A sonnet is a fourteen-line poem broken into two parts: Octave (first eight lines) and Sestet (last eight lines) (the next six lines). Though not the founder of the sonnet form, Italian poet Francies Petrarch was the most well-known booster of it. It was under his guidance that it took on the inspirational shape and fulfilled proponent for the renaissance sonneteers.

1. QUES NO :01: Write the Petrarchan elements in
the poem “Astrophil and Stella 84:
A sonnet is a fourteen-line poem that is divided into two sections: the Octave
(first eight lines) and the Sestet (final eight lines) (the next six lines). Francies
Petrarch, an Italian poet, was the most well-known supporter of the sonnet
form, while not being its creator. It was under his direction that it took on the
inspiring shape of a fulfilled proponent for the sonneteers of the
Renaissance. Petrarch's encyclopedia promoted oxymorons, metaphors,
and linguistic flexibility. Thanks to him, the 'courtly love romance' became
fashionable. In this style, the poet or lover is pursuing the beloved, and the
beloved is playing hard to get; the beloved's unattainability is due to her
superior social status or the fact that she is already married.
This section of a Petrarchan sonnet is crucial since it elevates and idealizes
the beloved. The struggle of the poet is at the heart of the sonnets. Thomas
Wyatt and Henry Howard, Earl of Surrey, sometimes known as Surrey,
created the Petrarchan sonnet (Italian Sonnet). Sidney is the one who writes
the couplet at the end of the sonnet (the last two lines). Petrarch adopts the
platonic love paradigm, characterizing his beloved as an invisible presence
in his life—an ethereal mistress who is impossible to imagine. According to
Plato, there is no reality that individuals can achieve. As a result, the poet
turned to his mistress for spiritual guidance. Both Sidney and Spencer are
exceptional artists.

2. The Petrarchan practice of placing the beloved in an impossible situation and
seeking her is exemplified by Astrophil and Stella, which mean "Star-lover"
and "Star," respectively. Unlike Petrarch, who sought spirituality via his
beloved, Sidney wanted to obtain Grace from the Queen to be recognized
as a successful court poet in addition to demonstrating his sincerity and love
for Penelope. Sidney is seeking to show that poetic composition requires a
significant deal of work and anguish, allegorized as childbirth.
Sidney deviates from the Petrarchan standard in several ways; for example,
he gives his beloved a voice that is unique in Petrarchan sonnets. 'Fool, look
into your heart and write,' my Muse said. (From the First Sonnet) Stella is
shown not just stopping a masculine monologue, but also pushing against
traditional writing approaches such as looking at other people's work in favor
of encouraging the lover's originality. In this narrative, the praise and
condemnation relationship between the servile creature (lover) and the
unreachable (beloved) is also remarkable. Sidney doesn't only give his lover
credit for his better performance in other areas, such as athletics.
In Sidney's poetry from the early English Renaissance, we observe the
convergence of courtly and Petrarchan love. In Sidney's writings, the lover
mixes the notions of courtly adoration and feudal duty with limitless, eternal
passion. Sidney's Astrophil and Stella had breathed fresh life into a forgotten
genre that had languished since Wyatt and Surrey. As a result, Sidney draws
a lot from his predecessor Petrarch, but he also rejects a lot and adds his
creativity and originality, thus Astrophil and Stella should be seen as both a
Petrarchan sonnet and a subtle criticism on this technique.

3. Ques 2: The role of Bosola in The Duchess of
Malfi is:
In The Duchess of Malfi, Bosola is an adversary of the Duchess of Malfi,
having been hired to spy on and murder her, but later becomes her avenging
angel. Bosola, a Machiavellian character, is hired by Duke Ferdinand to spy
on the Duchess of Malfi. He is there at the request of his royal patron to keep
track of her travels, even though he is her stable manager.
Bosola isn't the first person to be involved in a top-secret operation. On the
command of Cardinal Ferdinand, Duke Ferdinand's brother, he once carried
out the dirty work of another high-ranking official, assassinating a man. The
Duke was certain that Bosola was the best person for the position after what
he had done for his brother. However, Bosola does not appear to be a willing
pawn. He has moral concerns about doing the aristocracy's dirty work. He
obeys the Duke out of sincere love, not for the money. After assisting in the
tormenting of the Duchess, Bosola's regret is so great that he can no longer
work for Duke Ferdinand.
As a consequence, Bosola switches allegiances and joins Antonio in
assassinating the Duke and Cardinal. In the end, he murders Antonio by
accident, but he still gets to do some good by assassinating Ferdinand and
seriously hurting the Cardinal in his final act.

4. Within The Duchess of Malfi's tale, Bosola is a tough character to define. He
works as a spy and assassin in the real world. On a literary level, he is
technically an adversary until his employers miss one payment too many
times. When the Duchess's brothers hire him to spy on their widowed sister
at her house, they worry she may marry against their wishes, denying them
the right to inherit her estate if she has children. However, things do not go
as planned. Bosola is a difficult character to understand since he doesn't
want to be a nasty man. He despises the idea of spying on the Duchess and
even admires her for her kindness, but he requires the funds. He feels that
as a former galley slave, he has no choice but to do others' nasty work.
Ferdinand does not recompense him for his services when he is forced to
help in the torture and murder of the Duchess on Ferdinand's orders. Bosola
then turns against his former employers, comforting the Duchess in her last
moments before joining forces with Antonio. Unfortunately, he accidentally
kills Antonio, but he also murders the Duchess's brothers before being
stabbed to death.
Only Bosola undergoes a real shift throughout the drama. He changes from
a merciless killer motivated by riches and security to a man seeking
redemption by supporting the good people he has wounded the most. This
sets Bosola apart from the rest of the cast since he is the main vengeance
in this most peculiar of revenge tales. Unlike Shakespeare's Hamlet, Bosola
is one of the initial perpetrators, which gives him a redemptive dimension to
his role in the story. Even though Bosola's redemption does not proceed as
intended, he does succeed in bringing all of the Duchess' killers to justice,
including himself.