By the 14th century, the form further crystallized under the pen of Petrarch, whose sonnets were later translated in the 16th century by Sir Thomas Wyatt, who is credited with introducing the sonnet form into English literature.

Petrarch polished and perfected the sonnet form inherited from Giacomo da Lentini and which Dante widely used in his Vita nuova to popularise the new courtly love of the Dolce Stil Novo.

He was unable to write poetry for months because of his anguish over his wife's death, but eventually he composed, inspired by Petrarch, the sonnet Op de dood van Sterre ( On the death of Sterre ), which was well received.

In Italy, Petrarch developed the sonnet form pioneered by Giacomo da Lentini, which Dante used in his Vita Nuova.

Accounts of Renaissance literature usually begin with Petrarch ( best known for the elegantly polished vernacular sonnet sequence of the Canzoniere and for the craze for book collecting that he initiated ) and his friend and contemporary Boccaccio ( author of the Decameron ).

Berryman's sonnet sequence fits in the long tradition of highly personal sonnet sequences, stretching back through George Meredith's Modern Love to William Shakespeare's sonnets and the sonnets of Petrarch.

e a che ti serve ; in the verses Alla beata Vergine, Al divino amore ; in the sonnet Sulla fede nelle disgrazie the truth and beauty of thought and language recall the verses of Petrarch.

His sonnet to Petrarch is included in the collections of English sonnets by Robert Fletcher Housman and Alexander Dyce.

Notable sonnet cycles have been written by Dante Alighieri, Petrarch, Pierre de Ronsard, Edmund Spenser, Rupert Brooke, Sir Philip Sidney, William Shakespeare, John Donne, William Wordsworth, Elizabeth Barrett Browning, and Rainer Maria Rilke.

Soon however, the impact of Petrarch ( the sonnet cycle addressed to an idealised lover, the use of amorous pardoxes ), Italian poets in the French court ( like Luigi Alamanni ), Italian Neo-platonism and humanism, and the rediscovery of certain Greek poets ( such as Pindar and Anacreon ) would profoundly modify the French tradition.

Giacomo da Lentini is also credited with inventing the sonnet, a form later perfected by Dante and Petrarch.

) for inventing the sonnet, a literary form later perfected by Dante and, most of all, Petrarch.

Petrarch developed the Italian sonnet pattern, which is known to this day as the Petrarchan sonnet or the Italian sonnet.

While Howard tended to use the English sonnet form in his own work, reserving the Petrarchan form for his translations of Petrarch, Wyatt made extensive use of the Italian sonnet form in the poems of his that were not translation and adaptation work.

Soon however, the impact of Petrarch ( the sonnet cycle addressed to an idealised lover, the use of amorous pardoxes ), Italian poets in the French court ( like Luigi Alamanni ), Italian Neoplatonism and humanism, and the rediscovery of certain Greek poets ( such as Pindar and Anacreon ) would profoundly modify the French tradition.

While it is possible she was an idealized or pseudonymous character – particularly since the name " Laura " has a linguistic connection to the poetic " laurels " Petrarch coveted – Petrarch himself always denied it.

He held as his model, and as the highest example of poetic expression ever achieved in Italian, the work of Petrarch and Boccaccio, two 14th century writers he assisted in bringing back into fashion.

In it, Sidney partially nativised the key features of his Italian model, Petrarch: variation of emotion from poem to poem, with the attendant sense of an ongoing, but partly obscure, narrative ; the philosophical trappings ; the musings on the act of poetic creation itself.

