depend upon a definition of the new lyric to which Giacomo's poetry does not conform: surviving in thirteenth-century recensions, his poems appear not in fourteen, but rather six lines, including four rows, each with two hemistiches and two "tercets" each in a line extending over two rows." In Ladha's view, the sonnet emerges as the continuation of a broader tradition of love poetry throughout the Mediterranean world and relates to such other forms as the Sicilian strambotto, the Provençal canso, the Andalusi Arabic muwashshah and zajal, as well as the qasida. Guittone d'Arezzo rediscovered the sonnet form and brought it to Tuscany where he adapted it to Tuscan dialect when he founded the Siculo-Tuscan, or Guittonian school of poetry (1235–1294). He wrote almost 250 sonnets. Among the host of other Italian poets that followed, the sonnets of Dante Alighieri and Guido Cavalcanti stand out, but later the most famous and widely influential was Petrarch. The structure of a typical Italian sonnet as it developed included two parts that together formed a compact form of "argument". First, the octave forms the "proposition", which describes a "problem" or "question", followed by a sestet (two tercets) which proposes a "resolution". Typically, the ninth line initiates what is called the "turn", or "volta", which signals the move from proposition to resolution. Even in sonnets that do not strictly follow the problem/resolution structure, the ninth line still often marks a "turn" by signaling a change in the tone, mood, or stance of the poem. Later, the ABBA ABBA pattern became the standard for Italian sonnets. For the sestet there were two different possibilities: CDE CDE and CDC CDC. In time, other variants on this rhyming scheme were introduced, such as CDC DCD or CDE DCE. Petrarch typically used an ABBA ABBA pattern for the octave, followed by either CDE CDE or CDC CDC rhymes in the sestet. At the turn of the 14th century there arrive early examples of the sonnet sequence unified about a single theme. This is represented by Folgore da San Geminiano's series on the months of the year, followed by his sequence on the days of the week. At a slightly earlier date, Dante had published his La Vita Nuova, a narrative commentary in which appear sonnets and other lyrical forms centred on the poet's love for Beatrice. Most of the sonnets there are Petrarchan (here used as a purely stylistic