I was re-reading the works of a poet I have known of for a long time, but came across one poem that I did not remember ever seeing before.
The form looked different from what I was used to in his work, so I thought I might use it as a template in composing a poem I have had in mind for a long time.
I had briefly noted the sestina form in the past, but was not well enough acquainted with it to ever be bothered with attempting it as I considered it too fussy. It was not until I had shown the result to a friend that it was made clear I had nearly written 4 consecutive sestinas, although I had to re-develop the tercets to fit the form more precisely.
Another friend provided me with the title and I am grateful to both ladies.
It was difficult and boring to write and is just as bad to read. But it is done: the whole 156 lines of it . I can now let it go.
Living the question
I
The years are passing with astounding speed
and each one carries less and less of worth
so that more and more their heavy burdens tire
both flesh and spirit; soon I must succumb
at last to the constant battering demand
to pay the price for all the years I've bought.
Of course there's every reason I should tire.
Some parts of life I've lived at hectic speed;
or most of my youth indeed, where the demand
to fulfill the moment required I gave full worth
to every second that I dearly bought
before to its toll I felt myself succumb.
And now the clock has made its own demand:
its hands display, cross, chase and never tire,
steadily inexorable, never to be bought;
never to change that all-consuming speed
nor to my blandishings let itself succumb
discounting them as nothing much of worth.
And others too, have with me dearly bought
false goods conventional standards all demand
before to that vilification they succumb:
that game of which society does not tire
raising in its eyes its own suppos`ed worth
and damning others with unconscionable speed.
So many of those others unwillingly succumb;
their times, like mine, with heavy pains were bought
and yet, while with me, they showed forth their worth
providing a friendship I could happily demand,
at any moment and with all due speed;
but even they, towards the end, must tire.
A splendid comity, they showed their worth.
Now gone, just as all good things succumb
to passing time's fatiguing clockwork speed ;
but there were vital moments when they bought
random moments, which I will never tire
of summoning, at memory's demand.
I will rejoice at life's demand ; there was a worth
not to succumb to pains which memories bought
nor now will the clock's speed make me truly tire.
II
There passed those several years throughout my youth
when all that mattered was what I could seize;
when every moment contributed to the present
so that I only ever needed to decide
upon that immediate moment's single wish.
Around me resolved a pattern, composed, complete.
The perspective now in this swiftly changing present
shows what is different since that flagrant youth:
some of the overt projects are now complete
and no more is there a desire to rashly seize
on the thought of accomplishing each immediate wish.
Instead, acceptance of the hesitation to decide.
One day the circle's wheel may be complete,
revolving from the past to become the present,
in choosing to live again a casual wish
that had been left behind in a careless youth;
from what had been too much choice to decide
experience could now direct which part to seize.
But what time is left to fulfil the errant wish
abandoned long ago before it was complete?
Not single wishes passed, but many; how to decide
what confident face to the future could one present
knowing exactly what to adjudge and seize
to obliterate the follies of errant youth?
Matterless now the course that I decide,
irrelevant now the outcomes one could wish.
I reach out and do my best to seize
the fragments to integrate and to complete;
to glue those pieces of past and long gone youth
into a mosaic to make sense of the present.
And all those shattered fragments that I seize
may in the end convince me to decide
that all mistakes that I had made in youth,
all future hopes and everything I wish
can come together in a rounded present
and make that pattern firmer, more complete.
I bring them to my present; I must decide
if each complete or even half-formed wish
will re-integrate a pattern, from youth, to seize.
III
And while the years swept on without a pause
I sought to join with others who were willing
to disregard my consciousness of guilt:
but continued self-evaluation would restrict
any chance of openness; would perplex
myself as well, denying a way to convert
my mind towards the rejection of the guilt
that has for ages assailed me without pause.
It had become too easy to perplex
myself, proving beyond doubt I was not willing
to allow the rational to take me and convert
me from established attitudes that restrict.
It does not take great matters to perplex
or to drive an eager participant to guilt;
the shortest moment will the simplest act convert
from the brightest course of action to a pause,
and will with indecision halt and restrict,
no matter what completion one is willing.
And so I am beginning slowly to convert
the anger derived from the matters that perplex,
that tie me down irresolute, and restrict
my journeying on the twisted paths of guilt,
to diverge from which I would be fully willing
if only consequence did not give me pause.
