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  1. Tinker

    Limerick and Cross Limerick

    Explore the Craft of Writing Light Verse The Limerick is an old folk-tradition. Although commonly thought to be Irish, there is evidence that this verse form is, in fact, an old French form brought to the town of Limerick Ireland by returning veterans of the French War in 1702. Conversly, the verse form can be traced back even further. The oldest recorded poem fitting the metered, rhymed frame is from Thomas Aquinas (Italy 1225-1274). Sit vitiorum meorum evacuation Concupiscentae et libidinis exterminatio, Caritatis et patientiae, Humilitatis et obedientiae, Omniumque virtutum augmentation. Whatever evidence of French or Latin influence, the form still epitomizes all things Irish to me, therefore I include it with the Irish verse forms. It was popularized in England by Edward Lear in 1846 as a result of his travels to Ireland in his Book of Nonsense. During this time Lear is also said to have written The Owl and the Pussy Cat for his daughter. The Limerick of today is whimsical, witty and often bawdy. I have read that some of the Limericks that have hung around the longest are down right raunchy. The simplicity and quick easy wit of the limerick quite possibly account for its ageless run of popularity. It is the only Irish stanza that is used exclusively for light verse. The elements of the Limerick are: a poem in 5 lines, a pentastich. metered verse written in anapestic patterns. L1, L2, and L5 are trimeter (3 metric feet) and L3 and L4 are dimeter (2 metric feet). (anapest = da da DUM or u-u-S = unstressed , unstressed, stressed syllables.) best used for witty, whimsical, bawdy themes, light verse. written with a rhyme scheme a,a,b,b,a. no title is used. is adaptable to variation. The 3rd and 4th dimeter lines are often indented. And because so many Limericks begin "There once was a ..." the first syllable of a line may be absent. Also, there may be an additional or subtracted syllable at the end or even in the middle of a line, if it can be read without breaking the rhythm. Sometimes the third and fourth lines are printed as a single line with internal rhyme. So a Limerick sounds like this: (da) da DUM da da DUM da da DUM, (da) (da) da DUM da da DUM da da DUM, (da) (da) da Dum da da DEE, (da) da DUM da da DEE, (da) da DUM da da DUM da da DUM (da) (da) in parenthasis is optional There was a young lady of Niger Who smiled as she rode on a Tiger; They came back from the ride With the lady inside, And the smile on the face of the Tiger. --- unknown The parrot was messy and loud; her master was doting and proud. But should master die, his wife won't deny, the bird will be wearing a shroud. ---Judi Van Gorder An Irishman came to my city. his manner was charming and witty. He courted a lass who had a large ass, and he praised her big butt --- in a ditty. ---Judi Van Gorder Cross Limerick is an American invented form, a variation of the Limerick found in Pathways of a Poet by Viola Berg. It adds a couple of lines to the Limerick verse form. The elements of the Cross Limerick are: a septet. (7 lines). metric, anapestic patterns. L1, L2, and L7 are trimeter (3 metric feet) and L3, L4, L5 and L6 are dimeter (2 metric feet). (anapest = da da DUM or u-u-S = unstressed , unstressed, stressed syllables.) rhymed, rhyme scheme aabcbca. best used for witty, whimsical, bawdy themes, light verse. untitled
  2. Explore the Craft of Writing American Verse Crapsey Cinquain and some of its Variations Crapsey Cinquain, one of the most popular modern variations of the cinquain was created by the American poet Adelaide Crapsey, 1897-1914. In 1909 Ms Crapsey became interested in Japanese poetry. In her study notebook she lists tanka and haiku translations from which she developed a set form which she called the "Cinquain". In some poetic circles this form is referred to as the Crapsey or Crapsey Cinquain, in others, particularly on-line it is simply referred to as a Cinquain. (The latter could be misleading since technically the term "cinquain" is defined as any poem or stanza which is 5 lines. The elements of the Crapsey Cinquain are: a stand-alone poem, a complete poem in 5 lines. It can be written in a chain, but each cinquain should be able to stand alone. syllabic lines in a pattern of 2-4-6-8-2 syllable per line. The original poems were mostly iambic. often composed with a reflective theme unrhymed. always titled. The title almost acts as a 6th line.Triad by Adelaide Crapsey1910 from The Complete Poems" 1915 These be Three silent things: The falling snow...the hour Before the dawn...the mouth of one Just dead. Patriarch by Judi Van Gorder 12-5-10 The glue that held us close has gone at ninety five. Today he closed his clear blue eyes and died. Parent by Judi Van Gorder 9-14-02 Behave! Manners are required, hooligans not welcome. Mother reminds rowdy children, with love. didactic cinquain by Marti Forest Blue, hushed Dreaming, breathing, living Imperious in its beauty Sacred The following are some variations on the form that I have run across in my research: Cinq Cinquain is a verse form of 5 Crapsey Cinquains written as 5 sequential stanzas. Butterfly Cinquain Cinquain Chain or Corona of Cinquains is stanzaic invented verse made up of a