A Summer’s Day
Beckons me out
To play and live life full
The sea is where I go to dance
Twist gold and red
And drift like butterflies
To earth, settling on crisp, cooled ground
A Winter's Morn
Like clouds of wool
Blankets the town below
And hides her from my eyes till noon
And bees busy
While flowers sprout and bloom
To chorus a joyous welcome
© 2010 K A Little. All Rights Reserved.
About the Cinquain
From Wikipedia http://en.wikipedia.org/wiki/Cinquain:
In her 1915 collection titled Verse, published one year after her death, Crapsey included 28 cinquains.
Crapsey's cinquains utilized an increasing syllable count in the first four lines, namely two in the first, four in the second, six in the third, and eight in the fourth, before returning to two syllables on the last line. In addition, though little emphasized by critics, each line in the majority of Crapsey cinquains has a fixed number of stressed syllables, as well, following the pattern one, two, three, four, one. The most common metrical foot in her twenty-eight published examples is the iamb, though this is not exclusive. Lines generally do not rhyme. In contrast to the Eastern forms upon which she based them, Crapsey always titled her cinquains, effectively utilizing the title as a sixth line.
The form is illustrated by Crapsey's "November Night":
With faint dry sound,
Like steps of passing ghosts,
The leaves, frost-crisp'd, break from the trees
The Crapsey cinquain has subsequently seen a number of variations by modern poets.