The sestet's purpose as a whole is to make a comment on the problem or to apply a solution to it.

Frank believes that the last sestet, however, is not as "happy" as some may believe.

The first eight lines (octave) are the problem and the next six (sestet) is the solution.

Lines nine through fourteen which is the sestet concerns the decaying of the beloved.

The octave presents an idea to be contrasted by the ending sestet.

The poem is usually divided into two sections with the first eight lines, an octave, and the last six, a sestet.

A sestet is also six lines of poetry forming a stanza or complete poem.

The poet asks, and in the opening of the sestet calls upon his muse:

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

The sestet, with either two or three different rhymes, uses its first tercet to reflect on the theme and the last to conclude.

Typically, the octave introduces a situation, idea, or problem to which the sestet provides a response or resolution.

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

The Shadorma is a poetic form consisting of a six-line stanza (or sestet).

This Italian sonnet uses the last six lines (sestet) to answer the first eight lines (octave).

While the poem as a whole aims at praising love, the focus shifts at the break between octave and sestet.

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

The octave can be broken down into two quatrains; likewise, the sestet is made up of two tercets.

Wordsworth and Milton are both remarkable for the dignity with which they conduct the downward wave of the sestet in their sonnet.

In Milton's Sonnet 19, the sestet begins early, halfway through the last line of the octave:

Wyatt employs the Petrarchan octave, but his most common sestet scheme is cddc ee.

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

The debate that Shakespeare presents is "in a Petrarchan logical structure, with a clearly demarcated octave and sestet."

In traditional Italian sonnets the octave always ends with a conclusion of one idea, giving way to another idea in the sestet.

Petrarch divided his sonnets into an octave, a set of eight lines, and a sestet, a group of six lines.

However, the rhymes of the sestet in an Italian sonnet can vary widely: cdcdcd, cddcdd, etc.