So what should we conclude at the end? That a development did take place, actually, within the compass of the famous fourteen lines? a development of a new sonnet form (a sonnet with free impetus!), just as the Miltonic sonnet grew out of the 'normal' Petrarchan (and the Petrarchan from the popular song)? Or should we conclude, against the great, that what has developed can't be called a sonnet?
In the meantime I found, about the 'old' one, by Edwin Arlington Robinson:
". . . these little sonnet men,
Who fashion, in a shrewd mechanic way,
Songs without souls, that flicker for a day,
To vanish in irrevocable night."
This alone must have motivated innovation...
But I also found a beautiful 'normal' one, by A.E. Poe:
Silence
There are some qualities--some incorporate things,
That have a double life, which thus is made
A type of that twin entity which springs
From matter and light, evenced in solid and shade.
There is a two-fold Silence--sea and shore--
Body and soul. One dwells in lonely places,
Newly with grass o'ergrown; some solemn graces,
Some human memories and tearful lore,
Render him terrorless: his name's "No More."
He is the corporate Silence: dread him not!
No power hath he of evil in himself;
But should some urgent fate (untimely lot!)
Bring thee to meet his shadow (nameless elf,
That haunteth the lone regions where hath trod
No foot of man) commend thyself to God!
Please, let's all make peace. I'll go to the Sorbonne in a month to learn more about the sonnet, but this thread, were it not for the occasional kicks (springing from love of poetry only!), was instructive, informative, exciting!... and I thank you all.