series of Crapsey Cinquains linked in a chain or corona by the last line of each cinquain repeated as the first line of the next cinquain. Headline by Judi Van Gorder A child is yanked from play while frightened playmates stare; the thief flies in a blue Honda, somewhere. . . somewhere, the mother begs for her child's safe return; lights and microphones shadow her, hopeful... hopeful deputies search, pressing every bell; a body is found, thrown down, neck broken broken, a rookie cop fights tears and wipes his eyes, then rushes home to hold his own, a child. Badger's Hexastich is a fun variation of the Crapsey Cinquain invented by our own Badger. It simply expands the cinquain to another line and 2 more syllables. The elements of the Badger's Hexastich are: a poem in 6 lines. syllabic, 2-4-6-6-4-2. unrhymed, optional rising and falling end-words. reading, rooted in mind, not tasting ripe berries, the oozing summer window open, waiting ~~Phil Wood First flight, small granddaughter visits Grandma with Dad, Mom, brother and sisters in soccer play-offs back home. --Judi Van Gorder Happy for no reason. But who needs a reason to smile and laugh and sing? Who needs prompting? Not I. ~~ Mordee2 at Writing.com Garland of Cinquains is a series of 6 Crapsey Cinquains with the 6th and last cinquain made up of lines from the previous cinquains. L1 of the poem is L1 stanza 6, L2 of the 2nd stanza is L2 of the stanza 6, L3 of the third stanza is L3 of the stanza 6 etc. Cinquain Swirl is an invented verse form based on 2 or more Crapsey Cinquains syllable count written without breaks using L5 of each cinquain as L1 of the next cinquain. When centered on the page the lines form a swirling effect. Writing.com Syllable count is 2-4-6-8-2-4-6-8-2-4-6-8-2 etc. It can be written in any number of lines that complete the 2-4-6-8-2 cycle. At Poet's Garrett L1 of the first cinquain is repeated as the 2 syllable line similar to a refrain throughout the poem. 2-4-6-8-2-4-6-8-2 It can be written in any number of lines that complete the 2-4-6-8-2-4-6-8-2 cycle. Cinquino is seems to me is a gimmicky invented verse form that reverses the syllable count of the Crapsey Cinquain. It was found in a book on poetry for teachers and was created by a 20th century American educator James Neille Northe. The elements of the Cinquino are: a poem in 5 lines. syllabic, 2-8-6-4-2 syllables per line. unrhymed I Am alone time flies on flitting fairy wings up down and all around I am here now alive ~~ jvg Mirror Cinquain simply doubles the Crapsey Cinquain. The elements are: decastich (10 line poem) syllabic, 2-4-6-8-2-2-8-6-4-2 syllables per line. unrhymed. titled. The Pensee found in the Caulkins Handbook stresses exact syllable count and strong end words. This invented verse form was first introduced by American poet and educator, Alice Spokes. It can be found on line at Instant Poetry Forms for Kids The elements of the Pensee are: a pentastich, a poem in 5 lines. syllabic, 2-4-7-8-8 syllables per line. unrhymed. titled. Memorial by Judi Van Gorder Soldiers lost in battle, boys sent to war, die as men. Our security and freedom paid at the cost of their future. Quintiles are multiples of Crapsey Cinquains that center on a similar theme. Any number of cinquains may be gathered and since not otherwise addressed, I assume the different stanzas of this stanzaic invented form may be written by different poets, much like the Renga. Reverse Cinquain, an invented verse form, is a backward Crapsey Cinquain reversing the syllable count to 2-8-6-4-2 per line.
  3. Explore the Craft of Writing Light Verse The Didactic Cinquain or Recipe Poem is often taught to American school children used as an aid in exploring the poetic mind, or just having fun with words. It uses parts of speech for the set form and in this regard is similar to the Diamante or Diamond Poem. This verse form is not to be confused with Rhyming Recipe or Recipe Poem which sets a culinary recipe to rhyme. The elements of the Didactic Cinquain or Recipe Poem are: a cinquain with lines made up of L1 1 noun, L2 2 adjectives, L3 3 verbs, L4 1 phrase or sentence, L5 1 noun. unmetered, the rhythm of every day speech. unrhymed. meant to instruct. --------Movies, ------- old, new enlighten, entertain, touch ----- Two please, ------- popcorn? ----- ----jvg 4-5-05 The Patina is an invented form very similar to the didactic cinquain, created by Pat Nelson at Writing.com. Rather than meter and rhyme the focus is on words, adjectives and nouns. The elements of the Patina are: stanzaic, written in any number of tercets. measured in words rather than metric feet or syllables. L1 two words an adjective and a noun. L2 two adjectives and a noun expanding the image in L1. These 3 words should be alliterated, begin with same letter. L3 four words that explain the meaning of the image or theme. unrhymed. titled. Balm Gentle waves Cradling, calming caress Comfort for my affliction Fervid sun Penetrating, purifying poultice Balm for my aching Foamy water Splashing, scintillating serenade Therapy to my soul Salty air Infusing, invigorating impetus Elixir for my spirit Sandy beach Spongy, squishy silt Remedy for my cares ~~ Pat Nelson December 29, 2012 Five O'clock ticking clock difficult, draining day time to go home ~~jvg
  4. dcmarti1

