H.D. and Ezra Pound but for its being written in a set form: the cinquain, a five-line
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We won't require it to be a certain form, so you can write a sonnet, haiku, cinquain (a type of five-line poem) — or whatever you like.
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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. The prescriptions of this type of cinquain refer to word count, not syllables and stresses.
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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.Garison, Denis, An Introduction to the American Cinquain, Amaze: The Cinquain Journal Vol 1, No 1, Summer 2002 In contrast to the Eastern forms upon which she based them, Crapsey always titled her cinquains, effectively utilizing the title as a sixth line.
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In the years immediately before her death, she wrote much of the verse on which her reputation rests. Her interest in rhythm and meter led her to create a unique variationWebster, Jean, Vassar Miscellany, 1915. on the cinquain (or quintain), a 5-line form of 22 syllables influenced by the Japanese haiku and tanka. Her five-line cinquain (now styled as an American cinquain) has a generally iambic meter defined as "one-stress, two-stress, three-stress, four- stress and suddenly back to one-stress"Louise Townsend Nicholl, Adelaide Crapsey's Poems, New Republic, 1923.
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Both free verse and rhymed poetry styles are studied, including cinquain, haiku, tanka, rhopalic, echo and refrain poems, acrostics, alphabet and dictionary poems.
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Cinquain 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.
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Crapsey's cinquain depends on strict structure and intense physical imagery to communicate a mood or feeling.Fever Show, article by Erin Post, Lake Champlain Weekly, October 16, 2002 The form is illustrated by Crapsey's "November Night":Crapsey, Adelaide (1922). Verse, p.31. Quoted in 28 cinquains from Adelaide Crapsey's Verse, at Cinquain.org.
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Mukhammas (Arabic مخمس 'fivefold') refers to a type of Persian or Urdu cinquain or pentastich with Sufi connections based on a pentameter. And have five lines in each paragraph. It is one of the more popular verse forms in Tajik Badakhshan, occurring both in madoh and in other performance-genres.
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He refers to these as "graph theoretic poems" since they are generated using graph theory, where "graph" refers to mathematical values that relate words to each other in a semantic web. He has posted in the thesaurus section of his online dictionary the values used in these algorithms. Genres produced include the following: acrostic, butterfly, cinquain, diamante, ekphrastic, fib or Fibonacci poetry, gnomic poetry, haiku, Kural, limerick, mirror cinquain, nonet, octosyllable, pi, quinzaine, Rondelet, sonnet, tanka, unitoum, waka, simple verse, and xenia epigram. Genres were created by Parker to allow one genre of poem for each letter of the English alphabet, including Yoda, for Y (poetry using the grammar structure of the famous Star Wars character), and Zedd for Z (poems shaped like the letter Z). His poems are didactic in nature, and either define the entry word in question, or highlight its antonyms.
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The members also write SF poems using other short poetry > forms, such as waka, senryū, sijo, kanshi, etc. Group members have also created a few of their own poetry forms, such as the contrail and the Fibonacci-No-Haiku (based upon the Fibonacci number), written SF poetry based on other short poetry forms such as the cinquain, and experimented with a number of collaborative poetry forms such as science fiction renga and stellarenga.
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Adelaide Crapsey codified the couplet form into a two line rhymed verse of ten syllables per line with her image couplet poem On Seeing Weather-Beaten Trees first published in 1915. By the 1930s, the five-line cinquain verse form became widely known in the poetry of the Scottish poet William Soutar. These were originally labelled epigrams but later identified as image cinquains in the style of Adelaide Crapsey. J. V. Cunningham was also a noted writer of epigrams, (a medium suited to a 'short-breathed' person).
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The second English-language journal to specifically include tanka was SCTH (Sonnet Cinquain Tanka Haiku) published from 1964 - 1980, edited by Foster and Rhoda de Long Jewell. In 1972, the Kisaragi Poem Study Group's Maple: poetry by Japanese Canadians with English translation appeared, a collection like Sounds of the Unknown. In the United Kingdom, the first known English-language anthology was the Starving sparrow temple anthology: haiku, tanka, linked verse and other pieces edited by William E. Watt, 1971. By 1969, tanka started appearing in anthologies of student work published by public schools in the United States.
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Toleos, Aaron. Cinquains explained Retrieved 2010-06-11. is akin in spirit to that of the Imagists.Stillman, Frances, The Poet's Manual and Rhyming Dictionary, Thames & Hudson, London In her 1915 collection titled Verse, published one year after her death, Adelaide Crapsey included 28 cinquains.Toleos, Aaron. Verse and its legacy Retrieved 2010-06-11. 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.
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Chandler's work has appeared in numerous print and online journals and anthologies, including Able Muse, Alabama Literary Review, American Arts Quarterly, The Centrifugal Eye, Comstock Review, First Things, Iambs and Trochees, Light Quarterly, The Lyric, Measure, Möbius, Orbis, Quadrant, The Raintown Review, Texas Poetry Journal and many others. She is the author of Lines of Flight (Able Muse Press, 2011), a highly acclaimed full-length collection of poetry in various forms, including the sonnet, pantoum, rondeau (poetry), villanelle, triolet, sapphic stanza, ballad stanza, quatrain, cinquain, cento (poetry) and other forms. Her second book, Glad and Sorry Seasons was published in the Spring of 2014 by Biblioasis Press of Windsor, Ontario, and her third book, "The Frangible Hour", winner of the Richard Wilbur Award, was published by the University of Evansville Press at the end of December 2016. Her fourth full-length collection, "Pointing Home" was published by Kelsay Books in April 2019.
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