 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”.