Mozart gave in at last, and the result was so successful that the sestet had to be repeated, and Mozart himself laughed inordinately.
The instrumentation throughout the sestet is very moderately treated.
The sestet in the first act (13) is very simple in design, but effective from its well-placed contrasts and judicious climax.
Mozart has succeeded admirably in the sestet (Act II.
Next to these two finales a prominent position is assigned to the sestet (Act III.
The sestet may be taken as an excellent example of the manner in which Mozart turned his means of representation to account.
As a whole the sonnet contains one idea, which in the octave is general, in the sestet specific, for the sestet expresses the conclusion of the octave.
In thesestet usually the first line rhymes with the fourth, the second with the fifth and the third with the sixth.
For the distinction between octave andsestet has disappeared, there is a threefold division of the first twelve lines, and the final couplet gives an epigrammatic summary or "point" which Petrarch took pains to avoid.
The octave is made up of two quatrains and the sestet of two tercets.
The sestet continues in the first tercet, cde, the thought or feeling in a new direction or from a new point of view, and in the second, cde, brings it to a full conclusion.
The division of the sestet into two distinct tercets is very rarely maintained; and that of the octave into quatrains is frequently neglected with impunity.
The sestet continues: Nevertheless, do not let the memory of me become a burden, especially if you ever learn what was in my living thoughts.
The quatrains must always rime abba, but the sestet may rime cdecde or cdcdcd or cdedce or cdedec, or almost any arrangement of two or three rimes which does not end in a couplet.
The rime sounds of the octave and those of the sestet should be harmonious but not closely similar.
It represents a common form of the bipartite structure, where the octave is a narrative, and the sestet a comment upon what has been narrated.
Wyatt followed, of course, the regular Italian structure, but used unhesitatingly the form of sestet with the concluding couplet (cddcee).
The bipartite character of Rossetti's sonnets is marked, in editions of his poems, by the printing of the octave and sestet with a space between them.
In the octave he whirls it round and round with ever-gathering momentum, and in the sestetsends his scorn or rebuke singing through the air, arrow-straight to its mark.
Sidney's favorite form for the sonnet sestet was that shown in these specimens (cdcdee), a form that suggests the influence of the Surrey or English sonnet rather than the Italian.
A sonnet is a wave of melody: From heaving waters of the impassioned soul A billow of tidal music one and whole Flows in the octave; then, returning free, Its ebbing surges in the sestet roll Back to the deeps of Life's tumultuous sea.
Lentzner quotes the East London, in his monograph on the English sonnet, as a case where the octave represents the thought in particular, the sestet in the abstract; in other cases the order is the reverse.
Most critics prefer those forms ofsestet which avoid a final riming couplet.
The rhymes of the first two quatrains are usually the same; those of the sestet are variously arranged.
But the quatrains may have alternate rhymes, and the sestet may consist of a quatrain and couplet or of interwoven triplets, as in the following schemes: a b a b a b a b c d c d e e; a b b a a b b a c d e c d e.
In thesestet this is permissible, provided that there is not a riming couplet at the close.
The octave is sometimes said to consist of two quatrains, and the sestet of two tercets.
It is evident that there is unity both of thought and mood in this sonnet, the sestet being differentiated from the octave, only as above described.
Again, with reference to the rime, it will be observed that the vowel terminals of the octave and the sestetare differentiated.
In the sonnet which we are examining, the rime system of the sestet in c d d e c e--containing, as we see, three separate rimes.
In the sestet we naturally expect and find much variety in the disposition of the rimes.
But sometimes we find the octave of the sonnet consisting, as in the Shakespearean form, of two quatrains, and the sestet approaching closely to the Petrarchan idea.
The octave has its climax and the sestet has its climax, and the two sections of the poem are related by the continuity of thought, and divided by the contrast of ideas.
But the very first words of the sestet show the development in the thought.
If the rules of the sonnet were strictly followed, the line which introduces the watchman would begin the sestet instead of closing the octave.
This is the scheme we find followed in the sestet of two of "Three Sonnets on Oblivion," by a distinguished American poet, Mr. George Sterling.
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.
As already said, these liberties are permitted, for the sestetis not under such arbitrary regulations as the octave.
The above list will hopefully give you a few useful examples demonstrating the appropriate usage of "sestet" in a variety of sentences. We hope that you will now be able to make sentences using this word.
