End, pray, races gait to hate!
Bury this tool that pounds to dead silence.
Fear catapults anger to violent change.
Mild/meek sheep flip Jekyll, then Hyde--Deranged.
Yes, oppression produces deep malice.
Cause wasteful war, though many pine for love.
Why shame hearts beating for love?
Is not this a distorted mirror--Hate?
Does not unearthed envy lead to malice?
Why humanity's rush to graves's silence?
Should blind bats scare us to thinking deranged?
What will inspire bull-like actions to change?
A cultivated vine in bloom brings change.
Soft scents enhaled incite us to spread love.
Bouquets of peace mellow sighs of deranged.
Overturn the packed soil of wicked hate.
Unstop ears of apathetic silence.
Birds chirp; fly freely; not clipped in malice.
Propaganda enflames, as coal, malice.
Diverts the cooling rains of thirsty change.
Confines the coos of doves to complete silence.
Ices soothing warmth of brotherly love.
Derides and divides till earth rocks in hate.
Till terror reigns through puppeteers deranged.
Will peace capture the hearts of the deranged?
Can jealousy surrender its malice?
Does forgiveness derail pride's passage to hate?
Should ignorance prevent bigotry's change?
Will the earth rediscover real love?
Or will violence purchase trust's silence?
Love will pummel hate to a grateful silence.
The earth freed from hostage to minds deranged.
Exploitation unarmed by justice; love.
No ethnic barriers carts of malice.
Agape love to transport needed change.
War subjugated to graveyard of hate.
Sweet silence to war songs sang in malice.
Swaddle the deranged for overdue change.
Love our enemies; emasculate hate.
Contest: I liked the word sestina before I knew what it was. The few I read intrigued me with their oddly obsessive character. By the time I got around to trying one I was hooked and doomed, as I am not normally inclined to rigid forms, but when I do attempt them, I like to use the original version of the form, in this case credited to Arnaut Daniel in the 12th Century.
Please write a sestina, any subject, following Arnaut Daniel's form.
The rules seem extremely rigid and complex at first glance, but I hope you will find, as I did, that there is tremendous freedom inside those rules. Good luck.
Here is a sestina I wrote using that form: http://allpoetry.com/poem/12012719-To-Build-A-Bonfire----Sestina--by-Andrew-Sano
Stanza 1 Stanza 2 Stanza 3 Stanza 4 Stanza 5 Stanza 6 1 A 6 F 3 C 5 E 4 D 2 B 2 B 1 A 6 F 3 C 5 E 4 D 3 C 5 E 4 D 2 B 1 A 6 F 4 D 2 B 1 A 6 F 3 C 5 E 5 E 4 D 2 B 1 A 6 F 3 C 6 F 3 C 5 E 4 D 2 B 1 A The sixth stanza is followed by a tercet that is known variably by the French term envoi, the Occitan term tornada, or, with reference to its size in relation to the preceding stanzas, a "half-stanza". It consists of three lines that include all six of the line-endings words of the preceding stanzas. This should take the pattern of 2–5, 4–3, 6–1 (numbers relative to the first stanza); the first end-word of each pair can occur anywhere in the line, while the second must end the line. However, the end-word order of the envoi is no longer strictly enforced.