Quintil

Cinquain ˈsɪŋkeɪn is a class of poetic forms that employ a 5-line pattern. Earlier used to describe any five-line form, it now refers to one of several forms that are defined by specific rules and guidelines. The modern form, known as American cinquain inspired by Japanese haiku and tanka, is akin in spirit to that of the Imagists. In her 1915 collection titled Verse, published a year after her death, Adelaide Crapsey included 28 cinquains. Crapsey's American Cinquain form developed in two stages. The first, fundamental form is a stanza of five lines of accentual verse, in which the lines comprise, in order, 1, 2, 3, 4, and 1 stresses. Then Crapsey decided to make the criterion a stanza of five lines of accentual-syllabic verse, in which the lines comprise, in order, 1, 2, 3, 4, and 1 stresses and 2, 4, 6, 8, and 2 syllables. Iambic feet were meant to be the standard for the cinquain, which made the dual criteria match perfectly. Some resource materials define classic cinquains as solely iambic, but that is not necessarily so. In contrast to the Eastern forms upon which she based them, Crapsey always titled her cinquains, effectively utilizing the title as a sixth line. Crapsey's cinquain depends on strict structure and intense physical imagery to communicate a mood or feeling. The form is illustrated by Crapsey's "November Night": Listen... With faint dry sound, Like steps of passing ghosts, The leaves, frost-crisp'd, break from the trees And fall. The Scottish poet William Soutar also wrote over one hundred American cinquains (he labelled them "epigrams") between 1933 and 1940. The Crapsey cinquain has subsequently seen a number of variations by modern poets, including: The didactic cinquain is closely related to the Crapsey cinquain. It is an informal cinquain widely taught in elementary schools and has been featured in, and popularized by, children's media resources, including Junie B. Jones and PBS Kids. This form is also embraced by young adults and older poets for its expressive simplicity.