EĪnd thus I live: and thus is loosed and wound C It holds my spirit back to earth as well. If fate so blest a death for me design.” Aīut to my soul, thus steeped in joy, the sound Cīrings such a wish to keep that present heaven, D So that I say, “My time has come to die, B He makes sweet havoc in this heart of mine, AĪnd to my thoughts brings transformation high, B With his own touch, and leads a minstrelsy BĬlear-voiced and pure, angelic and divine,- A When Love doth those sweet eyes to earth incline, AĪnd weaves those wandering notes into a sigh B The beauty of the structure lies in the use of literary devices such as the personification of Love and then alliteration of /s/ in the last line. The problem is Love that the speaker feels allured to at which he seems to think that he is going to die but his soul comes to the earth. The style of thematic expansion is based on the problem description and solution. Its rhyme scheme is usual in octave but different in sestet which is a typical Petrarchan style. This beautiful sonnet is another example of a Petrarchan sonnet translated by Wentworth Higgins. When Love doth those sweet eyes to earth incline It burns with passion that to mine is near. There is no rock so senseless but I deem C That mirrorest her sweet face, her eyes so clear, DĪnd of their living light canst catch the beam! C O pleasant country-side! O limpid stream, C His blithe rays gild the outskirts of thy towers! A O grove, so dark the proud sun only lets B O trees, with earliest green of springtime hours, AĪnd all spring’s pale and tender violets! B O plain, that hold’st her words for amulets BĪnd keep’st her footsteps in thy leafy bowers! A ’Mid which my pensive queen her footstep sets B
O joyous, blossoming, ever-blessed flowers! A The following example is translated by Thomas Wentworth Higgins. The use of different literary devices such as apostrophes, similes, and metaphors along with a specific rhyme scheme has made this to be placed at the top among the best Petrarchan sonnets. The final solution is that the poet envies her present thinking of the purity of her beauty. Its octave presents the problem of the blossoming of the flowers, the next quatrain of the octave explains and interprets the problem, while the first part of the sestet shows the start of the solution that is how the face of his beloved is clear and transparent. Translated by Higgins, this Petrarchan sonnet shows all the features of a Petrarchan sonnet. O joyous, blossoming, ever-blessed flowers!
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