We cannot here do more than enumerate the leading troubadours and briefly indicate in what conditions their poetry was developed and through what circumstances it fell into decay and finally disappeared: Peire d ' Alvernha, who in certain respects must be classed with Marcabru ; Arnaut Daniel, remarkable for his complicated versification, the inventor of the sestina, a poetic form for which Dante and Petrarch express an admiration difficult for us to understand ; Arnaut de Mareuil, who, while less famous than Arnaut Daniel, certainly surpasses him in elegant simplicity of form and delicacy of sentiment ; Bertran de Born, now the most generally known of all the troubadours on account of the part he is said to have played both by his sword and his sirveniescs in the struggle between Henry II of England and his rebel sons, though the importance of his part in the events of the time seems to have been greatly exaggerated ; Peire Vidal of Toulouse, a poet of varied inspiration who grew rich with gifts bestowed on him by the greatest nobles of his time ; Guiraut de Borneil, lo macsire dels trobadors, and at any rate master in the art of the so-called close style ( trebar clus ), though he has also left us some songs of charming simplicity ; Gaucelm Faidit, from whom we have a touching lament ( plaint ) on the death of Richard Cœur de Lion ; Folquet of Marseille, the most powerful thinker among the poets of the south, who from being a merchant and troubadour became an abbot, and finally bishop of Toulouse ( d. 1231 ).

He held as his model, and as the highest example of poetic expression ever achieved in Italian, the work of Petrarch and Boccaccio, two 14th century writers he assisted in bringing back into fashion.

For example, he followed Petrarch ( and Dante ) in the unsuccessful championing of an archaic and deeply allusive form of Latin poetry.

The established form, as developed by Petrarch and Dante, has every line of eleven syllables.

This work was of decisive importance in the development of the Italian madrigal, the most famous secular musical form of the 16th century, as it was these poems, carefully constructed ( or, in the case of Petrarch, analyzed ) according to Bembo's ideas, that were to be the primary texts for the music.

Inspired by Dante, other Italian poets, including Petrarch and Boccaccio, began using the form.

Originally delivered at the Sicilian court of Emperor Frederick II during the 13th century of the Middle Ages, the lyrical form was later commanded by Dante, Petrarch, Boccaccio, and leading Renaissance writers such as Spenser ( the marriage hymn in his Epithalamion ).

Italian poets such as Giacomo da Lentini, Boccaccio, Petrarch, and Dante adopted this line, generally using the eleven-syllable form ( endecasillabo ) because most Italian words have feminine endings.

This work was of decisive importance in the development of the Italian madrigal, the most famous secular musical form of the 16th century, as it was these poems, carefully constructed ( or, in the case of Petrarch, analyzed ) according to Bembo's ideas, that were to be the primary texts for the music.

The first documented user of this poetical form was the Italian poet, Petrarch.

It is sometimes reported that Arnaut de Mareuil surpassed his more famous contemporary Arnaut Daniel him in elegant simplicity of form and delicacy of sentiment ; however, this is based on the personal opinion of an editor of the 1911 Encyclopedia Britannica, and against the consensus of both past and modern scholars: Dante, Petrarch, Pound and Eliot, who were familiar with both authors consistently proclaim Daniel's supremacy, and even Arnaut de Mareuil's curator, Simon Gaunt, writing 25 years later, makes no mention of such claim.

A follower of Juan Boscán and Garcilaso de la Vega, a friend of Jerónimo Jiménez de Urrea and Baltasar del Alcázar, Cetina adopted the doctrines of the Italian school and, under the name of Vandalio, wrote an extensive series of poems in the newly introduced metres ; his sonnets are remarkable for elegance of form and sincerity of sentiment, his other productions being in great part adaptations from Petrarch, Ariosto and Ludovico Dolce.

Petrarch had acquired a copy, which he did not entrust to Leontius, but he knew no Greek ; Homer, Petrarch said, " was dumb to him, while he was deaf to Homer ".

Francesca and her family lived with Petrarch in Venice for five years from 1362 to 1367 at Palazzo Molina ; although Petrarch continued to travel in those years.

Turin, Einaudi, 1964 ) has spoken of linguistic indeterminacy – Petrarch never rises above the " bel pié " ( her lovely foot ): Laura is too holy to be painted ; she is an awe-inspiring goddess.

