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I before e except after c, prevent omitting serial commas, and never EVER let a participle dangle. Those who choose to write are perhaps too familiar with these specific rules. Some are tedious, some are almost impossible to remember, yet all help the author to make lucid writing so that her purpose may be established. For example, the instance is just the same. There are various forms to choose from, versatile meters to rate the reader, and also the ability to layer information to slowly make a point. Some forms could be generous in what they permit the author to perform, and in William Wordsworth's "Nuns Fret Not" the writer admits that forms could be restricting in meter, rhyme, and span. That does not mean however that he's immobile, Wordsworth is able to fine-tune the rules and by doing so, demonstrates his main statement: Limits don't necessarily need to be viewed in a negative light; when used correctly, constraints can be both challenging and supply relaxation rather than misery. Wordsworth reveals the prospect of finding freedom within his poem by opting to write inside the Italian sonnet's rules. What makes an Italian sonnet unique is your branch and blueprint of its own rhyme scheme. It's normally ordered in an ABBA, ABBA, CDE, CDE pattern, and broken into two major components, the octave (the first eight lines) and the sestet (the final six). The meter of "Nuns" could be tagged as iambic pentameter, nevertheless along with the meter the poem differs from the norm in just two more ways. The first difference is in the rhyme scheme. In a typical Italian sonnet, the sestet follows a CDE, CDE blueprint, in "Nuns" nonetheless, it follows the pattern CDD, CCD. It's moment, but adds emphases to the 13th line, which contains the poem's second anomaly. Each of the poem's lines have an.