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Hot Topic (More than 10 Replies) Sestina (Read 168 times)
Just_Daniel
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Tim never ceasestina to amaze me!
Reply #14 - May 27th, 2007 at 6:19pm
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Thanks for that link, Tim...

Maybe I'll give one a shot myself.

Lightly, Daniel  8)
  
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Tim
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Re: Sestina
Reply #13 - May 26th, 2007 at 10:57pm
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Hello All,

Here is a website that promotes contemporary (read: free verse) style sestinas---and some mighty fine ones at that. Hope you enjoy.

http://www.mcsweeneys.net/links/sestinas/

~Tim
  
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Re: Sestina
Reply #12 - May 26th, 2007 at 7:15pm
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Lori,

Your FV is lovely. Funny, I was considering FV'ing a sestina recently. I've seen it done somewhere else and now I think I'm off to put one together to follow your suit.

btw, kudos for using lipstick...that's a tough one.

~Tim
  
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Just_Daniel
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free-verse sestina...
Reply #11 - May 16th, 2007 at 11:55pm
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This is an impressive free-verse rendering of the spirit of a sestina.  You do have some enjambement, but I think you can have quite a bit more, and that would make your thoughts less Start / Stop than they seem to be to my ear...  and your line lengths vary widely.  Usually you'll find that they normally follow some kind of pattern... and usually with 10-syllable lines, but as I said above, that's NOT ALWAYS the case.

and your picture is clear, and you've followed a difficult pattern quite well.

deLighting to see you write again, my friend...

Daniel  8)
  
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The_Poet_Loriet
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Re: Sestina
Reply #10 - May 16th, 2007 at 7:05am
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Moonlight Sestina 

In the crystal bowl floats a perfect red rose. 
We tango on your balcony under the moonlight. 
My shirt collar bears traces of your lipstick. 
You glide barefoot as if you had wings 
that flutter silver underneath the stars. 
This night was made for lovers. 

Our eyes reflect the magic of lovers. 
In your sexy dark hair, I place the rose. 
The night sky is interwoven with millions of stars. 
I wish we could stay forever in trance of the moonlight, 
me wrapped in the feathery softness of your wings, 
branded seductively red by your lipstick. 

I am drowning in your creamy lipstick. 
I swim in your hypnotic eyes, glad we are lovers. 
You have made my heart sprout wings. 
You encompass more intrigue than the most delicate rose. 
Kiss me deeply as we bathe in moonlight. 
Our only witnesses will be the stars. 

Two will become one with the stars. 
You intimidate me with the power of your lipstick. 
Just keep twirling with me in the moonlight. 
Tonight, I want to forget about being anything but lovers. 
I want to breathe you in as I do the scent of the rose 
that floats in silky waves of your hair on crimson wings. 

For just one night, fold me in your silken wings. 
Let me gaze upon your nakedness and see stars. 
Unfurl for me like a blossoming rose. 
Let me taste the berry seduction of your lipstick. 
Please say we'll always be lovers 
and won't ever forget how to dance in the moonlight. 

Your body comes alive in the moonlight. 
You are my angel floating on ethereal wings. 
Soft whispers in the breeze can only be heard by lovers. 
Your kisses leave me breathless, seeing stars. 
You make me crazy with that exotic lipstick 
and the scent in your hair of a red red rose. 

Moonlight reflected upon a rose, 
your sensual wings, blood-red lipstick, 
entangled lovers, our poetry written in the stars. 


Lori Beal   


  
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Re: Sestina
Reply #9 - Feb 16th, 2007 at 1:39am
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Wow... what a lovely sestina!  I'm partial to moon magic myself.  Thanks for sharing this one.
  
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Re: Sestina
Reply #8 - Feb 16th, 2007 at 12:06am
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~   such wonderful Sestina's, Daniel, and Norm..  Smiley


I've only written one sestina, ever...will have to give it another go one day soon...but in the mean time, here's my one


Blood Moon Memoir


Sing the dark of night’s breath,
whisper the blood of moon
come, my wild wind lover
I’ll slake the crave for touch
your man ink on my lips
your fire to light my curves


Fall to silk woman curves
as night sky stolen breath
pours tender to love’s lips
and calls the aching moon
to bless this beckoned touch…
such a hungry lover

Cry amethyst, lover,
whisper rain to soft curves
you know she craves your touch
she’ll take your swollen breath
and sing it to the moon…
a chorus from her lips

Soothe heat spills from fire lips
to romance his lover,
and smiles the swaying moon
licking the smooth of curves
to her quickening breath…
slave to his glide deep touch

The quiver breeze of touch,
drifts soft to moistened lips
consumes her night mink breath,
shy-skin-willow lover
sways gentle to her curves…
so sings the bleeding moon

slick flow, the milk of moon,
when blessed with linger touch
the lush of valley curves
and rolling mists to lips,
for no other lover
pours smooth his dying breath

