What is the difference between shakespearean and petrarchan writing in sonnets

Metaphysical Poetry: Definition, Characteristics & Examples:
Definition of Metaphysical Poetry
You've probably heard of haikus, lyrical poems and limericks. All of those types of poetry have specific qualities that allow us to group them together. Metaphysical poetry is a little bit different. The poems classified in this group do share common characteristics: they are all highly intellectualized, use rather strange imagery, use frequent paradox and contain extremely complicated thought.
However, metaphysical poetry is not regarded as a genre of poetry. In fact, the main poets of this group didn't read each other's work and didn't know that they were even part of a classification.
Literary critic and poet Samuel Johnson first coined the term 'metaphysical poetry' in his book Lives of the Most Eminent English Poets (1179-1781). In the book, Johnson wrote about a group of 17th-century British poets that included John Donne, George Herbert, Richard Crashaw, Andrew Marvell and Henry Vaughan. He noted how the poets shared many common characteristics, especially ones of wit and elaborate style.
What Does Metaphysical Mean?
The word 'meta' means 'after,' so the literal translation of 'metaphysical' is 'after the physical.' Basically, metaphysics deals with questions that can't be explained by science. It questions the nature of reality in a philosophical way.
Here are some common metaphysical questions:
Does God exist?
Is there a difference between the way things appear to us and the way they really are? Essentially, what is the difference between reality and perception?
Is everything that happens already predetermined? If so, then is free choice non-existent?
Is consciousness limited to the brain?
Metaphysics can cover a broad range of topics from religious to consciousness; however, all the questions about metaphysics ponder the nature of reality. And of course, there is no one correct answer to any of these questions. Metaphysics is about exploration and philosophy, not about science and math.
Characteristics
The group of metaphysical poets that we mentioned earlier is obviously not the only poets or philosophers or writers that deal with metaphysical questions. There are other more specific characteristics that prompted Johnson to place the 17th-century poets together.
Perhaps the most common characteristic is that metaphysical poetry contained large doses of wit. In fact, although the poets were examining serious questions about the existence of God or whether a human could possibly perceive the world, the poets were sure to ponder those questions with humor.
Metaphysical poetry also sought to shock the reader and wake him or her up from his or her normal existence in order to question the unquestionable. The poetry often mixed ordinary speech with paradoxes and puns. The results were strange, comparing unlikely things, such as lovers to a compass or the soul to a drop of dew. These weird comparisons were called conceits.
Metaphysical poetry also explored a few common themes. They all had a religious sentiment. In addition, many of the poems explored the theme of carpe diem (seize the day) and investigated the humanity of life.
One great way to analyze metaphysical poetry is to consider how the poems are about both thought and feeling. Think about it. How could you possibly write a poem about the existence of God if you didn't have some emotional reaction to such an enormous, life-altering question?
John Donne (1572-1631)
All conversations about metaphysical poetry must start with John Donne. He is considered the founder of metaphysical poetry and master of the metaphysical conceit. Donne was not only a poet but a lawyer, priest and satirist. His poetry reflects this diversity, and his works are just as religious as they are funny. Donne explored the idea of religion his whole life, and despite being a priest, spent a lot of time examining the idea of true religion. We can trace these questions back to his upbringing. Donne was born and raised a Roman Catholic when it was illegal to be Catholic in England. He lost many relatives to martyrdom - they were either exiled or executed.

Hyperbole Definition
Hyperbole, derived from a Greek word meaning “over-casting” is a figure of speech, which involves an exaggeration of ideas for the sake of emphasis. It is a device that we employ in our day-to-day speech. For instance, when you meet a friend after a long time, you say, “Ages have passed since I last saw you”. You may not have met him for three or four hours or a day, but the use of the word “ages” exaggerates this statement to add emphasis to your wait. Therefore, a hyperbole is an unreal exaggeration to emphasize the real situation. Some other common Hyperbole examples are given below.