I rage within against the others who restrict
all that I would desire to be, who convert
the times when I would be wholly willing
to avoid the situations where I might perplex
both them and their values ; who never pause
to rationalise this concept of my guilt.
And so I find myself no longer willing
to leave the past to rest and let myself restrict
the feeling that before would make me pause;
unwilling now in taking chances to convert
into acceptance what had once been guilt
and now is something that can just perplex.
I doubt that I will pause to be a convert
to hazards that restrict all chances to perplex
but, willing, remain for all my time in my shell of guilt.
IV
Throughout the years it had never been my intention
to seek deliberately for some deep revelation
but to let time pass, and to do no more than trust
that the warp and weft of life, made ragged
by the indiscriminate mix of joys and anger
would settle itself without my separate volition.
And so it was in chance that I put my trust
and left living to its fire and flux with no intention
to force the Fates to any kind of anger
by demanding an overt kind of revelation
they would not provide me of their own volition,
though the pattern I evolved was thinly ragged.
Never sure that mine was a righteous anger
I learned but slowly that I should not trust
to distinguish between compulsion and volition;
never being sure of right in an intention
conceived in the hope of repairing the ragged
ends of life providing full revelation.
But gradually there arose a new volition
to replace the rents in the fabric made by anger;
banners that had for years flown torn and ragged
were raised again, to re-establish trust
that came to be, without special revelation
and even without a recognised intention.
The tatters of self-belief, once torn and ragged
have come together as if by their own volition
and brought with them a newer revelation
replacing the iron bands with which deep anger
had restricted every growing good intention,
building now a foundation of broader trust.
So the passing years brought me the revelation
that I could mend what had been tattered, ragged
to move forward now with every good intention,
confident in acting under my own volition,
following a growing pattern I could trust
while accepting any failures without anger.
With the revelation of remaining time I will trust
volition to grow into a firm intention
to control my ragged days, relieved of anger.
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Wow Written by fellpony (1752 comments posted) 31st July 2008 |
what a bugger of a form, and quadrupled from its normal length. As you sometimes say yourself, "I dips me lid!" It's difficult enough to manage a quirky form such as this and still produce a poem with worthwhile content. I think you have succeeded, turning it to handle an abstract concept rather than a set of concrete activities or facts (which as we've often discussed on GW will tend to make a poem much more immediate). The sestina does lend itself to abstractions. A really tough one, cleverly executed. |
Exhausting Written by patterjack (1435 comments posted) 31st July 2008 |
To the reader as well, I would say. Thanks Sue -- I myself have often complained about the overuse of abstract nouns , and now I am more than guilty myself ! patterjack |
Hats off to patterjack! Written by Brett (1002 comments posted) 31st July 2008 |
What the hell has happened to the poetry forum? There's poetry on it! A pantoum and four sestinas in one day! And all from Oz. Brian, this is excellent - hard work I have no doubt (I have only tried the form once) but certainly no hardship for the reader (not this one at least). There too many wonderful phrases to quote but I particularly liked: 'to glue those pieces of lost and long gone youth' 'I rage within against the others who restrict' How could a reader fail to be drawn to what this quartet offers - reflection, passion, anger. Simply wonderful. Cheers |
Streuth! Written by Katanga (1537 comments posted) 31st July 2008 |
I am gobsmacked, Brian! What a labour this must have been, and to keep the content so consistently strong while grappling with the constraints of this 'bugger of a form', is simply amazing. If I were wearing hat, I'd throw it away to you! Please forgive my pernicketiness, I have a small problem with one line, first of sestina IV: 'Throughout the years it had never been my intention' I find it difficult to fit the thirteen syllables into your otherwise comfortabe pentametric rhythm, and it reads more prosaically than your other lines. Just a thought - sorry! Anyway, I stagger back reeling at this and will revisit and revisit . . . Cheers! John
