'Tis summertime when fairies play,
clasp hand-in-hand, jaunt meadows' grass.
Pit-pattered tiptoes cheerful dance,
as gilded wings sail o'er the wind.
One little girl ... a gentle child,
peeks wistf'ly 'round a willow tree.
Soft, swaying branches; ageless tree ...
caress a girl, as fairies play.
Sweet medleys carried by the wind,
escape hushed giggles from this child
Sly pixies hand-string daisy grass,
one tender heart ~ begins to dance.
Wisp meadows join in gleeful dance,
leaves pirouette upon each tree.
Unknown lands spellbind lonesome child,
whilst sun streams blanket velvet grass.
Kissed flowered budlets choose to play ...
as glinting dust engulfs the wind.
Bright spark'lings flitter with the wind,
each tiny creature born to dance;
a magic world amidst the grass,
where Wee Folk's workings' mimic play.
Then, swinging from twigged willow tree ...
one inquisitive, eager child.
Lickety-split, there lands a child!
Soft thump, fast jump, breath out of wind;
true wonderland invites bright play,
with games beneath the willow tree.
Silk ribbons waver, gently dance ...
sublime ballet 'cross dewy grass.
A fairy feast on rolling grass,
sweet off'rings enchanting wee child.
Concealed beneath a weeping tree,
spies Mother Earth's triumphant dance.
Arcane delights, abounding wind ...
hence, charm a little girl to play.
Soft-cushioned grass ends wondrous play,
and calming winds, now slow their dance...
as awning tree cloaks sleeping child.
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| Writing Prompt |
Write a children's poem, any length or type. |
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Write a children's poem
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Author Notes
Sestina ~Stanza 1 A B C D E F
Stanza 2 F A E B D C
Stanza 3 C F D A B E
Stanza 4 E C B F A D
Stanza 5 D E A C F B
Stanza 6 B D F E C A
The final three line envoi is done many ways. The only hard and fast rule here, is that each line must end in one of the six words, and contain another inside, so that all six are used in these three lines. Purists will say that the pattern should be:
(B) E, (D) C, (A) F
This is how almost all sestinas were done during the height of their popularity, but since the 19th century poets have made some changes, and now the most common patterns for the envoi lines are (A) B, (C) D, (E) F and (F) A, (E) B, (D) C.
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