In ancient there was a mare with buns,
A unicorn with a set of huge cheeks
So monstrous that every motion would bounce.
Here set is the remarkable story,
The tale of a great, gluteal treasure,
And a glory forever for offspring.

For though there were not too many offspring,

Male and female inherited great buns:

Their legacy, their genetic treasure.

They boast, and loudly, of their monster cheeks,

And proudly tell everyone the story

Of the butt with the legendary bounce.

She rocked and shocked Canterlot with her bounce,
Almost seeming like Discord's offspring.
Each little shake seemed to tell a story
Of hips bouncing off those well-risen buns,
Of the shake and jostle of the great hips
As men came to sample her sweet treasure.

And yes, that butt was truly a treasure,

Moving like a rich wave after each bounce,

Dancing Cutie marks enhancing each cheek,

And teasing to all the promise of offspring.

So the Princesses blessed those big buns,

Adding divine glory to their story.

The grandest happening of the story
Was the Princesses' gift, the great treasure.
They wished to fill all of the lands with buns,
To send across the earth a bounce.
With any species she could make offspring
To bless non-pony nations with her cheeks.

And so across the world spread the huge cheeks,

Along with her divine, revered story.

She left with fathers their joined-blood offspring

And she, like a legendary treasure,

Vanished from the world with a final bounce

And thus ended the legend of the buns.

What of those buns? What of the sacred cheeks?
The holy bounce, famed in song and story,
The grand treasure lives on in the offspring.

Author's Note

A Sestina is an old French form invented by a Provencal troubadour, with modifications by later writers. It involves no rhymes but uses a complicated terminal-word swapping system. There are six (and a half) stanzas each of six lines (hence, sestina, indicating the sixes) and six words which end the lines. Each stanza is restructured such that the terminal word of the last line in the prior stanza is the terminal word of the first line in the next stanza. Another bit of circularity. And the other terminal words get switched around in place according to a chart. Also, the whole thing ends on a half stanza which uses all six terminal words, on in the middle of each line and one at the end of each line, in the order set forth in the first stanza. It is as complicated as it sounds and is a damn sight harder than it seems. This one is rough but I was just happy to have wrangled something that actually sounds even reasonably good.