On one of his missions to the Continent, Wyatt, like Chaucer, had visited Italy. Impressed with the beauty of Italian verse and the contrasting rudeness of that of contemporary England, he determined to remodel the latter in the style of the former. Here a brief historical retrospect is necessary. The Italian poetry of the sixteenth century had itself been originally an imitation, namely of the poetry of Provence in Southern France. There, in the twelfth century, under a delightful climate and in a region of enchanting beauty, had arisen a luxurious civilization whose poets, the troubadours, many of them men of noble birth, had carried to the furthest extreme the woman-worship of medieval chivalry and had enshrined it in lyric poetry of superb and varied sweetness and beauty. In this highly conventionalized poetry the lover is forever sighing for his lady, a correspondingly obdurate being whose favor is to be won only by years of the most unqualified and unreasoning devotion. From Provence, Italy had taken up the style, and among the other forms for its expression, in the twelfth and thirteenth centuries, had devised the poem of a single fourteen-line stanza which we call the sonnet. The whole movement had found its great master in Petrarch, who, in hundreds of poems, mostly sonnets, of perfect beauty, had sung the praises and cruelty of his nearly imaginary Laura. It was this highly artificial but very beautiful poetic fashion which Wyatt deliberately set about to introduce into England. The nature and success of his innovation can be summarized in a few definite statements. 1. Imitating Petrarch, Wyatt nearly limits himself as regards substance to the treatment of the artificial love-theme, lamenting the unkindness of ladies who very probably never existed and whose favor in any case he probably regarded very lightly; yet even so, he often strikes a manly English note of independence, declaring that if the lady continues obstinate he will not die for her love. 2. Historically much the most important feature of Wyatt's experiment was the introduction of the sonnet, a very substantial service indeed; for not only did this form, like the love-theme, become by far the most popular one among English lyric poets of the next two generations, setting a fashion which was carried to an astonishing excess; but it is the only artificial form of foreign origin which has ever been really adopted and naturalized in English, and it still remains the best instrument for the terse expression of a single poetic thought. Wyatt, it should be observed, generally departs from the Petrarchan rime-scheme, on the whole unfortunately, by substituting a third quatrain for the first four lines of the sestet. That is, while Petrarch's rime-arrangement is either _a b b a a b b a c d c d c d_, or _a b b a a b b a c d e c d e_, Wyatt's is usually _a b b a a b b a c d d c e e_.