thanks for your analysis. My personal preference is that the cinquain should
be used in A.C's original manner, i.e. a single stanza with a concluding
line of two syllables, that is why the flow seems broken at the end of each
stanza.

Roger.

*

One of the best modern cinquian writers is Denis Garrison.  He studied AC's
original papers and her requirement for the form.  For example, she titled
all poems and considered the title part of the work.  And she rhymed them,
something very seldom seen today.  But Denis's primary contributions were
the link and crowns or sets of five c verses.

The link moves a cinquian from the ordinary (though I do not think they are
that at all) to a new level.  Basically, the link required the first and
last lines to have a relationship.  In Rogers, "gulls, terns/turning"
(lines 1 and 5) fulfill that need.  In a crown or other sets, the ultimate
is also link the first and last lines of each stanza and the last line with
the first in the set, as in for a three stanza set:

S1L1  >  S1L5  >  S2L1  >  S2L5  >  S3LI  > S3L5  >>  back to S1L1

There are great fun.  I find them best for lighter subjects and that they
work well for ballad like sets with refrains.

An old single of mine:

Spring Delights

Blue skies
frame cherry buds
soon to break into bloom.
Though not for long - a good wind brings
pink snow.

Denis also experimented with mirror forms and others with doubles or 2 4 6 8
6 4 2 as a verse.

Regretfully, Denis is very ill and can no longer do the good work he did.
In addition, he is removing his old sites from the web.  The zine devoted to
them still lives on though at http://www.amaze-cinquain.com/front.html, a
site worth visit for the poems and links for more information.

BTW, I owe Karina comments on hers offlist and K, I promise I will send them
soon.

Thanks.

Gary