While some rhyme scheme remains following the translation of the poem from Italian, it is not a true representation of the original sophistication of Petrarch’s work that was vital to the conveyance of his message in the poem (Davis et al. This form allows for development of two aspects of the theme, broadening the perspective of the piece (Davis et al. Similarly, the sestet is split into two three-line stanzas, or tercets. This is achieved by splitting the eight-line octave into two four-line stanzas, or quatrains. The main characteristic of the Petrarchan sonnet form is its two-part structure. Petrarch’s “Sonnet 292” is written in the 14-line Italian sonnet form consisting of an eight-line octave and a six-line sestet. The first major difference between the two sonnets is the sonnet form used. As can be seen in “Sonnet 292” from the Canzoniere, the extensive use of metaphor and the idealization of Petrarch’s female subject are characteristic of the Petrarchan sonnet. Conversely, Petrarch’s work is rich in imagery, and does not spare a syllable in its glorification and deification of the object of his desires, Laura. Shakespeare appears to be making light of the metaphor and exaggerated comparison found in Petrarch’s work by offering an English sonnet describing the very un-goddess-like nature of this dark mistress (Davis et al.
Additionally, it is apparent that in “Sonnet 130,” Shakespeare actually satirizes Petrarch’s style and musings as his narrator describes his mistress, whose “eyes are nothing like the sun” (Shakespeare 3: 106). While they each approach the subject of their poems through sonnet forms, there are fundamental differences in their style and form, as well as in the way they undergo the discussion of their subjects.
Petrarch and Shakespeare are two poets known for their work on the subject of love.
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