Dismiss not so, with light hard phrase and cold, Ev'n if it be but fond imagining, The hope whereto so passionately cling The dreaming generations from of old! Not thus, to luckless men, are tidings told Of mistress lost, or riches taken wing; And is eternity a slighter thing, To have or lose, than kisses or than gold? Nay, tenderly, if needs thou must, disprove My loftiest fancy, dash my grand desire To see this curtain lift, these clouds retire, And Truth, a boundless dayspring, blaze above And round me; and to ask of my dead sire His pardon for a word that wronged his love. Of course you will find exceptions to the rules I have stated, you will find poets who have combined the Shakespearean and Petrarchan sonnet. The most usual way of doing this is to end the Petrarchan sonnet with the couplet typical of the Shakespearean form, as in Blanco White's "Night." But sometimes we find the octave of the sonnet consisting, as in the Shakespearean form, of two quatrains, and the sestet approaching closely to the Petrarchan idea. Such a sonnet is "Letty's Globe," by Charles Tennyson-Turner, the brother of Alfred Tennyson. In this the octave is Shakespearean--rhyming _a, b, a, b, c, d, c, d_, but the sestet rhymes _e, f, f, g, e, g_. LETTY'S GLOBE BY CHARLES TENNYSON-TURNER When Letty had scarce passed her third glad year, And her young, artless words began to flow, One day we gave the child a coloured sphere Of the wide earth, that she might mark and know, By tint and outline, all its sea and land. She patted all the world; old empires peeped Between her baby fingers; her soft hand Was welcome at all frontiers. How she leaped, And laughed, and prattled in her world-wide bliss; But when we turned her sweet unlearned eye On our own isle, she raised a joyous cry, "Oh! yes, I see it, Letty's home is there!" And while she hid all England with a kiss, Bright over Europe fell her golden hair.