Sir Philip Sidney’s defence essay, “An apology for poetry,” refers to poetry “as an art of

Sonnet 130 has also been recognized as ‘Anti-Petrachian’. In comparison Sonnet 130 by William Shakespeare has the same discourse but instead of being cliché, mocks the courtly sonnets in his realistic portrayal of his mistress. He deals with the discourse of love and he does so in a way to bring to light the superficial clichés that had been held so highly.

12. A Petrarchan Sonnet has two parts, one stanza that contains 8 lines and another containing 6. It “uses a rhyme scheme that ties the first eight lines (the octave) together, followed by a rhyme scheme that unifies the last six (the sestet)” (Foster

The structure of the poem is a way of exploring love in a poem. Both poems by Shakespeare are written with the same structure. Sonnet 116 and Sonnet 18 are written in sonnets as this appealed to the Elizabethan audience, and a sonnet was traditionally used to represent love and therefore is an immediate indicator that the poem is linked with love. The sonnets are written in 3 quatrains with a couplet at the end. They both have a simple structure with each quatrain representing a different area of love and the final couplet reaffirming the poet 's words by placing his own merit on the line; therefore detonating that if the two poems were put in separate sections, you would be able to understand them. Due to the iambic pentameter beat it gives the poems a sturdy feel, as it is a fixed formation, which

Elizabeth Bishop’s poem, ‘Sonnet’ bears little resemblance to its namesake at first glance. Bishop plays with our expectations, molding the well-known sonnet form into something new. She transforms the meter and rhyme scheme of the sonnet to the point of metamorphosis, but she retains the skeletal structure of the form; fourteen lines broken down into the customary octave and sestet. Her invocation and subsequent subversion of the anticipated poetic form provide her with a baseline to branch off from and without that context, the structure would not have the same effect on the poem’s meaning.

A sonnet is a poem of fourteen lines that rhyme in a particular pattern. William Shakespeare’s sonnets were the only non-dramatic poetry that he wrote. Shakespeare used sonnets within some of his plays, but his sonnets are best known as a series of one hundred and fifty-four poems. The series of one hundred and fifty-four poems tell a story about a young aristocrat and a mysterious mistress. Many people have analyzed and contemplated about the significance of these “lovers”. After analysis of the content of both the “young man” sonnets and the “dark lady sonnets”, it is clear that the poet, Shakespeare, has a great love for the young man and only lusts after his mistress.

First, the poet uses metre, a style that emphasizes the use of a specific structure, which is an appropriate way of presenting poems with positive themes such as love. In this case, the poet achieves metre through the use of a uniform number of syllables in every line of the first stanza (10 syllables per line). This approach not only makes the poem memorable in recitation and listening but also relaxes the listener which is important in understanding the subject matter. Petrach uses a qualitative metre, which concentrates on the use of uniform syllabic arrangement. As a result, he creates an aesthetic euphony thus making the listener and the reciter to enjoy the presentation of the poem. The technique is appropriate in the presentation of a love sonnet. Equally, the first two stanzas have four lines each, but the last two stanzas have three lines each. This aspect aligns with the two perspectives presented in the poem, the first being his great affection for Laura, and the second is an expression of the pain he experiences as a result of the unreciprocated love. Furthermore, he has been unable to express his feelings to her, which compounds his pain evident in the words “I had love's tinder in my breast unburned, was it a wonder if it kindled there?” (Lines 8 – 9).

In 1573, George Gascoigne published “For That He Looked Not upon Her,” a poem in which his careful and methodical approach to the sonnet form is evident. Two years later, he published “Certayne Notes of Instruction on Making of Verse,” which only further served to cement his reputation as meticulous and deliberate with his choice of language and form—every choice Gascoigne makes is made with a purpose in mind. This is especially evident in “For That He Looked Not upon Her,” wherein Gascoigne utilizes both the intentionally-chosen sonnet form and vivid imagery to develop his criticism of the classic sonnet in which the beloved’s refusal of the author only serves to make him more determined to pursue her.