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In my sycophantic praise Written by Brett (1002 comments posted) 31st July 2008 |
I forgot to mention - I noticed that you have slightly subverted the form, for convenience, maybe? Then, it may be a mistake on my part. Drop me a pm I'm off work today. Still in awe! Cheers |
Hats! Written by Katanga (1537 comments posted) 31st July 2008 |
Brett's review popped in while I was writing mine, so I hadn't seen it - funny we both talk of removing headgear! Very apt! Cheers again! John |
Brett Written by patterjack (1435 comments posted) 31st July 2008 |
Thank you very much . Subverting the form is very likely-- as I had a long wrestle with the changing form of words -- noun to verb and verb to noun. Likewise I enjambed from one stanza to another on occasion -- it was that or , in frustration , biting a bit out of the keyboard. So yes , slight changes for convenience mostly. And thanks again patterjack |
katanga -- thank you Written by patterjack (1435 comments posted) 31st July 2008 |
You are right about that line --I must have missed it when reworking lines -- and it is indeed very prosy . But by the time I got to it in revision I was a bit cross eyed !!! I guess one can elide furiously , but it would be better to put a simple was rather than had never been I always re-read aloud many times -- and I find I can slide over syllables rather more easily that I should -- like a Danny Kaye triple tongued monologue !! Thanks again patterjack |
Inspired! Written by Brett (1002 comments posted) 31st July 2008 |
Brian, I await, positively salivating, the posting of a 'Danny Kaye triple tongued monologue' - I loved that. Cheers |
Written by Phil (7007 comments posted) 31st July 2008 |
Hi Brian - just read the first - liked it very much. An over used phrase of mine, perhaps - but there was a connection there. Anyway- just been sent shopping, so will read the rest and comment properly later. Phil |
Written by Robru (272 comments posted) 31st July 2008 |
I am amazed, thoroughly amazed. This is a monumental work and done so well. I do have a query though. Re the six words that are used at the end of each line ; aren't they supposed to be in a strict order of rotation? Using ABCDEF as the words, I was under the impresion that the sequence was set out as :- A B C G E F B C D E F A C D E F A B D E F A B C E F A B C D F A B C D E Any order for the finishing couplet. Am I wrong or have you used poetic license for your own purposes? I am only a learner and I would like to know. I hope my query does not detract from others appreciation of a tremendous poem, which yours is. Cheers and thanks in advance Bob
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Frankly Written by Brett (1002 comments posted) 31st July 2008 |
I thought it was; ABCDEF FAEBDC CFDABE ECBFAD DEACFB BDFECA Envoi - BE/DC/FA The finishing rhyme of each stanza being the opening end line of the next. People may think this pedantic picking at such a great piece of writing, but frankly as long as I know I like this writing no matter the form, I don't much care what others think. Cheers |
Written by LynB (435 comments posted) 31st July 2008 |
As someone who has just mastered the haiku, and senryu, I am truly inspired by this. It really is a fantastic work of art, and, although my opinion may not count for much, I just had to comment on it. With respect LynB |
The Sainted Stephen Written by fellpony (1752 comments posted) 31st July 2008 |
tells us that the rhyme scheme should be: ABCDEF FAEBDC CFDABE ECBFAD DEACFB BDFECA with closing couplets BE/DC/FA which gives the gold star to Brett, I think (though personally I wouldn't know a sestina if I fell over one). It's on a par with campanology and numerology, as far as I am concerned - mystic, incomprehensible and extraordinary. |
Campanology, Sue? Written by Brett (1002 comments posted) 31st July 2008 |
That's the study of Charles Hawtrey, isn't it? No gold star needed - far too embarrassing, a wee drop of four star in my morning coffee would be nice though! Sorry Brian for detracting from what I still consider a masterpiece. Cheers |
Written by Veronica_Milvus (768 comments posted) 31st July 2008 |
Brett; Show off. Do your next poem in the form of a sudoku PJ, I have to say, I have read it, and there is a lot of it, and densely packed, but I am not sure I understand what you are saying, apart from "time flies like an arrow". I'm too tired to do it justice, maybe. But you say yourself that it suffers from lots of abstract nouns, and you are not wrong. In contrast. Robru's latest poem about driving into town is very concrete - or mostly mud, in fact. I can deal with that.
