The poet makes it absolutely clear, in (mostly) hard-nose, end-stopped lines using slangy diction, that s/he will never follow the example set forth in The Lord’s Prayer, albeit N stops short of the physical violence said to have been meted out by QEI to the dying Countess of Nottingham
.
This Petrarchan sonnet uses the
rima alternata, or Sicilian, variation of the sestet. To combine that challenging form with a plethora of clichés (loves the sinner, hates the sin; stuck to you like glue; through thick and thin; the dogs you’ve gone to; bugger off) and still pull it off is no mean feat.
Again, my main nit is with the capitalization of all lines.