    Cinquain to the Theotokos

    I am NOT religiously orthodox, but I am just now "getting" how powerful imagery, metaphor, and allegory can be. And I have not written much these past few months. One of my lawn customers has a statue of Mary: all the color gone, flaking, missing hands, face almost worn smooth. Statues of Mary rot in every rock garden that has a rose bush and bird bath. Amen. Statues of Mary are often missing both hands. How can she hold Her Son's body? Amen.
  5. Badger's poem "After the funeral on friday" prompted me to post these two. The title and poem's body seem to have no connection; the same is true here. I did actually quit my security clearance job of 14 years in a crisis of conscience in March of 2012. They are obviously self-indulgent. #1 is a syllabic cinquain: 2/4/6/8/2/8/6/4/2 Leaving the military industrial complex job of 14 years - 1 Two bean and tomato sauce chili that must last for the next three suppers, at least. Garlic and red pepper flakes were added. Salad and bread are still not luxuries - for now. October 2012 #2 is a word count cinquain: 1/2/3/4/1/4/3/2/1 Leaving the military industrial complex job of 14 years - 2 I decapitate them with summer glee. Bloodless, they scatter across wherever I will be murdering. Electric or pushreel, I mow grass. November 2012 I am too cheap to do drugs and too inherently lazy to be self-destructive. Writing poetry is an outlet on a greatly reduced income from weddings and mowings.
  6. Tinker