Milking the breath of moon
two lover’s reach to touch
lips pressed to true love’s curves



© Sasha ‘06
  
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Tim
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Re: Sestina
Reply #7 - Jan 8th, 2007 at 4:57am
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Thank you Daniel.

i was viewing Timothy McSweeny's sestina webpage and posts and many did not hold ip, nor did they hold the decasyllable rule. It seems the appropriateness of the metre depends on the writer's wants and if s/he has an intended audience (such as formalists r/m lovers, etc). I say this not ruling out self-growth through metre (mentioned to cut Norm off at the path...).

btw, thanks for offering your variation for illustration. i wasn't challenging you to write in form, that's like challenge the sky to be blue, grey or some combination...pointless.  Wink

~tim
  
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Just_Daniel
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decasyllabic... USUALLY
Reply #6 - Jan 7th, 2007 at 11:04pm
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Good question, Tim:

USUALLY, a  S E S T I N A  is written in iambic pentameter or other decasyllabic (10-syllable) meter, but I find no absolute requirement to do so.

And of course that probably means that you've just challenged me to TRY to do one in some other metrical pattern (which I did while I was recovering from my second knee replacement).

I believe, however, that it is preferred to be the same pattern throughout, but I don't think Dante paid much attention to that... or at least his translaters.

sharin' my sLight knowledge on the subject, Daniel  8)

Oooh’d to a Wheel Chair

Now who’d expect to have a ball
in therapy? ‘tis but a step
to get myself up off this chair,
stand more and more, less hold a rail
plus move my body on the mat.
Brisk exercise gives me a lift.

At first, sure it was hard to lift
my foot an inch, or pick my ball
up… gently place it on the mat…
or even try to take a step;
something inside tried hard to rail
at me, or say “Stay in your chair!”

Eventually I left this chair
and more than once declined a lift, 
but strode as if upon a rail
to therapy, and rode Big Ball
across the floor – my final step.
There’s naught can throw me to the mat.

Sure, there is pain upon that mat
and shrieks while stretching from this chair 
— yes, sometimes fire in every step —
and they may even see me lift
my fist — defiant, kick the ball
at PT helper, loudly rail.

OT is not the Holy Grail;
the choice of food no Automat;
that dancin’ ‘round the floor, no ball;
my orchestration not first-chair;
but all the staff give me a lift
and guide me daily, step by step.

Some days, emotions out of step,
feel crowded to the outer rail,
but look, my right shoe has no lift;
I’m not lopsided on the mat!
Now soon I’ll leave this cursed chair.
What lies ahead? No crystal ball.

This chair but rolled me to the mat, 
served as a lift to my first step;
it knew I’d rail; it’s had a ball. 

© MLee Dickens'son 09 Dec 2003
         revised 24 April 2005
« Last Edit: Jan 7th, 2007 at 11:08pm by Just_Daniel »  
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Tim
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Re: Sestina
Reply #5 - Jan 7th, 2007 at 9:51pm
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Anyone,

Does the sestina need to be iambic pentameter, or can the metre be released and the 'spiral' form kept?

~tim
  
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Re: Sestina
Reply #4 - Sep 26th, 2006 at 2:31pm
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I've written several sestinas and quite a few in collaboration with another poet.  In fact, I'm wrapping up one right now with another Canadian.  The word sequence of the tercet seems to vary depending on which reference I use and who I'm writing with.  I'm fairly flexible and will just amble along with what's familiar to someone else.  I think I wrote my first one in 2005 or perhaps late 2004.  They are daunting for sure but a treat to write in conjunction with another.
  
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We Love Again
Reply #3 - Feb 19th, 2004 at 4:16am
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Sestina: We Love Again

Reflecting on those years when we were young,
confused by tingles we'd deduced were passion,
we'd tell ourselves we knew of love. But lies
like those would fade away in due course;
the youthful games our hormones played each day
would soon become the reasons we would pass

the torch on to another. Years would pass
and I would try, convinced that I was young,
to hold the nightmares off until that day
when I could once again renew our passion.
I knew my dreams were you, and yes, of course,
it was no news to me I'd lived those lies.

Through all the lover's springs we know what lies
between the sheets of written words that pass
as love poems telling lovers, "stay the course".
Keep writing fiction that might keep me young 
as spring ... then gone the friction and the passion
that winter surely brought me one cold day.

The seasons we were separate were a day
that had no ending. And I wondered, "She lies
there every night but is there passion"?
Were all the feelings realized and could they pass
for the flame so unfulfilled when we were young?
Oh, if I knew then ... well, now I'd teach the course.

