A love of poetry does not necessarily require knowing much about what is going on under the hood–formal concerns, rhyme, meter, and the like. Perhaps because I was a music major, it’s always been an interest of mine: like sonata form, poetic structures have their own low key, fascinating dazzle. For example, the verse form of the sestina.
Poetry Foundation gives a definition:
A complex French verse form, usually unrhymed, consisting of six stanzas of six lines each and a three-line envoy. The end words of the first stanza are repeated in a different order as end words in each of the subsequent five stanzas; the closing envoy contains all six words, two per line, placed in the middle and at the end of the three lines. The patterns of word repetition are as follows, with each number representing the final word of a line, and each row of numbers representing a stanza:
1 2 3 4 5 6
6 1 5 2 4 3
3 6 4 1 2 5
5 3 2 6 1 4
4 5 1 3 6 2
2 4 6 5 3 1
(6 2) (1 4) (5 3)
And yet, some poets manage to create miracles out of these ridiculous strictures:
First David Ferry, who has recently turned out a stunning version of The Aeneid.
The Guest Ellen at the Supper for Street People
By David Ferry
The unclean spirits cry out in the body
Or mind of the guest Ellen in a loud voice
Torment me not, and in the fury of her unclean
Hands beating the air in some kind of unending torment—
Nobody witnessing could possibly know the event
That cast upon her the spell of this enchantment.
Almost all the guests are under some kind of enchantment:
Of being poor day after day in the same body;
Of being witness still to some obscene event;
Of listening all the time to somebody’s voice
Whispering in the ear things divine or unclean,
In the quotidian of unending torment.
One has to keep thinking there was some source of torment,
Something that happened someplace else, unclean.
One has to keep talking in a reasonable voice
About things done, say, by a father’s body
To or upon the body of Ellen, in enchantment
Helpless, still by the unforgotten event
Enchanted, still in the old forgotten event
A prisoner of love, filthy Ellen in her torment,
Guest Ellen in the dining hall in her body,
Hands beating the air in her enchantment,
Sitting alone, gabbling in her garbled voice
The narrative of the spirits of the unclean.
She is wholly the possessed one of the unclean.
Maybe the spirits came from the river. The enchantment
Entered her, maybe, in the Northeast Kingdom. The torment,
A thing of the waters, gratuitous event,
Came up out of the waters and entered her body
And lived in her in torment and cried out in her voice.
It speaks itself over and over again in her voice,
Cursing maybe or not a familiar obscene event
Or only the pure event of original enchantment
From the birth of the river waters, the pure unclean
Rising from the source of things, in a figure of torment
Seeking out Ellen, finding its home in her poor body.
Her body witness is, so also is her voice,
Of torment coming from unknown event;
Unclean is the nature and name of the enchantment.
Of course Elizabeth Bishop could seemingly toss them off…
Miracle for Breakfast
by Elizabeth Bishop
At six o’clock we were waiting for coffee,
waiting for coffee and the charitable crumb
that was going to be served from a certain balcony
—like kings of old, or like a miracle.
It was still dark. One foot of the sun
steadied itself on a long ripple in the river.
The first ferry of the day had just crossed the river.
It was so cold we hoped that the coffee
would be very hot, seeing that the sun
was not going to warm us; and that the crumb
would be a loaf each, buttered, by a miracle.
At seven a man stepped out on the balcony.
He stood for a minute alone on the balcony
looking over our heads toward the river.
A servant handed him the makings of a miracle,
consisting of one lone cup of coffee
and one roll, which he proceeded to crumb,
his head, so to speak, in the clouds—along with the sun.
Was the man crazy? What under the sun
was he trying to do, up there on his balcony!
Each man received one rather hard crumb,
which some flicked scornfully into the river,
and, in a cup, one drop of the coffee.
Some of us stood around, waiting for the miracle.
I can tell what I saw next; it was not a miracle.
A beautiful villa stood in the sun
and from its doors came the smell of hot coffee.
In front, a baroque white plaster balcony
added by birds, who nest along the river,
—I saw it with one eye close to the crumb—
and galleries and marble chambers. My crumb
my mansion, made for me by a miracle,
through ages, by insects, birds, and the river
working the stone. Every day, in the sun,
at breakfast time I sit on my balcony
with my feet up, and drink gallons of coffee.
We licked up the crumb and swallowed the coffee.
A window across the river caught the sun
as if the miracle were working, on the wrong balcony.
And finally Donald Justice, overlooked, but one of my favorites:
Sestina: Here In Katmandu
by Donald Justice
We have climbed the mountain.
There’s nothing more to do.
It is terrible to come down
To the valley
Where, amidst many flowers,
One thinks of snow,
As formerly, amidst snow,
Climbing the mountain,
One thought of flowers,
Tremulous, ruddy with dew,
In the valley.
One caught their scent coming down.
It is difficult to adjust, once down,
To the absence of snow.
Clear days, from the valley,
One looks up at the mountain.
What else is there to do?
Prayer wheels, flowers!
Let the flowers
Fade, the prayer wheels run down.
What have they to do
With us who have stood atop the snow
Atop the mountain,
Flags seen from the valley?
It might be possible to live in the valley,
To bury oneself among flowers,
If one could forget the mountain,
How, never once looking down,
Stiff, blinded with snow,
One knew what to do.
Meanwhile it is not easy here in Katmandu,
Especially when to the valley
That wind which means snow
Elsewhere, but here means flowers,
As soon it must, from the mountain.
Some help on how to write your own, with yet another fine example from Anthony Hecht.