During the 16th Century, English poetry was dominated and institutionalised by the Court. Because it 'excited an intensity that indicates a rare concentration of power and cultural dominance,' the Court was primarily responsible for the popularity of the poets who emerged from it. Sir Thomas Wyatt, one of a multitude of the so-called 'Court poets' of this time period, not only changed the way his society saw poetry through his adaptations of the Petrarchan Sonnet, but also obscurely attempted to recreate the culture norm through his influence. Though much of his poems are merely translations of Petrarch's, these, in addition to his other poetry, are satirical by at least a cultural approach.

In 2010 Billy Collins writes Sonnet, a piece of literary work I consider to be the antihero of sonnets. Collins ironically follows neither the constructs of a Shakespearean nor Petrarchan Sonnet throughout. He also creatively breathes new life into a strict art form while rejecting the historical rules a sonnet must follow in this work. Upon further review of Sonnet, it becomes clear that this deliberate rule breaking is a skilled nod & side-step to historic norms and a promotion of a new age of creativity in the making of a sonnet.

Rhyme is a defining point of Petrarch's poetry with a rhyme scheme of abba abba cde cde. Wyatt kept the rhyme scheme of the octave but changed the sestet to cdd cee. "There is written, her fair neck round about,/Noli me tangere, for Caesar's I am,/And wild to hold, though I seem tame." (Wyatt line 12-14) is an example of the changed rhyme scheme. Wyatt also resorted to eye-rhyme which is also shown in the quotation for the words am and tame. Petrarch's poems held firm to the original rhyme scheme of abba abba cde cde and each rhyme is a complete rhyme rather than Wyatt's lazy eye-rhyming. Petrarch's rhyme

Sonnet 130 is a parody of the conventional love sonnet, made popular by Petrarch and, made popular in England by Sidney’s use of the Petrarchan form in his epic poem Astrophel and Stella. When comparing the stanzas of A & S to Sonnet 130, the reader can clearly see that the sonnet does not use grandiose metaphors or allusions to build his beloved into a divine figure. Despite it being an obvious parody, it will be compared to the chosen lines from the Tempest. In Shakespeare’s day, metaphors that allude to putting the beloved on a pedestal of beauty had already become a cliché, but they were an accepted technique for writing love poetry nonetheless. The way these poems would describe the poet’s lover was high idealized, making comparisons

The Petrarchan sonnet has a rhyme scheme of ABBAABBA, where the lines that end with "A" rhyme with with one another. Therefore lines end with "B". The Shakespearean sonnet has an waverly rhyme scheme of ABABCDCDEFEFGG, that end with a rhyming couplet. It is hard to think that Shakespeare would deny such an instinctive similarity in his love dialogue with Petrarch, but then again Shakespeare was also notorious for writing many love letters and poems himself. Then again, Petrarch was from Italy, where the play did take place, but there would never be living proof of evidence for us to prove he did receive inspiration from him.

The conventions of the sonnet, mixed with the idolization of the features of the subject of the poem and the recurring “courtly love” theme characterize the romantic poetic style. Both Petrarca and Shakespeare use these standards in different ways throughout their works, varying them slightly to suit their purposes and themes.

Fourteen lines, iambic pentameter, rhyme scheme-- the classical form of the sonnet has been employed by poets since the thirteenth century. Whether the Italian Petrarchan, the English Shakespearean or other variations on the quatorzain, some of the most widely-read poets have risen to fame as sonneteers. Typically sonnets address romantic love or lust, but occasionally poets will lyrically meditate on nature, spirituality or other universal aspects of the human condition; however, modern poets have broken from the traditional sonnet form and subject matter to put a contemporary twist on the popular fourteen-line model.

Sidney defends the worth of poetry by presenting us with a long defense written to William Ponsonby, a very popular publisher of the Elizabethan era. Sidney breaks his argument down into eight sections, each one arguing another point as to why poetry is worthy and should not be thought of as sub-par literature. His arguments are thorough, leaving no gaps between thoughts, and very persuasive in both content and style. I believe his argument is both successful and thorough, covering everything that has been critiqued about poesy in the ages before this work was written.