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Updated: May 11, 2025
Later, Burton sent Payne other Camoens sonnets to look over. Writing on 29th October 1882, he says, "Many thanks for the sonnet. Your version is right good, but it is yourself, not me. In such a matter each man expresses his own individuality. I shall follow your advice about the quatrains and tercets. No. 19 is one of the darkest on account of its extreme simplicity. I shall trouble you again."
It must have fourteen lines, neither more nor less, with five beats or "stresses" to the line. Each line must end with a rhyme. In the arrangement of the rhymes the sonnet is made up of two parts, or rhyme-systems: the first eight lines forming the "octave," and the last six the "sestet." The octave is made up of two quatrains and the sestet of two tercets.
I tried to read, but my attention wandered; I skipped the lines, and read the same paragraph over twice; my book having fallen down I picked it up and read it for one whole hour upside down, without knowing it I wished to make a monosyllabic sonnet extremely interesting occupation and failed. My quatrains were tedious, and my tercets entirely too diffuse.
Read next another strictly Petrarchan sonnet, where the thought divisions of quatrains and tercets are marked with exceptional clearness, Eugene Lee-Hamilton's disillusioned "Sea-Shell Murmurs": "The hollow sea-shell that for years hath stood On dusty shelves, when held against the ear Proclaims its stormy parent; and we hear The faint far murmur of the breaking flood. "We hear the sea. The sea?
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