The hyperbole is perhaps one of the most widely recognized forms of figurative language and one that permeates everyday life through the advertising and entertainment industries. Hyperbole is the use of exaggeration for extra effect. The author can use hyperbole to add extra drama or comedy to a situation or even for the purpose of propaganda.
Hyperbole, like other figures of speech, is used to communicate ideas, emotions, and images in a more efficient way than through plain language. For example, an author might want to say that Mary lives in a large house. The reader knows that Mary lives in a big house, but that is all. No other context is given to explain how big the house is. Characteristics like size are often relative to the experiences of the reader and may not accurately portray what the author intends. For example, for a wealthy person who has lived in a mansion for all his life, a large house may mean something completely different than what a person with very little money may imagine. In this example, the author may want to use a hyperbole to frame his idea and give it context in order to allow the reader to better understand what he intends. In this case, the author may write, “Mary’s house is so big that the entire population of the city can fit into it.” By exaggerating the size of Mary’s house so dramatically, there is no question in the reader’s mind about how large Mary’s house is.
Hyperbole has been used throughout literature for many centuries. Heroic dramas, which are dramas with an emphasis on grandeur and excess, often make use of hyperbole to extend the effect and epic nature of the genre. Modern tall tales also make use of hyperbole to exaggerate the feats and characteristics of their protagonists. For example, the American tall tale about Paul Bunyan relies heavily on hyperbole to establish Bunyan’s giant stature and abilities. Hyperbole is also frequently used in comedy to offer a humorous description of somebody or something.
The fields of advertising and propaganda use hyperbole almost exclusively, which has led to it having a somewhat negative connotation. Typically advertisers or those writing propaganda use hyperbole to exaggerate the benefits or claims of their products in order to the boost sales, increase the image of, or increase the popularity of whatever they are advertising. The modern term “hype” is a shortened derivation of the term.
Hyperboles can often be combined successfully with similes and metaphors to increase their effectiveness, although an author must be careful not to use common phrases at the risk of being cliché. Also, exaggerations are only effective if the extent of it is outlandishly wild, otherwise, there would be no hyperbole. Like all figures of speech, when used correctly and in the proper context, hyperboles can be used to better express an author’s intentions and meaning
What is the difference between shakespearean and petrarchan writing in sonnets?
The difference is in their structure - both have fourteen lines of iambic pentameter, but they are organized in different ways. A Petrarchan (also called an "Italian") sonnet, is composed of an octave (eight lines) followed by a sestet (six lines). The rhyme scheme of the octave is typically abbaabba (this is easy in Italian because so many words end in suffixes like "-ello" or "-etto"). The octave sets up the problem of the sonnet, which might be something like the brevity of a lifetime or the transience of beauty. The sestet has its own rhyme scheme, and there are several acceptable patterns (cdcdcd, cdecde, to name a couple). The sestet resolves the problem set up in the octave - if the problem is the transience of beauty, perhaps the solution is that the person's beauty will live on in the poem. The change in tone between the octave and the sestet is called a turn, or a "volta." The Shakespearean (also called an "English") sonnet is composed of four quatrains (of four lines each) and a concluding couplet (two lines). The rhyme scheme is as follows: abab cdcd efef gg. Each quatrain serves to develop an element or a facet of the problem. For example, a sonnet about the transience of beauty might have one quatrain about the beloved's charms, one comparing her to the seasons, and one about how she will eventually die. The couplet solves the problem of the quatrains, just as the sestet solves the problem of the octave in Petrarchan sonnet. The volta traditionally occurs between the third quatrain and the couplet. Because you have to solve the problem in two lines, the couplet tends to be particularly witty and significant.
