A sestina is a complex form of poetry that stands out due to its intricate pattern and discipline it imposes on the poet. It consists of six stanzas of six lines each, followed by a three-line envoi, making it distinct and challenging to write.
With its roots in medieval France, the sestina has evolved from its troubadour beginnings into a vehicle for expressing elaborate themes and showcasing poetic mastery in languages beyond its Occitan origin.
Related: For more, check out our article on How To Teach Sestina Poetry here.
Throughout literary history, the sestina form has been embraced and adapted by English and American poets, showcasing its versatility and appeal.
From the pastoral themes of Sir Philip Sidney to the intricate modern works of poets like Elizabeth Bishop, the sestina persists as a testament to the skill and creativity of the poet.
Writing a sestina requires a deep understanding of its repeating end word sequence—a technique that can yield profound thematic depth and resonance within the constraints of the form.
Key Takeaways
- The sestina is a distinctive poetic form with a repeating end word pattern.
- Its historical origins trace back to the troubadours of medieval France.
- The form allows for a diverse exploration of themes within a structured framework.
Related: For more, check out our article on Examples of Cinquain Poetry here.
The Sestina Structure
The sestina is a form of poetry that relies on intricate patterns of repetition, primarily using end words instead of rhyme. This structure is both challenging to write and rewarding to read.
Standard Six-Stanza Form
A sestina consists of six stanzas, each containing six lines. This rigid format is one of the defining characteristics of the form. Importantly, the end words of each stanza follow a specific and complex pattern of repetition that requires careful planning:
- The end words of the first stanza are repeated in a specific sequence in the subsequent stanzas.
- Each of the six stanzas uses the same six end words but in a shifting order that follows a predetermined sequence.
This table provides a visual representation of the pattern for the end words where numbers correspond to the end words of the first stanza:
| 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 |
This strategic repetition creates a tapestry of themes and motifs that are revisited throughout the poem.
Rhythmic Composition
While the sestina does not typically conform to a fixed meter or rhyme scheme, the structure can create its own rhythmic composition through the repetition of end words:
- Meter: The rhythm of a sestina can vary, as poets are free to employ different metrical patterns within the constraints of the form.
- Repetition: The persistent recurrence of the end words provides the core rhythm and unity in the poem.
- Three-line envoi: After the six stanzas, a final three-line envoi serves as a conclusion, incorporating all six end words. It generally follows this pattern:
- First line: two end words in the middle, one at the end.
- Second line: two end words in the middle, one at the end.
- Third line: two end words in the middle, one at the end.
The envoi often addresses someone, summarises the theme, or presents a closing thought, bringing resolution to the poem.
Each use of the end words in the envoi typically holds a deepened significance when compared to their earlier appearances, magnifying the poem’s overall impact.
Related: For more, check out our article on Examples of Free Verse Poetry here.
Historical Evolution of Sestina
The sestina is a poetic form with a complex structure that has undergone significant changes since its inception.
It has been adapted and modified by poets across various European countries, leaving a unique imprint on the literary world.
Origin and Troubadours
The sestina was invented by Arnaut Daniel, a notable troubadour from Provence in the 12th century. Troubadours were itinerant poets who composed and performed lyric poetry during the medieval period.
Daniel’s creation of the sestina was a landmark in poetic form due to its intricate pattern and demanding nature.
The standard sestina is a fixed verse form consisting of six stanzas of six lines each, followed by a three-line envoi. In this form, the words that end each line of the first stanza are rotated to end the lines of the subsequent stanzas in a set pattern.
Development in European Literature
Over time, the sestina spread beyond the borders of Provence, with variations emerging in Italy and France.
The form was embraced by the Italian poet Petrarch, who is known for refining and popularising the sestina in the 14th century.
As this structured poem migrated across Europe, it reached English literature as well. Edmund Spenser contributed to its history by integrating the sestina into the English literary tradition, showcasing the adaptability of the form.
Spenser offered English poems crafted with the precise and rigorous demands of the sestina, demonstrating the form’s capacity to enchant beyond its Provençal origins.
This historical journey underscores not only the resilience but also the flexibility of the sestina, as it has been shaped by different hands while retaining its essential characteristics.
