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Structure

The sonnets are almost all constructed from three four-line stanzas (called quatrains) and a final couplet composed in iambic pentameter^[13] (a meter used extensively in Shakespeare's plays) with the rhyme scheme abab cdcd efef gg (this form is now known as the Shakespearean sonnet). The only exceptions are Sonnets 99, 126, and 145. Number 99 has fifteen lines. Number 126 consists of six couplets, and two blank lines marked with italic brackets; 145 is in iambic tetrameters, not pentameters. Often, the beginning of the third quatrain marks the volta ("turn"), or the line in which the mood of the poem shifts, and the poet expresses a revelation or epiphany.

There is another variation on the standard English structure, found for example in sonnet 29. The normal rhyme scheme is changed by repeating the b of quatrain one in quatrain three where the f should be. This leaves the sonnet distinct between both English and Spenserian styles.

Whether the author intended to step over the boundaries of the standard rhyme scheme will always be in question. Some, like Sir Denis Bray, find the repetition of the words and rhymes to be a "serious technical blemish",^[14] while others, like Kenneth Muir, think "the double use of 'state' as a rhyme may be justified, in order to bring out the stark contrast between the Poet's apparently outcast state and the state of joy described in the third quatrain."^[15] Given that this is the only sonnet in the collection that follows this pattern, its hard to say if it was purposely done. But most of the poets at the time were well educated; "schooled to be sensitive to variations in sounds and word order that strike us today as remarkably, perhaps even excessively, subtle." ^[16] Shakespeare must have been well aware of this subtle change to the firm structure of the English sonnets.