Unfamiliar Genre: Cinquain
Cinquain is a French word with a root of “cinq” which means “five” – the amount of lines in a Cinquain poem. A Cinquain is a five-line poem. However, it is an American poetry form. Its founder, Adelaide Crapsey, was influenced by Japanese haiku poetry, and developed this poetic for to communicate brief thoughts and statements (Kenn, 2011).
The words you choose and the form they take on paper are an important part of the writing. Some people say they appear like diamonds on paper (Kenn, 2011).
Here’s an example of a Cinquain poem
Spaghetti
Messy, spicy
Slurping, sliding, falling
Between my plate and mouth
Delicious
(Barden)
The reason I chose cinquains is that, whereas they are just five lines long, with only a few words on each line, making them easy to write for many, for me, this has proved to be hard, and I have eventually never tried writing any,
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However, it is generally required that the poem is centered. This, to me, means that, where it is not centered on the page, then it ceases to be a cinquain.
Cinquain has the following four basic rules that must be observed when one needs to write it the traditional way; first, he or she needs to keep in mind the general format that, Cinquains are five lines long; secondly, that cinquains have 2 syllables in the first line, 4 in the second, 6 in the third, 8 in the fourth line, and only 2 in the last line; and, lastly, that, cinquains do not necessary need to have rhyme scheme, but one can include rhymes if he or she wants to.
Cinquian seems to employee three strategies that make it successful. The first, strategy is on how to “get started”. At this stage, the writer or poet has to select a topic. The poet needs to choose something to write about, especially on an idea: for instance, his favorite thing; what he hates; or what even what happen to
In her book, Bacon speaks of E.B. White who “strongly cautions against writing that calls attention to itself” (Bacon 9). But, she thinks the opposite of this. She believes that “the best writers also seek pleasure, perhaps for themselves as they write and certainly for us as we read” (10). Seeking pleasure from writing can come in multiple forms. At Boston University, Doyle read multiple stories, all of which are true, that he felt pleasure from and a connection with. To Doyle, a story shows so much more than just what meets the eye. A story should make you feel a connection. In “Joyas Volardores,” Doyle writes with much emotion, saying in it that “So much held in a heart in a lifetime. So much held in a heart in a day, an hour, a moment” (Doyle). From his guest lecture at Boston University, one can conclude that Doyle enjoys writing for the purpose of telling an enjoyable
Poems are unique in that there are no set rules for how they are formatted (Kirszner & Mandell, 2012). Poems may rhyme, or not. They can be presented in a narrative or lyrical format. The use of proper punctuation can be omitted such as periods, commas, or question marks (Kirszner & Mandell, 2012). The use of punctuation or lack there of, brings into play the use of enjambment, which is another term for what is commonly known in poetry as run-on lines (Kirszner & Mandell, 2012). If a poem is considered more proper and the author wants the reader to clearly understand how a line in the poem is read, the use of punctuation such as commas and periods are used to stress this point. This style is commonly known as end-stopped lines. (Kirszner
be seen to reflect the period and place that it was written as well as
While novels are not expected to tie at all into one another, a book of poetry must be carried by a mutual wave, whether temporal or with regards to the subject matter. Short stories on the other hand have no glove rule, yet tend to be compilated by the author themselves; sometimes upon inception, so that the author writes in order to fit the theme, or at other times in retrospect, grouping previous works by motifs which occurred otherwise sporadically. Quiroga’s Cuentos , though all entirely distinct, all relate back to the same three motifs of love, death and madness. The Ficciones are strung together self explanatorily, by the fact that Borges heavily applies fiction and surrealism to these short stories, and in a way that is what defines them. It seems that to collect a group of short stories by common theme might contradict their purpose, as it removes the ‘short’ part of the story. However, length is entirely subjective, therefore one cannot say that a short story is defined by that feature in and of itself. The ‘short’ aspect more likely refers to the genre as a whole and the shortcuts into action which an author might take which they would not for a novel. The short story cannot cover every minute detail at the loping pace with which a novel might progress. As a result while a novel will have a more steady plot progression and more defined character arcs, the narrative
C. Connotations:The poem is written in free verse with no rhyme or rhythm to be
tells us a story and has a regular rhyme scheme, it is a narrative and
Lastly all three of the poems are reasonably long and go into a lot of
rhyme. The poem has an A B A C D E A D rhyme. For instance, the words "Sense,"
Moreover, Tayo's struggle to return to indigenous cultural traditions parallels Silko's own struggle as a writer who wants to integrate Native American traditions into the structure of her novel. Instead of simply following the literary conventions used by other American and European writers, Silko develops new li...
This poem is written in eleven quatrains. All of these quatrains follow an abcb rhyme scheme. An example of this from lines 1-4 are “toune” being a, “wine” being b, “salior” being c, and “mine” being b. This means that the poem was written in closed form. It also follows a meter with four beats in the a and c lines and three beats in the b lines. An example of the four beats from line 5 is “Up and spak an eldern I Knicht”. The example of three beats from line 6 is “Sat at the kings richt kne”.
The novel has confused many critics and readers because it reads like poetry, yet in actuality it is a narrative. Cisneros admits that many of the vignettes are "lazy poems." This means that they could be poems if she had taken the time to finish them (Olivares 145). At many times throughout the novel the words rhyme and can almost be put to a catchy tune. For example, the chapter "Geraldo No Last Name" reads like a poem with end rhyme and a structured pattern. "Pretty too, and young. Said he worked in a restaurant, but she can't remember which one" (Cisneros 65).
Normally, poem lines would end in a punctuation, like a comma or period for it to continue the sentence into the next line, or starting the next sentence on the next line. Instead, it has a couple of sentences that continues onto the next line without any pause or stop, this is known as enjambment. The poem also has a few new sentences that start, end, or pause in the middle of the lines, which is known as caesuras. Herrick uses enjambment and caesuras often throughout this poem.
Writing can be a very difficult process for those who do not know how to go about constructing
Sir Gawain and the Green Knight was written in the late fourteenth century. To this day, no one knows the name of the author of the poem. The poem was written in a dialect that is very hard to understand. Alliteration and rhyme are combined to create unique stanzas, called "Bob and Wheel." The term "Bob and Wheel" means that a poetic stanza has long alliterative lines; then, there is a two syllable line followed by a quatrain. The poem has several plots. One plot or theme is temptation. "The poem is a medieval comedy of manners told from a distinctly Christian viewpoint." In the lines from 366 to 443, the poem shows how Sir Gawain is chivalrous and brave. In this passage, there is action and symbolism that cause the characters' reactions.
It was written in the classical style with the 5-7-5. 5 syllables in the first line, 7 in the middle, and 5 again in the final line. It is also present tense which stays with the traditional haiku form. I took inspiration from Inada and “Listening Images”. I knew that I wanted this poem to be personal. I used a question in the last line to help establish that. I took the idea of asking the reader a question from the Miles Davis portion of “Listening Images” “3 valves, tubing.../ How many feelings?” I really drew from how Inada used so few words but conveyed so much. I knew that this was also something I needed in my haiku. The words that I choose are very important, especially in this form. The power of the words used is everything. Inadas use isn’t quite as personal as how I used the question, but I always found this particular part of “Listening Images” to be the most