Six line stanzas are called sestets. While relatively uncommon outside specific poetic forms, the sestet plays a crucial role in shaping the narrative and emotional impact of poems like sonnets and sestinas. Understanding the structure and function of a sestet is key to appreciating the artistry of these poetic forms.
Contents
- The Sestet’s Place in Poetry
- Sestets in Sonnets: The Volta and Resolution
- Example: Milton’s Sonnet
- Sestets in Sestinas: Structure and Repetition
- Example: Ashbery’s “Farm Implements and Rutabagas in a Landscape”
- Sestets in Free Verse: Flexibility and Expression
- Example: Milosz’s “A Magic Mountain”
- The Power of Six: Why Poets Choose Sestets
The Sestet’s Place in Poetry
While any six-line stanza can technically be labeled a sestet, its significance is most pronounced in sonnets and sestinas. In other poetic forms, the use of a six-line stanza is less common than couplets or quatrains, appearing primarily when a poet feels it best suits their expression. Let’s explore the sestet’s specific role in different poetic structures:
Sestets in Sonnets: The Volta and Resolution
The sonnet, a fourteen-line poem, traditionally comprises an eight-line octave followed by a six-line sestet. The sestet typically provides resolution to the proposition or question posed in the octave. This shift is often marked by a “volta,” or turn, typically occurring at the beginning of the sestet (the ninth line). The volta introduces a change in thought, emotion, or argument.
Example: Milton’s Sonnet
John Milton’s sonnet, “When I consider how my light is spent,” exemplifies the sestet’s function. While not visually separated by a stanza break, the shift in rhyme scheme (from ABBAABBA in the octave to CDECDE or CDCDCD in the sestet) and the volta in the ninth line signal the arrival of the sestet. The poem moves from questioning God’s will to accepting it. This shift marks the sestet’s role in resolving the poem’s central conflict.
Sestets in Sestinas: Structure and Repetition
The sestina, a complex form, consists of six sestets followed by a three-line envoi. Its defining feature is the repetition of the final words of the first stanza’s lines throughout the subsequent stanzas, culminating in their reappearance in the envoi. This intricate structure of repeating end-words across the sestets creates a unique interconnectedness within the poem.
Example: Ashbery’s “Farm Implements and Rutabagas in a Landscape”
John Ashbery’s sestina demonstrates this complex interplay of repetition across sestets. The carefully orchestrated repetition of the end words binds the stanzas together, creating a sense of recurring themes and evolving meaning.
Sestets in Free Verse: Flexibility and Expression
While not bound by formal rules, sestets can also appear in free verse poetry. Here, the poet’s choice of a six-line stanza is driven by the desire to group related ideas into a cohesive unit. The length provides a specific rhythm and pacing to the poem’s flow.
Example: Milosz’s “A Magic Mountain”
Czesław Miłosz’s “A Magic Mountain” includes sestets among stanzas of varying lengths. The use of a sestet in this free verse context underscores the poet’s deliberate choice in shaping the poem’s structure and emphasizing specific thematic elements.
The Power of Six: Why Poets Choose Sestets
Poets choose sestets for various reasons: to resolve tension, create complex structures, or simply group thoughts effectively. The six-line structure offers a unique balance between brevity and development, allowing for a more nuanced exploration of themes and emotions. While less common than other stanza forms, the sestet holds a distinct place in the poetic landscape, offering poets a powerful tool for expression and artistry.