Welcome to this exploration of James C. Morehead's "A Sonnet for a Neapolitan Cockerel". This poem utilizes the traditional 14-line structure and rhyme scheme of an English sonnet but applies it to unconventional themes, contrasting the expected subjects of Renaissance art and aristocracy with the focused, vivid presence of a cockerel within a specific historical Neapolitan setting. Read the full poem below. As you continue scrolling down, an interactive analysis will appear, synchronizing relevant portions of the poem with commentary on structure, imagery, and theme.
A Sonnet for a Neapolitan Cockerel
by James C. Morehead
You won’t linger on delicate details
painted in oil, the lace as light as air
stitched to velvet, purple on red. Nor pale
face—androgynous. Neither can compare
to the cockerel, calm and cradled firm
with red comb brilliant and speckled feathers,
spindly legs snuggly tied so claws can’t squirm.
Companion? Fighter? The two, together,
make quite the pair, now ready to impress
Napoli’s finest at the viceroy’s ball
where princes will puff, exquisitely dressed,
eyes on the hunt, making maiden catcalls.
Still the cockerel, cool and sure, on guard
for his princess in the festooned courtyard.
Introduction: Analyzing the Sonnet
This interactive display explores the Shakespearean sonnet "A Sonnet for a Neapolitan Cockerel." As you scroll through the analysis below, the relevant section of the poem will appear in the box above, with key terms highlighted.
The poem adopts the traditional 14-line structure and rhyme scheme of an English sonnet but uses it to explore unconventional themes of perception, value, and steadfastness, contrasting the expected beauty of art and aristocracy with the focused presence of a cockerel within a specific historical Neapolitan setting.
Scroll down to begin the analysis.
Analysis: Quatrain 1 (Lines 1-4) - Rejection of Conventional Beauty
The opening quatrain immediately sets a tone of rejection. The speaker dismisses the typical subjects of fine art – the delicate details meticulously "painted in oil," the status symbols of "lace" and "velvet," and the idealized "pale face—androgynous" often found in aristocratic portraits. By stating "You won’t linger," the poem directs the reader's attention away from these conventional markers of value and beauty.
Form Check: This establishes the ABAB rhyme scheme typical of the first quatrain in a Shakespearean sonnet ("details" / "pale"; "air" / "compare"). The lines generally follow iambic pentameter (ten syllables, alternating unstressed/stressed rhythm), creating a traditional formal structure that contrasts with the unconventional subject matter being introduced.
Analysis: Quatrain 2 (Lines 5-8) - Introducing the True Subject
The poem pivots sharply in the second quatrain, revealing its unexpected focal point: the cockerel. The imagery becomes specific and vibrant, contrasting with the rejected finery – its "red comb brilliant" and "speckled feathers." There's a sense of contained energy; it's "calm and cradled firm," yet its potential for movement is noted ("claws can’t squirm").
The explicit question "Companion? Fighter?" introduces a central ambiguity. Is this a valued pet or a creature bred for cockfighting (a practice historically associated with Naples)? The poem suggests "The two, together," implying a complex, perhaps contradictory, nature that makes the bird more intriguing than the static art objects mentioned earlier.
Form Check: The CDCD rhyme scheme ("firm" / "squirm"; "feathers" / "together") continues the sonnet form. The meter remains largely iambic, grounding the description.
Analysis: Quatrain 3 (Lines 9-12) - Setting, Society, and Contrast
The third quatrain firmly establishes the setting and context. The phrase "Napoli’s finest at the viceroy’s ball" places the scene in Naples during its period under foreign rule (likely Spanish, governed by a Viceroy), suggesting a backdrop of colonial power and aristocratic display. The cockerel, despite its potentially humble or even violent associations (if a fighter), is positioned within this high-status environment.
This environment is populated by superficially impressive but morally questionable figures: the "princes" who "puff" (implying arrogance) and engage in predatory behavior ("eyes on the hunt, making maiden catcalls"). Their "exquisitely dressed" appearance contrasts sharply with their crude actions, further elevating the cockerel's focused stillness (seen in Q2 and the couplet) by comparison.
Form Check: The EFEF rhyme scheme ("impress" / "dressed"; "ball" / "catcalls") completes the three quatrains, developing the scenario before the final resolution.
Analysis: Couplet (Lines 13-14) - Resolution and Interpretation
The final two lines form the concluding couplet, which traditionally offers a summary, resolution, or thematic twist in a Shakespearean sonnet. Here, the focus returns entirely to the cockerel, ignoring the superficiality of the ball.
Despite the surrounding scene, the cockerel embodies composure and purpose: "cool and sure, on guard." Its ambiguity perhaps resolves into protectiveness ("for his princess," presumably its owner). This steadfastness provides a moral anchor against the backdrop of the decadent, "festooned courtyard" and the poorly behaved princes. The cockerel represents a different kind of value – one of loyalty and alert presence rather than wealth or status.
Form Check: The GG rhyme ("guard" / "courtyard") provides the expected strong conclusion, tying the poem together formally and thematically. The sonnet uses its traditional structure to elevate an unconventional subject, suggesting that true value and dignity can be found where least expected, even amidst aristocratic pretense.
Full Poem Text
A Sonnet for a Neapolitan Cockerel
by James C. Morehead
You won’t linger on delicate details
painted in oil, the lace as light as air
stitched to velvet, purple on red. Nor pale
face—androgynous. Neither can compare
to the cockerel, calm and cradled firm
with red comb brilliant and speckled feathers,
spindly legs snuggly tied so claws can’t squirm.
Companion? Fighter? The two, together,
make quite the pair, now ready to impress
Napoli’s finest at the viceroy’s ball
where princes will puff, exquisitely dressed,
eyes on the hunt, making maiden catcalls.
Still the cockerel, cool and sure, on guard
for his princess in the festooned courtyard.
After Woman in Neapolitan Costume, ca. 1635 by Massimo Stanzione, Legion of Honor Museum (San Francisco)
2nd Place - Oprelle Oxbow Poetry Contest 2022