“declares and analyzes his passion, celebrates and courts the beloved, and writes poetry to please her/him”. Many English sonnet sequences start with addresses to the reader, and “many of [these addresses] specifically raise questions about the relationship between being in love and writing and reading love sonnets”. The beloved is a major interest of sonnet sequences, but the poetry itself is also an important focus. While the soulful poetry is intended to woo the beloved, it is also written for an audience to whom a clear succession should be important. A common indication of progression is “the movement from indirect description of the beloved to direct address to her”. However, there is an “antithetical tendency” to discontinue this personal address into a more impersonal language at moments of “conflict and stress”. An even further progression is formulated with the “inclusion of explicit autobiographical detail,” which “increases intensity and immediacy”. In other words, as the sequence intensifies, so do the relationships between poet and beloved, reader and beloved, and therefore poet and reader. It is thought that the English inherited the Italian structure of the sonnet sequence from Dante and Petrarch, and then tailored it to fit their own intentions Shakespeare's Sonnet 130, in which, “while declaring his love for his mistress, he mocks the Petrarchan standard vocabulary of praise”, is an example that marks English independence from the conventions of Petrarch. The English sonnet sequences “exemplify the Renaissance doctrine of creative imitation as defined by Petrarch”. Petrarch wrote and revised his famous sequence Canzoniere, or Song Book, between the years of 1327 and 1374. It comprises 366 poems divided into two parts: 1–263 and 264–366. Petrarch gradually constructed this work, which is derived from the countless drafts and revisions that he made throughout its creation. It is famously known for “shed[ding] light on the generation of English sequence”. Petrarch's concern for rearrangements in and alterations to his sonnet sequence suggests that he treated his poems like works of art, in which there is always room for improvement. This idea can also be applied to Shakespeare's ideals, considering his sonnets 138 and 144 first appeared in 1599 in The Passionate Pilgrim, and then appeared “much revised and strengthened” in the 1609 publication of The Sonnets. There is a triple focus to all sonnet sequences that was originally put forth by the Italian model: “the poet-lover’s passion, the beloved who must be