Or
Petrarchan sonnet: this is the original sonnet form, which came from Italy and was brought into England by two guys named Wyatt and Surrey, whose sonnets are almost translations of the original Italian ones written by an Italian poet named Petrarch, who really championed the form. Format: The poem falls into 2 main parts: octave (8 lines) rhyming abbaabba sestet (six lines) rhyming some variant of cdecde (ie cdeedc or ccddee or whatever)
The problem with this form is that Italian has about 5 times as many rhyming words than English, due to the way the nouns decline and the verbs conjugate. English has many fewer rhyming words, so this rhyme scheme becomes very restrictive. So over time modifications were made to the sonnet form to accommodate English. The English (also called the Shakespearean sonnet): This sonnet takes Shakespeare’s name not because he invented it but because he seems to have used it more, and to greater effect, that any other sonnet practitioner. It also follows the 3 quatrain + couplet form, but there are more possible rhymes: abab cdcd efef gg
"Shakespeare's sonnets are frequently more earthy and sexual than contemporary sonnet sequences by other poets. One interpretation is that Shakespeare's Sonnets are in part a pastiche or parody of the three centuries-long tradition of Petrarchan love sonnets; in them, Shakespeare consciously inverts conventional gender roles as delineated in Petrarchan sonnets to create a more complex and potentially troubling depiction of human love.[11] Shakespeare also violated many sonnet rules which had been strictly obeyed by his fellow poets: he speaks on human evils that do not have to do with love (66), he comments on political events (124), he makes fun of love (128), he parodies beauty (130), he plays with gender roles (20), he speaks openly about sex (129) and even introduces witty pornography (151)." (Wikipedia)

A critical analysis of Shakespeare's Sonnet 18 discusses everything from structure to rhetorical figure of speech word schemes. The structure is that of an English, or Shakespearean, 14 line sonnet having three quatrains with one ending couplet. This differs from the Italian Petrarchan sonnet form of two quatrains and one sestet with no rhyming couplet. The rhyme scheme is the traditional English sonnet scheme of abab cdcd efef gg. The underlying metaphor is built upon a comparison of his beloved's youth and beauty to a summer's day. The poetic speaker asserts that she cannot be thus compared because she shall be eternal through the power of his poetic lines.
The first quatrain (lines 1-4) says she is more lovely than a summer's day and more "temperate" than the "darling buds of May": so the summer day and she are contrasted with each other. The second quatrain says summer days can be too hot, decline, be dimmed and changed: "fair from fair sometime declines." The third quatrain says that she will not fade nor know death like a summer day will do because she will continue "in eternal lines to time." The ending couplet finalizes the theme of eternal beauty and youth caught in the poet's immortalizing lines by saying she will live as long as "men can breathe or eyes can see." The theme can thus be stated as: Eternal beauty and youth are bestowed by the poet's immortal and immortalizing lines that withstand the diminishment of time, quite unlike "a summer's day."
The structure adheres to the sonnet form that specifies a problem or complication be given in the second quatrain (lines 5-8) to the situation introduced in the first quatrain (lines 1-4). In this case, the problem (5-8) is that summer days are diminished and so is mortal beauty. The situation (1-4) is the contemplation of youth and beauty in comparative relation to a summer's day. The third quatrain (lines 9-12) offers the solution or resolution to the problem. (The subject change at line 9 is called the volta, or turn.) In this case, the solution (9-12) is to make her "eternal summer" of youth and beauty immortal through lines of poetry. The ending couplet finalizes the thought of lines 9-12 and makes the concluding pronouncement. In this case, it is:
So long as men can breathe or eyes can see,So long lives this and this gives life to thee.
Poetic techniques Shakespeare uses include metaphor (e.g., "too hot the eye of heaven"; "his gold complexion dimmed"); personification (e.g., "shall Death brag"); and his trademark word play where varying meanings of a word are played off of each other (e.g., "every fair from fair"). Some key rhetorical techniques used as figurative word schemes are hyperbole (e.g., "So long as men shall live"); polysyndeton, which is the use of "and" for rhetorical effect (e.g., "So long lives this and this gives life to thee"); and chiasmus, which is inverted parallelism also as in "So long lives this and this gives life to thee." The inversion is as this illustrates: lives ==> this / this ==> gives