Frida Kahlo

To San Francisco with Diego Rivera,
murals awaited fine art's delicate touch,
a major exhibition of cubist work,
Frida accompanied her husband with smiles,
an influential figure of the twentieth century,
she waved from Mexico's dreamland.

Shimmers of colour slipped in dreamland,
her love fastened itself to Diego Rivera
while they painted their way through the century,
images danced scenes on the canvas' touch,
shared lifestyles blossomed wispy smiles,
personalities together delved into work.

Always there was time to play before work,
to ripple effects in some wild dreamland
with cool fascination's excellent smiles,
her excitement flew into Diego Rivera,
sensually they devoured each other's touch,
emotions stretched across the wings of a century.

Their minds roamed thoughts of a new century,
designs inside notions caressed creative work,
heartbeats rested on pleasure's quiet touch
as spirits gathered shapes in a wide dreamland,
Frida Khalo swept right through Diego Rivera
and inseparable were their generous smiles.

Magical notes whispered musical smiles
around the shades of a creeping century,
mimed was a name then spoke aloud; Diego Rivera,
grins flipped in the air before they set to work
on the expansion of a shared dreamland,
each spectacular soul felt sweet nature's touch.

Emotional complexity leaves its touch,
fingers clasp fingers while swallowing smiles,
in a universe spiralled by their dreamland
collisions generate birth of a new century,
with steps of uncertainty they move to work,
proudly they are Mr and Mrs Diego Rivera.

Diego Rivera kissed her ambition's touch,
desire's work wrapped up in a century,
eternity's dreamland somersaulted with smiles.

The sestina is an old French fixed form of poetry, dating as far back as the twelfth century. It is divided into 6 sestets (six line stanzas) and 1 triplet called an envoi which is just a concluding stanza that is half the size of the rest. Unless you wish to make the sestina harder than it already may be, it is usually unrhymed and works by repeating the end words of each line. The envoi contains, in any order, all of the six end-words. The catch is that one has to be buried in each line and another must be at the end of the line. The pattern for repeating the words is like this: (stanza A) 123456, (stanza B) 615243. This 615243 pattern is how each of the next stanzas are made.