaw. After this, McCabe decided he could not tolerate the pressures of life on the road any longer and pulled out of the tour, leaving the band's future in jeopardy, with rumours of disbandment circulating in the press.

Despite this, the band continued with established session guitarist B. J. Cole replacing McCabe. McCabe's guitar work was heavily sampled and triggered on stage. The band played another American tour, which was riddled with problems as venues were downsized^[29] and the support act Massive Attack dropped out.^[30] The band then returned to England for two headline performances at the V Festivals, which received poor reviews, with NME stating "where songs used to spiral upwards and outwards, they now simply fizzle tamely."^[31] In February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song.^[32] The Verve played their last gig at Slane Castle in Ireland on 29 August. A long period of inactivity followed. Finally, in April 1999, it was announced that The Verve had split up.^[33]

Post-breakup activities (2000–2006)[link]

By the time the band had split, Ashcroft had already been working on solo material accompanied by, among others, Salisbury and Cole. In 2000, he released his first solo album, Alone with Everybody, which reached number 1 in the UK album charts.^[24] Ashcroft's next album Human Conditions was released to less positive reviews and poorer sales in 2002, and Ashcroft was subsequently absent from the music business for several years. During this time Salisbury was the drummer for Black Rebel Motorcycle Club's UK tour in 2004, after their original drummer briefly left due to alcohol and drug abuse. Salisbury also owns a drum shop in Stockport. Ashcroft appeared with Coldplay at Live 8 in 2005, followed by the release of Keys to the World in 2006 and a particularly successful tour that included gigs as the support act for Coldplay's Twisted Logic Tour.

Tong and Jones formed a new group called The Shining, which initially included former Stone Roses guitarist John Squire; however Squire left the band before recording and touring had begun. The band released one album, True Skies, before disbanding in 2003. Jones went on to join the band of Irish artist Cathy Davey. Tong appeared as a live replacement for ex-guitarist Graham Coxon in Blur, and as additional guitarist for Gorillaz (both Jones and Tong played guitar for Demon Days Live). Tong is also a member of an unnamed supergroup formed by Damon Albarn of Blur which released its first album The Good, the Bad & the Queen in January 2007. McCabe worked in different projects like the London-based Neotropic project and played with some established artists, including John Martyn, Leeds-based band The Music, The Beta Band and Faultline.

The Verve's members sometimes expressed bitter sentiments about the band's later years. In his only interview after the split, McCabe said of Urban Hymns: "By the time I got my parts in there it's not really a music fan's record. It just sits nicely next to the Oasis record",^[34] though conceding, "I'm not going to say it was bad. I mean, we were good as far as pop goes".^[34] During his solo career, Ashcroft expressed regret at having asked McCabe to return for the album instead of releasing it under his own name, saying: "Imagine being the guy that's written an album on his own, bottles it near the end, feels like there's unfinished business, rings Nick McCabe up who adds some guitars, puts it out as The Verve and the same problems arise again. Imagine being that mug. I've now got to rewrite history. Everyone thinks those songs are somehow associated with another bunch of people that I'm not with now".^[35] Jones claimed that "The Verve were going off in a direction of strings and ballads, and that's not where I was coming from at all. Loud guitars is it for me",^[36] though noting that this was not why the band split up.^[37]

[edit] Reunion and Forth (2007–2008)

The Verve performing in Greenwich, London on 13 December 2007.

Ashcroft had been adamant that The Verve would not reform, once remarking: "You're more likely to get all four Beatles on stage".^[38] However, after Ashcroft learned that Salisbury was in contact with McCabe over a possible side project, Ashcroft contacted McCabe and Jones, making peace with them, and the band reformed. Tong was not asked to rejoin, so as to keep the internal issues that split the band up a decade ago to an absolute minimum. Jones explained this decision by stating: "It would have been too hard, it's hard enough for the four of us. If you bring more people to it, it's harder to communicate and communication has always been our difficulty".^[39] On 26 June 2007, the band's reunion was announced by Jo Whiley on BBC Radio 1. The band, reuniting in their original line-up, announced they would tour in November 2007, and release an album in 2008. The band stated: "We are getting back together for the joy of music",^[40] though they turned down a multi-album deal offer "because the "treadmill" of releasing albums and touring marked the beginning of the end for the band a decade ago".^[41]

Tickets for their six-gig tour in early November 2007 sold out in less than 20 minutes. The tour began in Glasgow on 2 November, and included 6 performances at the Carling Academy Glasgow, The Empress Ballroom and the London Roundhouse.^[42] Since the 6-gig tour went extremely well in sales, the band booked a second, and bigger tour for December. They played at O2 arena, the SECC in Glasgow, the Odyssey in Belfast, the Nottingham Arena and Manchester Central. Each show from the first and second part of the tour were sold out immediately. The band continued touring in 2008. They played at most of the biggest summer festivals and a few headline shows all over North America, Europe, Japan and the UK between April and August. Including shows at the Coachella Valley Music and Arts Festival, also at the Madison Square Garden Theater, and the Pinkpop festival, T in the Park, the V Festival, Oxegen Festival, Rock Werchter, Rock am Ring and Rock im Park and The Eden Project Sessions.^{[43][44][45][46][47]}

The Verve at Pinkpop, Netherlands in 2008.