    V. Five Line Construction

    Explore the Craft of Writing Poetry The Frame V. Five Line Construction The Cinquain, Quintain, and Quintet are terms which are French, Latin, and Italian for any five-line poetic thought unit or stanza. These terms are synonymous and infer that the unit is written adjacent to other stanzas. "Cinquain" is the word most commonly used. The terms can also refer to a stand-alone five line poem. However, Pentastich is technically the term reserved for a stand-alone five line poem. Five line stanzas or poems are much less popular in English poetry than the couplet, tercet, and quatrain. Asian poetry uses five line poetic units extensively. There could be some confusion when using the term cinquain since beside the generic definition, there is a popular verse form created by American poet, Adelaide Crapsey which she named simply the "Cinquain". Some call it the Crapsey Cinquain, which I use in this forum to distinguish it from all other generic cinquains. There is also a much older French form referred to simply as the "Cinquain" which was recreated and popularized by Victor Hugo in the 19th century. For clarity, I refer to it as the Traditional Cinquain in the style of Victor Hugo. I have included the various five-line stanzas in the forums for their nation of origin. Some of the more popular are: Arkaham Ballad Bob and Wheel Clogyrnach Crapsey Cinquain English Quintet Envelope Quintet Lira Limerick Madsong Stanza Quintilla Flamenca or Seguidilla Gitana Sicilian Quintet Tanka Cinquain - Traditional Waka Ya Du
  7. Tinker

    Spenserian Quintilla

    Explore the Craft of Writing American Verse The Spenserian Quintilla is an American stanzaic form which was first recognized by Miller Williams in Patterns of Poetry when he notes a Spenserian variation framing The Second Best Bed by Howard Nemerov, he called it the Spenserian Quintilla. The elements of the Spenserian Quintilla are: stanzaic, written in any number of cinquains. syllabic, L1-L4 are 8 syllables each, L5 is 12 syllables. rhymed, axabb cxcdd etc x being unrhymed. The Second-Best Bed by Howard Nemerov Consider now that Troy has burned ---Priam is dead, and Hector dead, And great Aeneas long since turned Away seaward with his gods To find, found or founder, against frightful odds. And figure to yourselves the clown Who comes with educated word To illustrate in mask and gown King Priam's most illustrious son And figure forth his figure with many another one Of that most cremented time In times have been or are to be Inhearsed in military rime; And will recite of royal fates Until, infamonized among those potentates By a messenger from nearer home, His comedy is compromised And he must leave both Greece and Rome Abuilding but not half begun, To play the honest Troyan to a girl far gone. The wench lived on, if the son died--- All Denmark wounded in one bed Cried vengeance on the lusty bride, Who could not care that there would follow, After the words of Mercury, songs of Apollo. ------------ from The Collected Poems of Howard Nemerov 1977
  8. Tinker

    Envelope Quintet

    Explore the Craft of Writing Poetry Italian Verse Envelope Quintet (Italian) is a 5 line verse in which the center lines are enclosed by the rhyme of the outer lines. The elements of the Envelope Quintet are: stanzaic, a quintet may be a stand alone poem or can be written in any number of 5 line stanzas. meter at the discretion of the poet. rhymed abcba or aabaa or abbba , subsequent stanzas may link or continue the rhyme scheme: linked abcba cdedc or abcba deced / continued is simply abxba cdxdc etc. x being unrhymed. Out West by Judi Van Gorder Ever since seeing John Wayne on the movie screen I've had a thing for the cowboy. Like them long and lean and if shy, I don't complain. He rode up on his cutting horse. and cocked his Stetson brim down low and I played coy. For me no Jetson caught my eye, but he did, of course. I like the old time country ways riding down a dusty trail bumping knees just brings me joy it does not ever fail to spark my heart into a blaze.
  9. Tinker

