The two regular sonnet rhyme-sequences are (1) the Shakespearean ab ab cd cd ef ef gg – that is, three quatrains with alternate rhymes with a closing couplet and (2) the Miltonic with an octet abba abba (as in your second and third quatrains) and a sestet of three rhymes arranged according to choice. The Sh is closer to the natural lyric rhythm, the Miltonic to the ode movement – i.e. something large and grave. The Miltonic is very difficult, for it needs either a strong armoured structure of the thought or a carefully developed unity of the building which all poets can't manage. However there have been attempts at an irregular sonnet rhyme sequence. Keats tried his hand at one a century ago and I vaguely believe (but that may be only an illusion or Maya) that modern poets have played loose fantastic tricks of their own invention; but I don't have much first hand knowledge of modern (contemporary) poetry. Anyhow I have myself written a series of sonnets with the most heterodox rhyme arrangements, so I couldn't very well go for you when you did the same. One who has committed many murders can't very well rate another for having done a few. All the same this sequence is rather – a Miltonic octet with a Shakespearean close would be more possible, I think I have done something of the kind with not too bad an effect, but I have no time to consult my poetry file and am not sure. In the sonnet too it might be well for you to do the regular thing first, soberly and well, and afterwards when you are sure of your steps, frisk and dance.
The two regular sonnet rhyme-sequences are (1) the Shakespearean ab ab cd cd ef ef gg – that is, three quatrains with alternate rhymes with a closing couplet and (2) the Miltonic with an octet abba abba (as in your second and third quatrains) and a sestet of three rhymes arranged according to choice. The Sh is closer to the natural lyric rhythm, the Miltonic to the ode movement – i.e. something large and grave. The Miltonic is very difficult, for it needs either a strong armoured structure of the thought or a carefully developed unity of the building which all poets can't manage. However there have been attempts at an irregular sonnet rhyme sequence. Keats tried his hand at one a century ago and I vaguely believe (but that may be only an illusion or Maya) that modern poets have played loose fantastic tricks of their own invention; but I don't have much first hand knowledge of modern (contemporary) poetry. Anyhow I have myself written a series of sonnets with the most heterodox rhyme arrangements, so I couldn't very well go for you when you did the same. One who has committed many murders can't very well rate another for having done a few. All the same this sequence is rather – a Miltonic octet with a Shakespearean close would be more possible, I think I have done something 