Bookra
By Charles Dudley Warner
One night I lay asleep in Africa,
In a closed garden by the city gate;
A desert horseman, furious and late,
Came wildly thundering at the massive bar,
“Open in Allah’s name! Wake, Mustapha!
Slain is the Sultan,—treason, war, and hate
Rage from Fez to Tetuan! Open straight.”
The watchman heard as thunder from afar:
“Go to! in peace this city lies asleep;
To all-knowing Allah ’tis no news you bring”;
Then turned in slumber still his watch to keep.
At once a nightingale began to sing,
In oriental calm the garden lay,—
Panic and war postponed another day.
The deviation to which I refer is the lack of absolute distinction between the octave and the sestet. If the rules of the sonnet were strictly followed, the line which introduces the watchman would begin the sestet instead of closing the octave.
The best form of the Petrarchan sonnet for the novice in versification to use in practice is the form I first described, that in which the rhyme scheme is a, b, b, a, a, b, b, a, c, d, c, d, c, d. But if you find that this at first presents insurmountable difficulty, use three rhymes in the sestet instead of two, as in the two poems following. In these, you will see, the rhyme scheme of the sestet is c, d, e, c, d, e. The first is a deeply introspective study by one of the greatest women poets of our generation; the second is more true to the traditional type of sonnet in thought, giving the subject in the octave, and the lesson drawn therefrom in the sestet. It is the work of a young American poet whose name is familiar to every reader of American magazines.