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The Petrarchan sonnet, also known as the Italian sonnet, is a sonnet named after the Italian poet Francesco Petrarca, [1] although it was not developed by Petrarch himself, but rather by a string of Renaissance poets. [2] Because of the structure of Italian, the rhyme scheme of the Petrarchan
Shakespeare's funerary monument. The sonnets of Petrarch and Shakespeare represent, in the history of this major poetic form, the two most significant developments in terms of technical consolidation—by renovating the inherited material—and artistic expressiveness—by covering a wide range of subjects in an equally wide range of tones.
The sonnet is written in the Petrarchan form and was subsequently collected among the "Poems Dedicated to National Independence and Liberty" written in response to events at home and abroad during the long series of Napoleonic wars. In Wordsworth's eyes, Milton's "soul was like a star, and dwelt apart", independent of the corrupting pressures ...
The introduction later of a purified sonnet style to Brazilian literature was due to Cláudio Manuel da Costa, who also composed Petrarchan sonnets in Italian during his stay in Europe. [36] However, it was in the wake of French Parnassianism that there developed a similar movement in Brazil, which included the notable sonneteers Alberto de ...
"Composed upon Westminster Bridge, 3 September 1802" is a Petrarchan sonnet by William Wordsworth describing London and the River Thames, viewed from Westminster Bridge in the early morning. It was first published in the collection Poems, in Two Volumes in 1807.
This poem is a Petrarchan sonnet, [1] also known as an Italian sonnet. [1] It is divided into an octave (the first 8 lines introducing the problem of not reading Homer) and a sestet (the last 6 lines introducing the solution of Chapman’s translation and how it makes Keats feel). It follows a rhyme scheme of ABBAABBACDCDCD. [1]
Milton’s Sonnet 18 is written in iambic pentameter, with ten syllables per line, and consists of the customary 14 lines. Milton's sonnets do not follow the English (Shakespearean) sonnet form, however, but the original Italian (Petrarchan) form, as did other English poets before him (e.g. Wyatt) and after him (e.g. Elizabeth Browning). This ...
The sonnets of Amoretti draw heavily on authors of the Petrarchan tradition, most obviously Torquato Tasso and Petrarch himself. [5] " In Amoretti, Spenser often uses the established topoi, for his sequence imitates in its own way the traditions of Petrarchan courtship and its associated Neoplatonic conceits". [1]