Combinations of the two sonnet forms not infrequently occur (as in the last example below), but they are not approved by the critics or the theorists, and generally they miss the excellences of both forms, however successful they may be in other respects.
Leave me, O Love, which reachest but to dust,
And thou, my mind, aspire to higher things!
Grow rich in that which never taketh rust:
Whatever fades, but fading pleasure brings.
Draw in thy beams, and humble all thy might
To that sweet yoke where lasting freedoms be;
Which breaks the clouds and opens forth the light
That doth both shine and give us sight to see.
O take fast hold! let that light be thy guide
In this small course which birth draws out to death,
And think how evil becometh him to slide
Who seeketh Heaven, and comes of heavenly breath.
Then farewell, world! thy uttermost I see:
Eternal Love, maintain thy life in me!
Sir Philip Sidney.
That time of year thou may'st in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs that shake against the cold—
Bare ruined choirs, where late the sweet birds sang.
In me thou see'st the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire,
Consumed with that which it was nourished by.
This thou perceiv'st, which makes thy love more strong
To love that well which thou must leave ere long.
Shakespeare, Sonnet 73.
Poor soul, the centre of my sinful earth,
Pressed by these rebel powers that thee array,
Why dost thou pine within and suffer dearth,
Painting thy outward walls so costly gay?
Why so large cost, having so short a lease,
Dost thou upon thy fading mansion spend?
Shall worms, inheritors of this excess,
Eat up thy charge? Is this thy body's end?
Then, soul, live thou upon thy servant's loss,
And let that pine to aggravate thy store;
Buy terms divine in selling hours of dross;
Within be fed, without be rich no more;
So shalt thou feed on Death, that feeds on men;
And Death once dead, there's no more dying then.
Shakespeare, Sonnet 146.
When, in disgrace with fortune and men's eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee: and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate:
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.
Shakespeare, Sonnet 29.
O deep unlovely brooklet, moaning slow
Through moorish fen in utter loneliness!
The partridge cowers beside thy loamy flow
In pulseful tremor, when with sudden press
The huntsman fluskers through the rustled heather.
In March thy sallow buds from vermeil shells
Break satin-tinted, downy as the feather
Of moss-chat, that among the purplish bells
Breasts into fresh new life her three unborn.
The plover hovers o'er thee, uttering clear
And mournful-strange his human cry forlorn.
While wearily, alone, and void of cheer,
Thou guid'st thy nameless waters from the fen,
To sleep unsunned in an untrampled glen.
David Gray, To a Brooklet.
If I should die, think only this of me:
That there's some corner of a foreign field
That is forever England. There shall be
In that rich earth a richer dust concealed;
A dust whom England bore, shaped, made aware,
Gave, once, her flowers to love, her ways to roam,
A body of England's, breathing English air,
Washed by the rivers, blest by suns of home.
And think, this heart, all evil shed away,
A pulse in the eternal mind, no less
Gives somewhere back the thoughts by England given;
Her sights and sounds; dreams happy as her day;
And laughter learnt of friends; and gentleness,
In hearts at peace, under an English heaven.
Rupert Brooke, The Soldier.[65]
Complex Stanzas: the Ode
Besides the stanzas described above, which are but the most familiar or most important of the great variety of regular English stanzas, there are others which, because they are peculiarly constructed or not regularly repeated, may be called Complex. Such are, for example, the 'trailing vine' stanzas of Spenser's Prothalamion (abba5a3bcbc5dded5ee3ff5) and Epithalamion (ababc5c3dcde5e3fggf5f4hh5), and also the simpler ababcde5c3de5 of Keats' Ode to a Nightingale.
Many of these complex stanzaic forms, moreover, belong in the tradition of the so-called Pindaric ode, imitated freely from the Greek choric odes of Pindar. The closer imitations are in fixed though complex stanzas regularly repeated, and are called Regular Pindarics. These have first a strophe of undetermined length, then an antistrophe identical in structure with the strophe, and then an epode, different in structure from the strophe and antistrophe. The second strophe and second antistrophe are identical metrically with the first, the second epode with the first epode; and so on. The best examples in English are Ben Jonson's On the Death of Sir H. Morrison, and Gray's Progress of Poesy and The Bard.[66]