The band's new single, "Love Is Noise", was premiered by Zane Lowe on BBC Radio 1 on 23 June.^[48] They performed at the coveted Sunday night slot on the Pyramid Stage at Glastonbury on 29 June, closing the show with the new song. The Verve released a free download of a non-album track, "Mover", on 30 June. The song had been performed by the band in 1994, but had never seen a proper recording until the reunion. The track was available for download from their official website for one week only.

The band announced the new album's title: Forth, which was released in the UK on 25 August and the following day in North America. The album reached #1 on the UK Albums Chart on 31 August. The lead single "Love Is Noise" was released in the UK on 3 August digitally and one week later (11 August) on its physical form, peaking at #4 in the UK.^[49] The song was a moderate success in Europe, charting at #16 in the European chart (with 6 weeks in the Top 20). "Rather Be", the second single from the album, was released in November 2008 but did not become as successful as "Love Is Noise" was, peaking at number 56 on the UK Singles Chart.

The Verve on holiday (2009–present)[link]

In August 2009 The Guardian speculated that The Verve have broken up for a third time,^[50] with Jones and McCabe no longer speaking to Ashcroft as they felt he was using the reunion as a vehicle to get his solo career on track.^[50] Being asked about the supposed split, Ashcroft told The Daily Telegraph, "I can confirm we did what we set out to do [...] Right now there are no plans to be doing anything in the near future."^[7]

McCabe and Jones have since started their own project, The Black Ships, along with electric violinist and arranger Davide Rossi and drummer Mig Schillace.^[50][51] Nick McCabe says "The Verve seems to be on holiday" on his MySpace page.

On July 7, 2010 Ashcroft confirmed that the band "is over for good",^[52] though some weeks later did not rule out another Verve reunion.^[53]

Band members[link]

Official members[link]

• Richard Ashcroft – lead and backing vocals, rhythm guitar, keyboards, bass, percussion (1990–1995, 1996–1999, 2007–2009)
• Nick McCabe – lead guitar, piano, keyboards, accordion (1990–1995, 1997–1998, 2007–2009)
• Simon Jones – bass, keyboards, backing vocals (1990–1995, 1996–1999, 2007–2009)
• Peter Salisbury – drums, percussion (1990–1995, 1996–1999, 2007–2009)
• Simon Tong – guitar, keyboards (1996–1999)

Live or session members[link]

• Bernard Butler – lead guitar (1996) (Session member, considered for becoming a full time member before McCabe returned to the band to record Urban Hymns)
• B. J. Cole – lead guitar (1998) (Live member in the final months of 1998 after McCabe's second quit)

Discography[link]

• A Storm in Heaven (1993)
• A Northern Soul (1995)
• Urban Hymns (1997)
• Forth (2008)

Legacy[link]

After The Verve split in 1999, many of their songs have been covered or reinterpreted in recent years, such as in these examples:

• Limp Bizkit created a mashup of "Bitter Sweet Symphony" on their Greatest Hitz album.
• Singer/songwriter Ben Harper covered the song "The Drugs Don't Work" in a live show, which is found on the live album Live From Mars.
• The string section of "Bitter Sweet Symphony" has been sampled by artists such as Madonna and Kanye West in live concerts.
• Moby has created a remix of the song "Bitter Sweet Symphony".^[54]
• In the movie Cruel Intentions, "Bitter Sweet Symphony" is played at the final scene.
• The music video for "Bitter Sweet Symphony" was parodied by Fat Les for the 1998 World Cup song "Vindaloo".
• Also notably Vernon Kay is a big fan of The Verve, and conducted his last interview on T4 with Richard Ashcroft.
• Noel Gallagher of Oasis has covered "Bitter Sweet Symphony" on a few occasions, most recently on the 2006 Acoustic Stop The Clocks Tour. Also, the song "Cast No Shadow" was written as a homage to Richard Ashcroft, who in turn wrote "A Northern Soul" from the band's second album for Noel Gallagher.
• Both "Lucky Man" and "Rather Be" are featured in the film Marley & Me.
• "Lucky Man" is featured in the 2004 film The Girl Next Door.
• "Slide Away" is featured in the film The New Age, during the jacuzzi/party scene, and has also been featured in the House M.D. episode "Ugly".
• "Star Sail", the opening track of A Storm In Heaven, is featured in the 1993 film Sliver and is featured on the Virgin Records US release of the soundtrack.
• "Appalachian Springs" is featured in season 4, episode 19 of the show The Unit.
• "Lucky Man" is featured in the 6th season premiere of HBO's Entourage.
• In 2009, Bitter Sweet Symphony was voted number # 14 in Triple Js Hottest 100 of all time.^[55]
• "One Day" and "The Drugs Don't Work" are played on BBC Two comedy-drama Home Time.
• Three Days Grace's Adam Gontier did an Acoustic Cover of The Verve's "The Drugs Don't Work"

References[link]