Sonnets
The sonnet as a form developed in Italy probably in the thirteenth century. Petrarch, in the fourteenth century, raised the sonnet to its greatest Italian perfection and so gave it, for English readers, his own name.
The form was introduced into England by Thomas Wyatt, who translated Petrarchan sonnets and left over thirty examples of his own in English. Surrey, an associate, shares with Wyatt the credit for introducing the form to England and is important as an early modifier of the Italian form. Gradually the Italian sonnet pattern was changed and since Shakespeare attained fame for the greatest poems of this modified type his name has often been given to the English form. The big book of sonnets that popularized the form was called Songs and Sonnets, or Tottel's Miscellany (originally published in 1557, but in its 9th edition by 1587). It was a best-seller; every literarily-minded English writer knew about it.
Certain qualities common to the sonnet as a form should be noted. Its definite restrictions make it a challenge to the artistry of the poet and call for all the technical skill at the poet's command. The more or less set rhyme patterns occurring regularly within the short space of fourteen lines afford a pleasant effect on the ear of the reader, and can Create truly musical effects. The rigidity of the form precludes a too great economy or too great prodigality of words. Emphasis is placed on exactness and perfection of expression. You can see how this form would attract writers of great technical skill who are fascinated with intellectual puzzles and intrigued by the complexity of human emotions, which become especially tangled when it comes to dealing with the sonnet's traditional subjects, love and faith.