begins with a question about the meaning of all this beauty.
In "The Sonnet's Voice," Watts-Dunton compares the octave-sestet
pattern of the Contemporary Sonnet to the flow and ebb of a wave, first breaking strongly upon the shore in the octet, then withdrawing with diminished force in the sestet
Wright's selection from his last five books, A Short History of the Shadow, Buffalo Yoga, Scar Tissue, Littlefoot, and Sestets
, is entitled Bye-and-Bye: Selected Late Poems.
Another such resonance occurs in the sestet
, where the bow of the skater is recalled by the labourer's hunched insistence - `sheer plod' - as the passage of the ploughshare through a resistant field recalls the incision of the skate.
In the sestet
the lover dreams, then emerges from his dream to become aware, once again, of his wife at his side.
One, the Italian or Petrarchan sonnet, usually consists of an eight-line octave followed by a six-line sestet
, with a rhyme scheme that is usually ABBA, ABBA, CDE, CDE.
The first one can be classified as a sestet
with the a-b-a-b-c-c rhyme sequence, and the second contains seven lines, with the d-e-d-e-e-f-f scheme.
Moreover, the way the turn refuses to delineate an absolute division between octave and sestet
through end-stops contributes to this sense that merging lines signal a kind of bodily confluence or, to repeat Browning's phrase, a "drawing closer.
group) and a sestet
(six-line group) as in the Italianate Petrarchan
is no doubt acceptable, but it is not a common pattern.
Accordingly, Milton's beginning the sestet
halfway through the last line of the octave in line 8 ("I fondly ask.
The sonnet, with the rhetorical finality implicit in the relationship between octave and sestet
, complements the prologue in allowing her to underscore the dangers inherent in a "class set from class" organization of Arcadian life (109).
In the sonnets, however, they are coordinate: the rigid sonic architecture of the sonnet requires certain spatial deployments of meaning, both in the quickening of rhymes between octet and sestet
and even moreso in the volta itself.
toys with convention again: instead of ending with a couplet, it starts with one--fall/over all--and resolves into a quatrain rhyming ABAB: birds-sing-words-thing.
Petrarchan sonnets are typically composed of an octave (abbaabba) and sestet
(cde) rhyme pattern.