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It is, however, aberrant in rhyme scheme and the number of stresses per line and is better described as having only a family resemblance to the sonnet. [157] The form was adapted by other poets later, including by Mikhail Lermontov in his narrative of "The Tambov Treasurer's Wife".
The rhyme scheme for the octave is typically ABBAABBA. The sestet is more flexible. Petrarch typically used CDECDE or CDCDCD for the sestet. Some other possibilities for the sestet include CDDCDD, CDDECE, or CDDCCD (as in Wordsworth's "Nuns Fret Not at Their Convent's Narrow Room," a sonnet about sonnets).
This idea of rhyme schemes reflecting thought processes is often discussed particularly regarding sonnets. Determine whether a stanza is balanced or unbalanced. Help to reinforce the feeling being expressed: If the writer wants to express stubbornness, they may use tight structured rhyme schemes, whereas if one was writing about feeling lost ...
In the quatorzain, there is, properly speaking, no sestet, but a quatrain followed by a couplet, as in the case of English sonnets. Another form of sestet has only two rhymes, ABABAB, as is the case in Gray's famous sonnet On the Death of Richard West. The sestet marks the turn of emotion in the sonnet. As a rule, with the octave having been ...
The sonnet has an ABBA ABBA CDDC EE rhyme scheme ("eternalLY" is meant to rhyme with "DIE"). The last line alludes to 1 Corinthians 15:26 : "The last enemy that shall be destroyed is death". The poem's opening words are echoed in a contemporary poem, "Death be not proud, thy hand gave not this blow", sometimes attributed to Donne, but more ...
Shakespeare's Sonnet 130, in which, “while declaring his love for his mistress, he mocks the Petrarchan standard vocabulary of praise”, is an example that marks English independence from the conventions of Petrarch. [9] The English sonnet sequences “exemplify the Renaissance doctrine of creative imitation as defined by Petrarch”. [10]
The most common rhyme scheme for an octave is ABBA ABBA. An octave is the first part of a Petrarchan sonnet, which ends with a contrasting sestet. In traditional Italian sonnets the octave always ends with a conclusion of one idea, giving way to another idea in the sestet. Some English sonnets break that rule, often to striking effect.
A tercet may also form the separate halves of the ending sestet in a Petrarchan sonnet, where the rhyme scheme is ABBAABBACDCCDC, as in Longfellow's "Cross of Snow". For example, while "Cross of Snow" is indeed a Petrarchan sonnet, it does not follow the form of ABBA, ABBA CDC, CDC. [8] [9] Instead, its form is ABBA CDDC EFG EFG.