" The exaltation of the rural life as a retreat from the noise of urbanity had the sanction of a long and distinguished history ; as Levey writes, " Virgil recommended it, Petrarch practiced it, and Zucccarelli illustrated it.

Jean Buridan climbed the mountain early in the fourteenth century ; Petrarch ( accompanied by his brother ) repeated the feat on April 26, 1336, and claimed to have been the first to climb the mountain since antiquity.

Gathered partly ( by translation ) in the fyne outlandish Gardens of Euripides, Ovid, Petrarch, Aristotle and others ; and partly by Invention out of our owne fruitfull Orchardes in Englande, Yelding Sundrie Savours of tragical, comical and moral discourse, bothe pleasaunt and profitable, to the well-smelling name, by London printer Richarde Smith.

The Genoese colony of Pera usurped the trade of Constantinople and acted as an independent state ; and it brings us very near the modern world to remember that Planudes was the contemporary of Petrarch.

Of his sons, Bartolomeo, Alboino and Cangrande I, only the last shared the government ( 1308 ); he was great as warrior, prince, and patron of the arts ; he protected Dante, Petrarch, and Giotto.

The cycles include two canzoni by Petrarch and a capitolo by Ariosto ; they are set in a declamatory manner, thereby including a treatment of vocal lines which foreshadowed monody, and Wert's own later works.

For verse he used Petrarch in preference to Petrarch's 16th-century imitators ; many of his madrigals set Petrarch's sonnets.

The celebrated poet Petrarch, was a great friend of the family, in particular of Giovanni Colonna and often lived in Rome as a guest of the family.

Giovanni Boccaccio (; 1313 – 21 December 1375 ) was an Italian author and poet, a friend, student, and correspondent of Petrarch, an important Renaissance humanist and the author of a number of notable works including the Decameron, On Famous Women, and his poetry in the Italian vernacular.

The relationship between the two forms is most obvious in the composers who concentrated on sacred music, especially Giovanni Pierluigi da Palestrina, whose " motets " setting texts from the Canticum Canticorum, the biblical " Song of Solomon ," are among the most lush and madrigal-like of Palestrina's compositions, while his " madrigals " that set poems of Petrarch in praise of the Blessed Virgin Mary would not be out of place in church.

** Giovanni, son of Francesco Petrarch ( plague )

He also assimilated Petrarch and Giovanni Boccaccio's Humanism.

1470 ) setting a poem in praise of the Blessed Virgin Mary by Petrarch ; Giovanni Pierluigi da Palestrina's First Book of Madrigals ( 1581 ), also setting Marian poems by Petrarch ; Carlo Gesualdo's Tenebrae Responsories ( 1611 ); and the huge collection by Giovanni Francesco Anerio, Teatro armonico spirituale ( Rome, 1619 ).

Taken by his father to Florence to pursue the studies for which he appeared so apt, he studied Latin under Giovanni Malpaghino of Ravenna, the friend and protégé of Petrarch, and some Greek in Rome His distinguished abilities and his dexterity as a copyist of manuscripts brought him into early notice with the chief scholars of Florence: both Coluccio Salutati and Niccolò Niccoli befriended him.

The vulgar ( ie, spoken ) language of Florence gained prestige in the 14th century after Dante Alighieri, Francesco Petrarca ( Petrarch ) and Giovanni Boccaccio wrote major works in it: the Divina Commedia, the Canzoniere and the Decameron.

In addition, a number of individuals are known to have read the text or have been indirectly influenced by it, including: Vussin, Hrabanus Maurus, Hermann of Reichenau, Hugo of St. Victor, Gervase of Melkey, William of Malmesbury, Theoderich of St. Trond, Petrus Diaconus, Albertus Magnus, Filippo Villani, Jean de Montreuil, Petrarch, Boccaccio, Giovanni de Dondi, Domenico di Bandino, Niccolò Acciaioli bequeathed copy to the Basilica of San Lorenzo, Florence, Bernward of Hildesheim, and St. Thomas Aquinas.