    Quintilla

    Explore the Craft of Writing Poetry Spanish Verse The Quintilla is a 16th century Spanish quintain with a rhyme scheme that is more about what cannot be done than what can be done. The elements of the Quintilla are: syllabic verse, octasyllabic (8 syllable lines) stanzaic, written in any number of quintains (5 line stanzas). rhymed. In each quintain only 2 rhymes can be used and it cannot end in a rhyming couplet. There is choice of rhyme schemes of ababa, abbab, abaab, aabab, or aabba when written as a decastich, (2 quintillas) the verse is known as Copla Real El Viejo by Judi Van Gorder The ancient cur begins to rise ignoring stiff, defiant bones. Foolishly focused on the prize, his awkward pounce elicits groans. To snub one's age, not always wise.
  10. Explore the Craft of Writing Poetry French Verse A Cinquain is any poem or stanza in 5 lines. The words cinquain, quintain, quintet are interchangeable, French, Latin and Italian. There are a multitude of stanzaic forms that use 5 lines as a frame. Some of the more popular are the French traditional Cinquain, the American Cinquain, sometimes called the Crapsey Cinquain and the Spanish Quintilla The traditional French Cinquain of medieval French origin, dates from the 11th century. In the 19th century it was revived by Victor Hugo. The elements of the Traditional French Cinquain in the style of Victor Hugo are: in English most often written in iambic tetrameter but can also be written in iambic pentameter. stanzaic, written in any number of cinquains. (5 line stanzas) rhymed with varying rhyme schemes, most often ababb, or abaab or abccb. Night Dwellers by Judi Van Gorder Suspended with a watchman's care, the hawk-eyed moon directs the night. Below, mice dart... alert, aware they must avoid the barn owl's stare, his razor talons sharpen fright. A 'coon disturbs a garbage lid, the crash exposes nature's clown. And me, I'd long succumbed and slid from bed to download visions mid attempts to paint with verb and noun. Reason's for Attendance by Philip Larkin (1922-1985) The trumpet's voice, loud and authoritative, Draws me a moment to the lighted glass To watch the dancers - all under twenty-five - Solemnly on the beat of happiness.- Or so I fancy, sensing the smoke and sweat, The wonderful feel of girls. Why be out there ? But then, why be in there? Sex, yes, but what Is sex ? Surely to think the lion's share Of happiness is found by couples - sheer Inaccuracy, as far as I'm concerned. What calls me is that lifted, rough-tongued bell (Art, if you like) whose individual sound Insists I too am individual.It speaks; I hear; others may hear as well, But not for me, nor I for them; and so With happiness. Therefor I stay outside, Believing this, and they maul to and fro, Believing that; and both are satisfied, If no one has misjudged himself. Or lied. Porphyria's Lover by Robert Browning (1812-1889) THE rain set early in to-night, --- The sullen wind was soon awake, It tore the elm-tops down for spite, --- And did its worst to vex the lake: --- I listen'd with heart fit to break. 5 When glided in Porphyria; straight --- She shut the cold out and the storm, And kneel'd and made the cheerless grate --- Blaze up, and all the cottage warm; --- Which done, she rose, and from her form 10 Withdrew the dripping cloak and shawl, --- And laid her soil'd gloves by, untied Her hat and let the damp hair fall, --- And, last, she sat down by my side --- And call'd me. When no voice replied, 15 She put my arm about her waist, --- And made her smooth white shoulder bare, And all her yellow hair displaced, --- And, stooping, made my cheek lie there, --- And spread, o'er all, her yellow hair, 20 Murmuring how she loved me-she --- Too weak, for all her heart's endeavor, To set its struggling passion free --- From pride, and vainer ties dissever, --- And give herself to me for ever. 25 But passion sometimes would prevail, --- Nor could to-night's gay feast restrain A sudden thought of one so pale --- For love of her, and all in vain: --- So, she was come through wind and rain. 30 Be sure I look'd up at her eyes --- Happy and proud; at last I knew Porphyria worshipp'd me; surprise --- Made my heart swell, and still it grew --- While I debated what to do.--- 35 That moment she was mine, mine, fair, --- Perfectly pure and good: I found A thing to do, and all her hair --- In one long yellow string I wound --- Three times her little throat around, 40 And strangled her. No pain felt she; --- I am quite sure she felt no pain. As a shut bud that holds a bee, --- I warily oped her lids: again --- Laugh'd the blue eyes without a stain. 45 And I untighten'd next the tress --- About her neck; her cheek once more Blush'd bright beneath my burning kiss: --- I propp'd her head up as before, --- Only, this time my shoulder bore 50 Her head, which droops upon it still: --- The smiling rosy little head, So glad it has its utmost will, --- That all it scorn'd at once is fled, --- And I, its love, am gain'd instead! 55 Porphyria's love: she guess'd not how --- Her darling one wish would be heard. And thus we sit together now, --- And all night long we have not stirr'd, ---And yet God has not said a word! 60
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