Petrarchan sonnet

They also popularized this form of sonnet that is called Petrarchan sonnet.

The octave and sestet have special functions in a Petrarchan sonnet.

The poem carries the meaning of an Italian or Petrarchan Sonnet.

Poets adopting the Petrarchan sonnet form often adapt the form to their own ends to create various effects.

As a result, he is often credited for integrating the Petrarchan sonnet into English vernacular tradition.

Petrarchan sonnets typically discussed the love and beauty of a beloved, often an unattainable love, but not always.

An octave is the first part of a Petrarchan sonnet, which ends with a contrasting sestet.

The structure of the ghazal are similar in strictness to those of the Petrarchan sonnet.

For example, when Romeo talks about Rosaline earlier in the play, he attempts to use the Petrarchan sonnet form.

The Italian or Petrarchan sonnet consists of two parts; an octave and a sestet.

Example of a Petrarchan sonnet: William Wordsworth's "London, 1802"

This practice is especially common in the Petrarchan sonnet, where the idealised beloved is often described part by part, from head to toe.

The octave of a Petrarchan sonnet, for example, usually presents a problem and an expectation of its resolution, which the sestet then provides.

Men often used Petrarchan sonnets to exaggerate the beauty of women who were impossible for them to attain, as in Romeo's situation with Rosaline.

The fourth was a perfectly good Petrarchan sonnet reviling the current administration and the party of which Len was an assenting member.

Enclosed-rhyme quatrains are used in introverted quatrains, as in the first two stanzas of Petrarchan sonnets.

Many of Shakespeare's sonnets are based on the two-part structure of the Italian Petrarchan Sonnet.

Sylvia Plath wrote the Petrarchan sonnet "Ennui" during her undergraduate years at Smith College.

It employs the traditional form of a petrarchan sonnet, but it uses the rhyme scheme of an English sonnet.

The two classic forms that the Romantics used the most were the Petrarchan sonnet and the Shakespearean sonnet.

Madrigalists aspired to create high art, often using the refined poetry of Petrarchan sonnets, and utilizing musically sophisticated techniques such as text painting.

The poem features images typical of the Petrarchan sonnet, yet they are more than the "threadbare Petrarchan conventionalities".

The stanza forms of the poem is a combination of elements from Petrarchan sonnets and Shakespearean sonnets.

For example, while "Cross of Snow" is indeed a Petrarchan sonnet, it does not follow the form of abbaabba cdccdc.

Because of the structure of Italian, the rhyme scheme of the Petrarchan sonnet is more easily fulfilled in that language than in English.