The very first collection of Italianate love poetry, The Courte of Venus c. The typical sonnet lover, like Sidney's Astrophil, finds it exceedingly difficult to rise above the level of physical desire.
Petrarch's sonnets in opposition are focused solely on one lover, Laura. Is what they single out specific to the Petrarchan love sonnet? Sightless I see my fair; though mute, I mourn; I scorn existence, yet I court its stay; Detest myself, and for another burn; By grief I'm nurtured; and, though tearful, gay; Death I despise, and life alike I hate: Such, lady, do you make my wretched state!
Romeo Have not saints lips and holy palmers too? Peacham provides the following definition of this figure of speech: Hyperbole, when a saying doth surmounte and reach above the truth, the use whereof, is very frequent in augmenting, diminishing, praysing, and dispraysing of persons and thinges […].
Similarly, in the late sixteenth and early seventeenth centuries, choler was sometimes considered to be the humour of heroes — whose nature allowed them to compensate for the detrimental effects of excess: […] so may the heroical and generous spirits converse with unstaide appetites and yet not have the least tang of their excesse, but by their diviner Nosce Teipsum may be their own guardians, both for their Coelestiall and also earthy parts.
Here is to bee marked that this fygure is not used to deceave, by exceeding the compasse of truth, but useth extreame wordes, to shew that the thing we affyrme, is very great, or very small, so that we use an incredible saying, to shew that the truth wee affirme, is almost incredible.
In that case, how was the poet to apply the rules of decorum?
The principal structuring tool in both the English and Italian sequences is the defined division into two parts. Shakespeare, however, regards the beloved object highly as the all-inclusive focus.