The sonnet is even more exacting on this point : the separation between the octave and the sestet is purely a logical one, the rimes drawing a visual line between the first and last part.
32.
A tercet may also form the separate halves of the ending sestet in a Petrarchan sonnet, where the rhyme scheme is " abbaabba cdccdc ", as in Longfellow's " Cross of Snow ".
33.
For example, in Matthew Arnold's " The Better Part ", the rough inquirer, who has had his own way in the octave, is replied to as soon as the sestet commences:
34.
As noted by Bernhard Frank, Sonnet 29 includes two distinct sections with the Speaker explaining his current depressed state of mind in the first octave and then conjuring what appears to be a happier image in the last sestet
35.
The sestet does something different : it makes a swift, wonderfully compact turn on the hidden meanings of " but " and " yet " and " wait for a moment ".
36.
These poets do not necessarily restrict themselves to the metrical or rhyme schemes of the traditional Petrarchan form; some use iambic hexameter, while others do not observe the octave-sestet division created by the traditional rhyme scheme.
37.
This sonnet suggests this pattern, but its rhetorical structure is more closely modeled upon the older Petrarchan sonnet which arranges the octave ( the first eight lines ) in contrast to the sestet ( the final six lines ).
38.
Octave ", rhyming " abba abba ", followed, after a turn ( " volta " ) in the sense, by a sestet with various rhyme schemes; however his poems never ended in a rhyming couplet.
39.
The former stanza, it will be remebered, consisted of what amounted to a quatrain from the Shakespearian octave, " abab ", follwed, in the main, by a strictly Petrarchan sestet, " cdecde ".
40.
"Ode on a Grecian Urn " is organized into ten-line stanzas, beginning with an ABAB rhyme scheme and ending with a Miltonic sestet ( 1st and 5th stanzas CDEDCE, 2nd stanza CDECED, and 3rd and 4th stanzas CDECDE ).