The form’s evolution reflects its capacity to engage poets and challenge them to work within its constraints, leading to the creation of rich and diverse poetic works throughout history.
Related: For more, check out our article on Examples of Villanelle Poetry here.
Prominent Examples in Literature
The sestina, a complex form with intricate repetition, has been embraced by poets ranging from medieval times to the modern era. Its rigorous pattern has attracted poets who have infused the form with diverse themes and emotional depth.
Classic and Modern Poets
The sestina’s evolution can be traced through the work of various poets. Philip Sidney, a pioneer of the English sestina, crafted the mournful “Ye Goatherd Gods” within his pastoral romance The Arcadia.
Following the tradition, Algernon Charles Swinburne and Robert Browning contributed significantly to the form with their lyrically intense compositions.
In the 20th century, Ezra Pound and W.H. Auden carried the sestina forward, the former with his passionate “Sestina: Altaforte” and the latter with the contemplative “Paysage Moralise”.
Progressing to the present, the sestina has been explored anew by poets like Marilyn Hacker and John Ashbery.
Stephen Fry artfully demonstrated the sestina’s versatility in his own writings, while David Ferry uses the form to navigate historical and personal narratives.
Varied Themes and Expressions
The thematic range of the sestina is as varied as its literary users. Elizabeth Bishop’s “A Miracle for Breakfast”, with its poignant domestic imagery and emblematic use of recurring end words, showcases the form’s capacity for narrative and emotive power.
Meanwhile, Lady Pietra degli Scrovigni‘s renditions articulate the intimate yearnings and societal observations from a female perspective during the medieval period.
Each poet manipulates the form to their thematic requirements, underscoring the sestina’s adaptability to varied expressions within poetry.
Related: For more, check out our article on Examples of Elegy Poetry here.
Thematic Elements in Sestinas
Sestinas possess a unique structure that lends itself to exploring complex themes such as the impermanence of life and the intricacies of nature.
Love and Loss
The sestina often explores the theme of love and loss, with poets weaving these emotions throughout the intricate repetition of end words.
They capture the relentless cycle of affection and heartache, akin to the cyclic nature of the sestina’s form.
For instance, Elizabeth Bishop’s ‘Sestina’ deals with the subtleties of familial love and the sense of loss felt in the midst of domestic life.
Nature and the Cosmos
Nature, along with the wider cosmic order, frequently undulates through the lines of a sestina. The rigid structure of this form mirrors the orderly patterns of the sun, the moon’s phases, and the ebb and flow of a river within a landscape.
Poets might reflect on the wind’s whispering through autumn leaves or how the winter’s chill permeates the soul, invoking a sense of the natural world’s vast beauty and power.
In capturing the elements, the fiery passion of life itself often ignites the verses, contrasted with the cold finality of war and conflict, adding depth to the sestina’s thematic repertoire.
Related: For more, check out our article on Examples of Ode Poetry here.
Writing a Sestina
Crafting a sestina is an exercise in precision and creativity, intertwining rigorous structural rules with the poet’s unique voice and style.
Guidelines and Patterns
The sestina follows a fixed form that consists of six stanzas with six lines each (sestets), followed by a three-line envoi. This form can trace its origins to the troubadours, notably the 12th-century Occitan poet Bertran de Born, who is often associated with the piece “Altaforte.”
One must adhere to a strict lexical repetition pattern wherein the end words of the first stanza’s lines are repeated in a prescribed order in subsequent stanzas. This pattern is typically represented as follows:
- ABCDEF
- FAEBDC
- CFDABE
- ECBFAD
- DEACFB
- BDFECA
- (envoi) ECA or ACE
The envoi acts as a conclusion, incorporating all six of the repeated words, often two per line, amid the line or at the end.
Exploring Techniques and Variations
When writing a sestina, a poet should consider the rhythm and harmony established by the repetition of end words.
Variations of the form exist, such as changing the order of end words or modifying the envoi’s format, which were more popular after the 19th century.
Mastery of technique becomes evident when the poem’s thematic elements seamlessly blend with its structural constraints. Contemporary poets often enjoy the challenge of maintaining fluency and meaning while adhering to the sestina’s demanding format.
They might experiment with different rhythms or introduce variations, bending the traditional rules for creative effect.
