_But when I looked on death made visible, From my heart’s sojourn brought before mine eyes, And holding in her[1] hand my grievous sin, I seemed to see my countenance, that fell, Shake like a shadow: my heart uttered cries, And my soul wept the curse that lay therein. Then Death: 'Thus much thine urgent prayer shall win:-- I grant thee the brief interval of youth At natural pity’s strong soliciting.’ And I (because I knew that moment’s ruth But left my life to groan for a frail space) Fell in the dust upon my weeping face._ --ROSSETTI. By this highly intelligent system the vagrant overgrowth of the Provençal stanza was pruned, and a lyrical form constituted, which was unsurpassed for the combination of dignity with melodious grace. The sonnet, unmatched as the most appropriate form for the harmonious development of a single thought, is one of Italy’s most precious gifts to the world of letters. It is too thoroughly naturalised in this country to need detailed description; but the caution is not superfluous that a Shakespearian sonnet, a sonnet on the French model, or a very irregular sonnet, are strictly speaking not sonnets, but quatorzains; and that, although it would be pedantic to insist upon unvarying conformity to one of the four legitimate Italian structures of the sestet, they will seldom be widely departed from without injury to the music and architecture of the poem. The name _sonnetto_--a little sound--(cf. _sonnette_) admirably expresses the pealing effect of a well-manipulated sestet. The ballata is less confined by strict rules. “It is properly a lyric of two or more stanzas, in the first of which is set out the theme to be amplified in the following” (Boswell). It often terminates with an _envoy_ or quasi summing-up, as is frequently the case with the canzone also. The octave, familiar to English readers as the metre of _Don Juan_, was generally reserved for narrative poetry, but was also converted by the Sicilian poets into a lyrical form by merging the final couplet in the preceding sestet, as described and exemplified by an English imitator: _To thee, fair Isle, Italia’s satellite, Italian harps their native measures lend; Yet, wooing sweet diversity, not quite Thy octaves with Italia’s octave blend. Six streaming lines amass the arrowy might In hers, one cataract couplet doth expend. Thine lakewise widens, level in the light, And like to its beginning is its end._ The _sestine_, a favourite form with the Provençals, and frequently used by Dante and Petrarch, is too complicated to be well understood without an example.