Charles Baudelaire was responsible for significant variations in rhyme-scheme and line-length in the poems included in Les Fleurs du mal. Among the variations made by others, Théodore de Banville's Sur une dame blonde limited itself to a four-syllable line, while in À une jeune morte Jules de Rességuier (1788 - 1862) composed a sonnet monosyllabically lined. Germanic languages English Tudor and Stuart period Sir Thomas Wyatt and Henry Howard, Earl of Surrey, have been described as "the first English Petrarchans" from their pioneering the sonnet form in English. In addition, some twenty five of Wyatt's poems are dependent on Petrarch, either as translations or imitations, while, of Surrey's five, three of them are translations and two imitations. In one instance, both poets translated the same poem, Rime 140. From these examples, as elsewhere in their prosodic practice, a difference between their style can be observed. Wyatt's verse metre, though in general decasyllabic, is irregular and proceeds by way of significantly stressed phrasal units. But in addition Wyatt's sonnets are generally closer in construction to those of Petrarch. Prosodically, Surrey is more adept at composing in iambic pentameter and his sonnets are written in what has come to be known anachronistically as Shakespearean measure. This version of the sonnet form, characterised by three alternately rhymed quatrains terminating in a final couplet (ABAB CDCD, EFEF, GG), became the favourite during Elizabethan times, when it was widely used. It was particularly so in whole series of amatory sequences, beginning with Sir Philip Sidney's Astrophel and Stella (1591) and continuing over a period of two decades. About four thousand sonnets were composed during this time. However, with such a volume, much there that was conventional and repetitious came to be viewed with a sceptical eye. Sir John Davies mocked these in a series of nine 'gulling sonnets' and William Shakespeare was also to dismiss some of them in his Sonnet 130, “My mistress’ eyes are nothing like the sun”. Shakespeare's sequence of 154 sonnets departs from the norm in addressing more than one person in its course, male as well as female. In addition, other sonnets by him were incorporated into some of his plays. Another exception at this time was the form used in Edmund Spenser's Amoretti, which has the interlaced rhyme scheme ABAB BCBC CDCD EE. And soon after, in the following century, John Donne adapted the emerging Baroque style to the