Historical Context
Origins of the Petrarchan Sonnet
The Petrarchan sonnet, also known as the Italian sonnet, traces its roots to 14th-century Italy through the works of poet Francesco Petrarch. Petrarch's Canzoniere, a collection of 366 poems, popularized this form, which became a cornerstone of Renaissance literature. The structure was adopted across Europe, influencing poets like Milton and Keats. Its enduring appeal lies in its ability to explore complex themes through a dialectic of problem and resolution.
Emergence of the Shakespearean Sonnet
The Shakespearean sonnet, or English sonnet, evolved in the 16th century under poets such as Thomas Wyatt and Henry Howard, Earl of Surrey, who adapted the Italian form to English conventions. However, it was William Shakespeare's Sonnets (1609) that cemented its legacy. Shakespeare's 154 sonnets expanded thematic versatility, addressing love, time, and human frailty, and became a hallmark of Elizabethan literature.
Technical Differences
Structural Framework
Petrarchan Sonnet: Divided into an octave (8 lines) and a sestet (6 lines), the Petrarchan sonnet uses this division to present a problem or question in the octave and a resolution or reflection in the sestet. The volta (turn) between these sections is critical to the poem's emotional or intellectual shift.
Shakespearean Sonnet: Structured into three quatrains (4 lines each) followed by a final couplet (2 lines), this form allows for multiple thematic shifts. Each quatrain may explore a distinct idea, while the couplet delivers a punchline or revelation, often recontextualizing preceding lines.
Rhyme Schemes
Petrarchan Sonnet: The octave follows an ABBAABBA rhyme scheme, creating symmetry. The sestet's rhyme scheme varies but commonly adheres to CDECDE or CDCCDC, offering flexibility to support its reflective tone.
Shakespearean Sonnet: Each quatrain employs an alternating rhyme (ABAB CDCD EFEF), building momentum. The closing couplet (GG) stands alone, emphasizing its conclusive role.
The Volta: A Defining Element
Petrarchan Sonnet: The volta typically occurs between the octave and sestet (line 9), marking a profound shift in perspective. For example, in Petrarch's Sonnet 1, the octave laments unrequited love, while the sestet seeks spiritual solace.
Shakespearean Sonnet: The volta appears after the second quatrain (line 9) and again before the couplet (line 13), allowing layered transitions. In Sonnet 116, the volta at line 9 reaffirms love's constancy, while the final couplet underscores its timeless nature.
Thematic Flexibility
The Petrarchan form's rigid octave-sestet split suits meditative or philosophical themes, such as love's paradoxes or existential musings. The Shakespearean structure's modular quatrains and decisive couplet enable a broader range of subjects, from political satire to personal introspection, reflecting the dynamism of English Renaissance thought.
Conclusion
While both sonnet forms celebrate lyric precision, the Petrarchan sonnet embodies the contemplative elegance of the Italian Renaissance, and the Shakespearean sonnet mirrors the narrative adaptability of English literary tradition. Their differences in structure, rhyme, and thematic delivery highlight how cultural and historical contexts shape poetic innovation.