I know the trite expressions like, "The course
of true love n'er runs smooth". "Yet one fine day
you'll want me for your guy". Those old and young
songs promised so much but they all were lies.
Yet you felt words like, "We may never pass 
this way again," should have us meet and passion 

stirred within us. Time, un-penned our passion,
destined us to be together; chart a course
that trite expressions now are free to pass
on through as words still fail me to this day.
No muse or prophet knows for sure what lies
ahead but surely now we're ever young.

Our lives are filled with passion every day,
We'll chart our course together, learn what lies
beyond; growing old, we'll pass, but love's forever young.

© Norman S. Pollack
  
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Jess
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Re: Sestina
Reply #2 - Nov 24th, 2003 at 7:12pm
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Some clarification on the Envoi...

The Envoi of a Sestina is a rather ragged bit.  Traditionally it takes one of two forms.  Both are three lines long, as are almost all sestina envoi's (there being two styles composed of four).  The most common envoi has is a repetition, or near repetition, of the three most powerful lines in the poem (each ending in a different word).  This is meant to complete the poem with a circular effect that spins readers back into the poem.   Another common envoi is one which incorporates all six words into the concluding three lines.   They are paired two to a line and although there is no hard an fast rule as to how they should be paired, there is a bias towards a continuation of the sestina pattern (which again creates a circular feel to the piece.  While these are the two most common forms of the envoi, there is no set way in which you must write one...so have at it.

As an aside, the two four line versions are identical to the two most common forms for the first three lines.  The difference is an emphasis on a near repetition rather than a straight repetition.  These envoi's are usually quite ironic or sarcastic in nature.  The forth line is almost always a direct repetition of the poem's first line, again creating the circular feel...only in these envoi's it tends to imply history (stupidity) repeating itself.

Sorry for the confusion,

Jess
« Last Edit: Nov 24th, 2003 at 7:13pm by Jess »  
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Just_Daniel
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Re: Sestina
Reply #1 - Nov 24th, 2003 at 4:17pm
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Hey, Jess!   

There's no way I'll be able to keep up with you, and I'll not even try.  I'm SOOOOO grateful for the work you've put in here.  I'll find time to read it all soon.  Please be patient with the old man, will you?

I'm still puzzled by the envoi (the final tercet), which seems to be interpretted differently by different writers, but always with three of the words used as end words, and the other three tucked into one each of the three lines.  The order of doing that seems to vary, however?

The order of the repetitions in the six stanzas, however, seems to be a set standard:

Stanza 1: 1, 2, 3, 4, 5, 6
Stanza 2: 6, 1, 5, 2, 4, 3
Stanza 3: 3, 6, 4, 1, 2, 5
Stanza 4: 5, 3, 2, 6, 1, 4
Stanza 5: 4, 5, 1, 3, 6, 2
Stanza 6: 2, 4, 6, 5, 3, 1

Anyhow, here's my second Sestina that I just 'completed,' such as it is:


Start to Finish

Composing isn’t hard when once we start;
inertia broken, thoughts begin to flow.
Will it go on indefinitely? Not;
don’t worry what will happen next; just write.
This placing of a pencil to a pad –
mysterious as anything I know.

Quite honestly, it’s not how much we know;
(That certainly would make me never start.)
but listening… in public… in my pad…
wherever… then take notes howe’er they flow.
Whatever comes to mind, I simply write,
then watch my mind somehow untie the knot.

It’s freeing – yet addictive more than not,
and often I should cease!  But how’d I know
the ending of the ditty that I’d write?
To stop is not the problem; it’s to start!
See, once I’m overtaken by the flow
it’s hard to get my bod to leave my pad!

I know that sometimes I may tend to pad
the truth a bit, but usually I’ll not.
However... once word-play begins to flow
I’m better off to flush them out, I know.
Yet on they go when once they have a start
until it’s all my mind will let me write!

So here I sit again.  It’s just not right.
I’m s’posed to be at work; I’d better pad
into the shower quickly ere I start
to pun and tie myself into a knot.
But why is it I can’t do what I know
is best for me?  I’m dragged into the flow!

I hear the shower call; I feel its flow
embracing me with warmth – that morning rite
that cleanses me and sends me off.  I know…
but something keeps my wrists upon the pad.
How else will stomach ever lose this knot?
I simply have to finish what I start!

So here I write…. There!  Sadly now I’ll pad
quite ragged off to work, I know, but not
out of the flow. I finish what I start!

© Daniel J Ricketts 24 Nov 2003
  
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Jess
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Sestina
Nov 23rd, 2003 at 9:27pm
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Sestina

This is a very difficult style to write well. It is a verse form with repeating end words. It was created by Arnaut Daniel, but Dante and Petrarch would be the best known poets to utilize this style. 

A sestina is six stanzas of six lines with a concluding coda or envoy of three lines. The six stanzas repeat the same six end words in the sequence (1-2-4-5-3-6) progressing from stanza to stanza. 

For an excellent example of a sestina...you should look at Ezra Pound's "Sestina: Altaforte".
  
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