Wyatt, it should be observed, generally departs from the Petrarchan rime-scheme, on the whole unfortunately, by substituting a third quatrain for the first four lines of the sestet. That is, while Petrarch's rime-arrangement is either a b b a a b b a c d c d c d , or a b b a a b b a c d e c d e , Wyatt's is usually a b b a a b b a c d d c e e .

Quatrains are frequent in the work, but some poems deviate from the trend and employ sestet stanzas.

which conclude "Then she was dead"--and a sestet, the last six

In "Catching Fire: 'The Windhover,"' Helen Vendler distinguishes between the ways in which the poem's speaker observes the bird in the octave but inscapes it in the sestet, undergoing "the exhilaration of suddenly inscaping the bird into a single complex gestalt." The essay vividly analyzes the "sudden transfiguring of the world into intelligibility--brought about by a stunning fusion of sense [and] intellectual imagination." Provocatively, and counter to generations of Hopkins critics, Vendler suggests how and why the poem does not culminate in "a theological and redemptive tableau." Vendler's particular discussion of "species-manifestation" in "The Windhover" complements Julia F.

One, the Italian or Petrarchan sonnet, usually consists of an eight-line octave followed by a six-line sestet, with a rhyme scheme that is usually ABBA, ABBA, CDE, CDE.

(7) We see at once, moreover, that Astrophil shapes each of the declarations forming the sonnet's sestet through dementiens.

group) and a sestet (six-line group) as in the Italianate Petrarchan

The sestet is no doubt acceptable, but it is not a common pattern.

One could say that the sonnets sent to the South African review were Miltonic for Anon, both by virtue of the form adhered to (Italian sonnet: an octave followed by a sestet), and the reference to current political events.

The sonnet, with the rhetorical finality implicit in the relationship between octave and sestet, complements the prologue in allowing her to underscore the dangers inherent in a "class set from class" organization of Arcadian life (109).

In the sonnets, however, they are coordinate: the rigid sonic architecture of the sonnet requires certain spatial deployments of meaning, both in the quickening of rhymes between octet and sestet and even moreso in the volta itself.