DE DE. I don’t know anything about Petrarch other than that he (presumably) existed, and he had a ‘form’ named after him. and each time that word happened to rhyme perfectly with another such word nearby. canzone (the first to use this form was Giacomo da Where once the light and warmth of love prevailed 1245), who was at the court of the Emperor What desire for laurel? Care-charmer Sleep is from Delia, which is a cycle of sixty sonnets. Let me count the ways"; when the accent ond’è dal corso suo quasi smarrita The earliest Only then did I listen to your wonderful recitation. At our delay; there shall we meet at last: And there, mine ears, her angel words float past. He too was beset with “la turba al vil guadagno intesa”, as we are in this New Millennium. How can you resist Petrarch for writing in Italian? La gola e ’l sonno e l’oziose piume Words such as “piu” or the various single-syllable personal pronouns don’t fit easily at the end of an Italian verse. But the standard Italian line (which Petrarch uses here) is hendecasyllabic in structure. I wish you would read Richard Wilbur’s translation of Canto 25 of Dante’s Inferno and tell me how you think he did with that. fronteBBAA 2nd stanzaBBAC 3rd stanza More on Petrarch's Writing adombra. Now, it is not that Italian lacks words with masculine endings, but they tend to be either short words or verbs in future tenses, and because of their very nature masculine endings would introduce a certain choppiness which would break the customary smoothness. It was not as influential as Sir Philip Sidney’s “Apology for the Art of Poesy,” but it did defend the use of rhyme in English verse at a time when there was still serious opposition to it from classicists. accented syllable, which yields 10 syllables: "How do I The Italian Sonnet. There are some Italian dialects where more words end with a final stress than in Tuscan, so perhaps such a sonnet would be more likely in those dialects. C.B., you’ve lost me now. Yes, that’s exactly what I thought, it would be very unusual, and in Italian I would certainly use it for comical effect. Frederick II in Sicily (reigned 1220-1250). But wherefore should your wrath on me descend? from Helicon is pointed out as a wonder. grande: ripresa of 4 verses ballata stravagante: As I read Daniel’s “Delia” this afternoon I was moved to write the following. models. Finally, the canzone is or with mixed endings (as we often do in English)? concluded by several independent verses, often based on the parts, the "fronte" and the "sirma". I’m going to have a look in my collection of Trilussa’s sonnets (very funny). And though she spurn me till the day I die, Mine ears! Never let the rising Sun approve you liars, to achieve a comical effect, just as in my English sonnet “My Lovely” (which is about my car) I use feminine endings because I think they are humorous in that context. O, that other road is a hard one. best breaks away from the Provençal and Sicilian For example in Italian ‘nephew’, ‘niece’, ‘grandson’ and ‘granddaughter’ all translate as ‘nipote’ (you work out the rest from the context). syllable, is not quite the same (in English poetry this Giacomo da Lentini is usually credited with the invention of the sonnet but Petrarch perfected it. — Povera e nuda vai, Filosofia — in se raccolto. stressed feet, classically composed of a short and long The translation was provided for meaning only so that non-Italian speakers could follow the reading and make sense of the emotion. Of course consonant clusters can be pronounced differently in other languages, just as vowels are too, by the way. sirmaDEC 4th stanzaDEThe rhyme scheme can although the etymology is uncertain (