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Written by Phil (7007 comments posted) 31st July 2008 |
Shopping complete - I managed to sneak a few beers in too. Enjoyed this very much. Very dense - and as you mentioned, not as concrete as most of your work. I'm not sure that it matters in this case. I don't think you could encapsulate a life spent and what is yet is yet to spend without abstraction - unless you are going to write a 1000 page memoir. The form kind of passed of me by in many ways. I think, much like your gentle rhyming, that's a compliment. While I noticed the repetitions, I didn't think - oh look - a repetition. They flowed well as a whole. The three line summary (?) at the end of each piece lent the whole thing a kind of liturgical feel. The verses to be read by one and then the summary (whatever it is called) chanted by many. Form aside, the work that went into this must have been taxing. To distil it all down to 24 verses plus summaries (??) is quite an achievement. Reflecting to the level you have must have been exhausting. I mentioned above, a certain connection. There are two distinct levels to this. I've known you (virtually) for about two years. Odd relationships, these we form over the internet. Respect and friendship may seem like unusual words to describe feelings for someone represented only by electronic signals - but they are there. Any piece with content like this, written by someone like you, read by someone like me, has to have impact. On a more general level - the level of humanity within the piece appeals more broadly. There's a little something of everybody there. Hope I've not embarrassed you. (or myself) Something special here. Phil |
Clarifying Written by patterjack (1435 comments posted) 31st July 2008 |
I loathe the sestina form, and I jest not!! As I said in my intro, I noted it in passing once long ago , and looked it up after it was pointed out to me by a friend, before I had posted it. I don't consider that any reviewer has nitpicked, but freely confess that the work is not in perfect traditional form. Now for the excuse. As I said in the intro , I used another ( modern) poet's work as a template, not the Decrees of St Stephen and followed that format. When I checked the trad format, I fell back on the old quoteStuff that for a lark,said the Vicarand decided against the umpteenth rewrite Laziness Rules , Okay! patterjack |
Laziness? Written by Katanga (1537 comments posted) 31st July 2008 |
What? This is the hardest piece of work that I have ever seen on GW! Medals are in order, not excuses! Harumph! I ned to take time out to really do your behemothic work justice . . . Wow! John X |
Thanks Phil and Brett and Veronica Written by patterjack (1435 comments posted) 31st July 2008 |
Given half a chance I will catch up with you via email. Muchas gracias all ! pattterjack |
Lynn B Written by patterjack (1435 comments posted) 31st July 2008 |
Thanks -- to have tackled haiku and senryu is quite something in itself !! They are more difficult to catch than they look ! A reminder though -- this was , as has been pointed out, not strict in its form , but ignorantly based on a variation by another poet. I will never try it again -- or at least that is my present intention ! Thanks again patterjack
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Written by Brett (1002 comments posted) 31st July 2008 |
Brian, if your emails are anything like your sestinas...I've got to be back in work on Monday! Cheers |
Robru Written by patterjack (1435 comments posted) 31st July 2008 |
Thank you for your review. See above clarifying for the explanation of my variations Thanks again patterjack |
Written by Veronica_Milvus (768 comments posted) 1st August 2008 |
Having re-read carefully, I like the fourth section the most because of the vivid image of the ragged fabric being carefully made whole: ...the warp and weft of life, made ragged by the indiscriminate mix of joys and anger... It seems that you are looking back on an impulsive life. I find it hard to empathise, because most of my life has been about delayed gratification. I might wirte about that, but not, I think, in a sestina form, and certainly not four of them! I agree with Phil that the envoi, or whatever the correct term is, sounds like it should be chanted by a (full, Greek) chorus! A virtuoso performance. Can't imagine what the bugger must have been like to write!
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Written by mia_ms_kim (1057 comments posted) 1st August 2008 |
Exhausting it must have been to produce a piece like this, Brian! I so appreciate it. I was in a way waiting for a piece like this from you, a deep reflection, contemplation and part confession on life lived, from which younger people can learn wisdom to live their lives with greater self-understanding and sense of direction. How can one do justice to a piece like this in a little comment box like this? So I will just say this piece made me deeply reflect on my own life, to be more clear sighted, to ask the 'right' questions and to live them honestly and courageously. I found this piece overall beautiful, and vicariously therapeutic, as if I was beginning to receive the answers to the questions that you have lived. Mia |
Thank you Veronica Written by patterjack (1435 comments posted) 1st August 2008 |
I appreciate your commentary very much. I think you have nailed it about the impulsive . Oddly , I feel that much of my life was plotted out for me-- but every now and then an impulse -- frequently regretted , disturbed the pattern I had not really thought of the Greek Chorus-- it adds a new dimension to my own thinking about the poem -- so thanks to both you and Phil . Delayed gratification-- sounds like a nasty disease patterjack |
What a beaut review... Written by patterjack (1435 comments posted) 2nd August 2008 |
... not just what is here , Mia , but what you followed up with in your email. If I give you food for thought -- you return it to me in ample measure . Thank you profoundly . patterjack |
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