The sestina is a fascinating poetic structure that consists of six stanzas of six lines each, followed by a three-line envoi. What sets the sestina apart is its intricate pattern of word repetition, where the end words of the first stanza are rotated through the end of each subsequent stanza. This creates a musical rhythm and depth in meaning, making it a favorite among poets. Here, we’ll explore three famous examples that showcase the beauty and complexity of the sestina form.
Elizabeth Bishop’s sestina is a poignant reflection on loss, memory, and the passage of time. Written in 1956, it captures the essence of childhood and the bittersweet nature of nostalgia.
In this poem, Bishop uses the structure to weave a narrative that feels both personal and universal, effectively drawing readers into her emotional landscape.
The poem’s six end words—"house,” “grandmother,” “child,” “stove,” “mother,” and “pencil"—cycle through the stanzas, creating a tapestry of related imagery.
In the end, the repetition not only emphasizes the themes of recollection and yearning but also mirrors the cyclical nature of life itself.
“In the old house the grandmother
sits in the corner.
The child is watching the grandmother
watching the child,
and beside them the stove.
The grandmother
sits in the corner,
watching the child,
and beside her the stove,
with the child watching the grandmother
watching the child.
The child, who is watching a pencil,
looks up at the grandmother
who is watching the child.
And beside them the stove.
Notes: Bishop’s use of the sestina form allows for a deep exploration of the relationship between generations, while the repetition serves to create a sense of intimacy and familiarity.
Theodore Roethke’s “The Waking” is a masterful example of a sestina that delves into the themes of life, death, and self-discovery. Written in the mid-20th century, this poem showcases Roethke’s ability to blend philosophical musings with personal experience.
The end words—"I,” “waking,” “way,” “light,” “earth,” and “heart"—create a reflective journey that guides the reader through an exploration of existence itself.
“I wake to sleep, and take my waking slow.
I feel my fate in what I cannot know.
I learn by going where I have to go.
We think by feeling. What is there to know?
I hear my being dance from ear to ear.
I wake to sleep, and take my waking slow.
Notes: Roethke’s poem emphasizes the cyclical nature of life, mirroring the structure of the sestina itself. The repetition reinforces the idea of awakening and the continuous journey of understanding.
A. R. Ammons’ “Sestina: Like” is a modern take on the traditional sestina form that blends the personal with the abstract. Written in 1972, it reflects Ammons’ exploration of existence, perception, and the passage of time through a playful and contemplative lens.
The end words—"like,” “night,” “leaf,” “light,” “way,” and “time"—are used with a sense of whimsy and depth, encouraging readers to ponder the complexities of life.
“Like the leaves in the wind, I am going,
like the light in the sky, I am coming,
like the night that falls, I am fading,
like the way of time, I am moving,
like the leaf that turns, I am changing.
Notes: Ammons’ work showcases the versatility of the sestina form, allowing for a unique playfulness that invites readers to explore themes of identity and transformation. The repetition of words adds layers of meaning and enhances the poem’s reflective quality.
In summary, these examples of famous sestina poems highlight the structure’s capacity to convey deep emotions and complex themes, making the form a powerful tool for poets throughout history.