Editing Sonnet (section)

===Italian===
[[File:Petrarch_canzoniere.jpg|thumb|upright=0.9|The first five sonnets of [[Petrarch]]'s ''Il Canzoniere'']]
[[Guittone d'Arezzo]] rediscovered the sonnet form and brought it to [[Tuscany]], where he adapted it to [[Tuscan dialect]] when he founded the Siculo-Tuscan, or Guittonian school of poetry (1235–1294). He wrote almost 250 sonnets.<ref>{{cite book| url = https://books.google.com/books?id=spKxJeHJgTAC&pg=PA1053| title = ''Medieval Italy: an encyclopedia, Volume 2,'' Christopher Kleinhenz| isbn = 9780415939317| last1 = Kleinhenz| first1 = Christopher| year = 2003| publisher = Routledge}}</ref> Among the host of other Italian poets that followed, the sonnets of [[Dante Alighieri]] and [[Guido Cavalcanti]] stand out, but later the most famous and widely influential was [[Petrarch]].

The structure of a typical Italian sonnet as it developed included two parts that together formed a compact form of "argument". First, the [[octave (poetry)|octave]] forms the "proposition", which describes a "problem" or "question", followed by a [[sestet]] (two [[tercet]]s) that proposes a "resolution". Typically, the ninth line initiates what is called the "turn", or "[[volta (literature)|volta]]", which signals the move from proposition to resolution. Even in sonnets that do not strictly follow the problem/resolution structure, the ninth line still often marks a "turn" by signaling a change in the tone, mood, or stance of the poem.

Later, the ABBA ABBA pattern became the standard for Italian sonnets. For the sestet, there were two different possibilities: CDE CDE and CDC CDC. In time, other variants on this rhyming scheme were introduced, such as CDC DCD or CDE DCE. Petrarch typically used an ABBA ABBA pattern for the octave, followed by either CDE CDE or CDC CDC rhymes in the sestet.

At the turn of the 14th century there arrive early examples of the [[sonnet sequence]] unified about a single theme. This is represented by [[Folgore da San Gimignano]]'s series on the months of the year,<ref>[http://www.sonnets.org/folgore.htm" Of the months"], translated by Dante Gabriel Rossetti,</ref> followed by his sequence on the days of the week.<ref>{{cite web| url = http://www.rossettiarchive.org/docs/1-1874.rad.html#p369| title = Rossetti Archive}}</ref> At a slightly earlier date, Dante had published his ''[[La Vita Nuova]]'', a narrative commentary in which appear sonnets and other lyrical forms centred on the poet's love for Beatrice.<ref>[https://www.poetryintranslation.com/PITBR/Italian/TheNewLife.php ''La Vita Nuova'' (The New Life)], A. S. Kline, Poetry in Translation, 2000–02.</ref> Most of the sonnets there are Petrarchan (here used as a purely stylistic term since Dante predated Petrarch). Chapter VII gives the sonnet "O voi che per la via", with two sestets (AABAAB AABAAB) and two quatrains (CDDC CDDC), and Ch. VIII, "Morte villana", with two sestets (AABBBA AABBBA) and two quatrains (CDDC CDDC). Petrarch followed in his footsteps later in the next century with the 366 sonnets of the ''Canzionere'', which chronicle his life-long love for [[Petrarch#Laura and poetry|Laura]].<ref>[https://www.poetryintranslation.com/PITBR/Italian/Petrarchhome.php "Petrarch: ''The Canzonieri''"], A. S. Kline, Poetry in Translation, 2002</ref>

Widespread as sonnet writing became in Italian society, among practitioners were to be found some better known for other things: the painters [[Giotto]] and [[Michelangelo]], for example, and the astronomer [[Galileo Galilei|Galileo]]. The academician [[Giovanni Mario Crescimbeni]] lists 661 poets just in the 16th century.<ref>"Critical History of the Sonnet", ''Dublin Review'' 79 (1876), [https://books.google.com/books?id=m1YVAQAAIAAJ&dq=Ruckert+%22Geharnischte+Sonette%22&pg=PA418 p. 409.]</ref> So common were they that eventually, in the words of a literary historian: "No event was so trivial, none so commonplace, a tradesman could not open a larger shop, a government clerk could not obtain a few additional ''[[scudi]]'' of salary, but all his friends and acquaintance must celebrate the event, and clothe their congratulations in a copy of verses, which almost invariably assumed this shape."<ref>[[Richard Chevenix Trench]], "The History of the English Sonnet" (London, 1884), [https://archive.org/details/sonnetswilliamw00wordgoog/page/n13/mode/2up p. ix.]</ref>