The Petrarchan sonnet was innovated by its namesake, Francesco Petrarch, a 14th-century Italian poet. Petrarchan sonnets are traditionally written from the point of view of a man longing for a woman to return his love. The sonnet sets up a problem or describes an incident in its octave, then resolves it or reflects on it in the sestet. These sonnets are usually divided into two quatrains and a final sestet.
The first two quatrains tend to establish a question or a status-quo which is either answered or question at the turn of the poem, or the volta, which occurrs after the eighth line, or at the final sestet. Despite the technical difficulty of using a model for a rhyme-rich language for a language which is considerably poorer in rhymes, some anglophone poets have chosen to write Petrarchan sonnets, though the Shakespearian form is more usual.
The Shakespearian sonnet is divided into three quatrains and a final couplet. The first eight lines, called the octave, presents an argument or question after which there is a turning point or volta. The question or argument is then answered by the sestet, the last six lines. In comparison, the Shakesperean sonnet relies heavily on the final couplet which often expounds upon, refutes, or otherwise illuminates the first 10 lines of the sonnet.
The fundamental characteristics for the Petrarchan poem structure is the two-part structure. To attain this, the author divides the eight-line octave into two four-line stanzas and the sestet into two three-line stanzas.
This structure takes into account improvement of two parts of the subject, expanding the point of view of the piece. While some rhyme plot remains after the interpretation of the lyric from Italian, it does not provide the correct representation of the definitive complexity of Petrarch's work that was indispensable to putting across his mess The Norton Anthology of Western Literature. Ed Peter Simon. New York: Norton, New York: W. Norton, Stephen Greenblatt. New York, NY: W.
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