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<Warning: Adult Themes. 18+ years>
 
Street Dog
 
A humid night. A park on Davao Bay.
The bench on which I sit looks out to sea.
The moonlight shines upon a local stray:
A timid askal jumps up next to me.
 
I gently stroke the street dog on the head,
But lycanthropic forces soon reveal
A naked Pinoy sitting there instead.
And now I stroke what once he would conceal.
 
He opens up my shorts with trembling hands,
And turns my flaccid cock to fierce cerise.
His tongue flicks round and round my swollen glans,
I close my eyes and groan as I release.
 
Now safe from any danger or mishap,
The askal curls upon the master’s lap.
 
Copyright © May 2016, Alan John Branford
 

 
This sonnet continues the exploration of the theme, first presented in "That Which Is Buried Deep Inside", of Lust as a primal animal instinct of man.
 
The setting is a park overlooking the sea in Davao City in The Philippines, on the night of a full moon. The animal/man connection is established through the mythical condition of lycanthropy, in which a person can alternate with an animal form. The best known of these myths is that of the werewolf; "were" is the Old English word for "man", and so "werewolf" is literally "man wolf". The animal form in this poem is the askal, a Filipino dog. (The word "askal" is derived from the words "asong kalye" from the Tagalog language which mean "street dog".) The alternate human form is a Pinoy, which is the nickname for a Filipino man.
 
The sonnet is of the English (or Shakespearian) structure of three four-line quatrains followed by a rhyming couplet. The three quatrains tell the three "chapters" of the story, as it were. Line 9, the first of the third quatrain, is the principal
volta, where timid foreplay gives rise to fevered lust. Line 13, the start of the rhyming couplet, could also be considered a volta, as now the sexual tension has dissipated and the theme is resolved.
 
(May 2016)
 

 
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