15+ Must-Read Quintain Poems

(15 to start, 40+ to explore)

Quintain poems are poetic forms composed of five lines in a single stanza. They can follow different rhyme schemes, such as ABABA, AABBA, or ABCAB.

Quintain poems allow poets to explore a wide range of themes and emotions within a concise structure. The brevity of the form challenges poets to convey their ideas succinctly while creating a sense of completeness in each poem.

Quintains can be playful, romantic, contemplative, or deeply philosophical, making them a versatile and accessible verse form.

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The Road Not Taken

by Robert Frost

Robert Frost’s ‘The Road Not Taken’ explores life’s choices, opportunities, and the ensuing lingering regret of untaken paths.

The poem is made up of four quintains, i.e., five-line stanzas following a fixed rhyme and meter pattern; thus, it is also a formal verse, as without adhering to any fixed form, it follows a fixed pattern. It follows loose iambic tetrameter having unstressed-stressed iambs while occasionally replacing iambs with anapests following unstressed-unstressed-stressed syllables. Further, the poem follows a consistent ABAAB rhyme scheme. Along with end rhymes of the ABAAB pattern, it employs irregular assonance, i.e., repeating the same vowel sound, adding a layer of sonic texture.

Two roads diverged in a yellow wood,

And sorry I could not travel both

And be one traveler, long I stood

And looked down one as far as I could

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Rivers to the Sea

by Sara Teasdale

‘Rivers to the Sea’ by Sara Teasdale explores poetry’s turbulent impact, as the moon fails to calm strong emotions.

'Rivers to the Sea' by Sara Teasdale follows the quintain structure, with a single stanza comprising five lines. This form, commonly known as a quintain, is a structured framework that allows the poet to present a concise and cohesive message. Each line in this poem plays a distinct role in conveying the central theme, creating a balanced and structured composition, typical of the quintain form.

But what of her whose heart is troubled by it,

The mother who would soothe and set him free,

Fearing the song’s storm-shaken ecstasy

Oh, as the moon that has no power to quiet

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For Heidi With Blue Hair

by Fleur Adcock

‘For Heidi With Blue Hair’ is a six-stanza poem that uses action and dialogue to paint a literary picture where little to no physical setting is provided.

'For Heidi With Blue Hair' by Fleur Adcock follows a quintain form, consisting of five-line stanzas. This structure allows Adcock to develop each stage of Heidi's narrative with clarity and progression. The quintain form enhances the poem's coherence and rhythmic flow, contributing to its narrative drive and thematic depth by providing a structured framework for exploring themes of individuality, rebellion, and societal norms.

When you dyed your hair blue

(or, at least ultramarine

for the clipped sides, with a crest

of jet-black spikes on top)

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Absence

by Elizabeth Jennings

‘Absence’ explores grief’s solitude, contrasting unchanged scenes with internal turmoil, capturing the stark reality of loss.

'Absence' adopts the quintain form, which consists of stanzas with five lines each. This structure allows for a balanced and rhythmic exploration of the themes, with each quintain presenting a distinct yet interconnected aspect of the speaker’s emotional experience. The quintain form contributes to the poem's reflective tone, emphasizing the contrast between external constancy and internal turmoil.

I visited the place where we last met.

Nothing was changed, the gardens were well-tended,

The fountains sprayed their usual steady jet;

There was no sign that anything had ended

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Introduction to the Songs of Experience

by William Blake

William Blake’s ‘Introduction to the Songs of Experience’ is a poem that weaves together themes like spirituality and the struggle between reason and imagination.

In this quintain, Blake distills spiritual yearning into five-line bursts, eschewing sprawling narratives for rhythmic, hymn-like stanzas. Earthly and divine intertwine in metaphors and personifications, culminating in a plea for renewal. Compact yet impactful, it exemplifies Blake's thematic coherence and stylistic versatility in a concise form.

Hear the voice of the Bard!

Who Present, Past, & Future sees;

Whose ears have heard

The Holy Word

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The Present Crisis

by James Russell Lowell

‘The Present Crisis’ by James Russell Lowell is an anthem against slavery and, by extension, other racially-induced crimes. Penned in 1845 as a protest against the permission of slavery in Texas, this long poem now serves as a voice for all people of color who continue to face discrimination today.

This poem is divided into five-line stanzas, known as quintains. These quintains are very evenly structured and visually nearly identical. Readers should easily move through the text from stanza to stanza, finding that each stanza follows the expected pattern.

Slavery, the earth-born Cyclops, fellest of the giant brood,

Sons of brutish Force and Darkness, who have drenched the earth with blood,

Famished in his self-made desert, blinded by our purer day,

Gropes in yet unblasted regions for his miserable prey;—

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At that hour when all things have repose

by James Joyce

‘At that hour when all things have repose’ by James Joyce is a lyrical poem that explores themes of lovelorn solitude and the sublime beauty of music.

James Joyce wrote a majority of the poems found in 'Chamber Music' in the style of a ballad, but there are a few that break away from this style, such as this poem, which is an example of a quintain. Each of its three stanzas is composed of five lines with an alternating rhyme scheme that mirrors the poem's auditory imagery.

At that hour when all things have repose,

O lonely watcher of the skies,

Do you hear the night wind and the sighs

Of harps playing unto Love to unclose

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Don’t Quit

by Edgar Guest

‘Don’t Quit’ by Edgar Albert Guest is a simple poem about facing the difficulties in one’s life and persevering through them.

Although the poem contains a tercet and a quatrain, the majority of stanzas are quintrains. Such a mixture keeps the structure dynamic and engaging, effectively bolstering the poem's impactful, encouraging content.

When things go wrong, as they sometimes will,

when the road you're trudging seems all uphill,

when the funds are low and the debts are high,

and you want to smile but you have to sigh,

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Exposure

by Wilfred Owen

‘Exposure’ offers an in-depth view of life in the frosted winter of Northern France, where soldiers on duty would be left exposed to the elements.

Each stanza in 'Exposure' is made up of five lines, which clearly follows the structure of a quintain. The repeated use of this five-line form helps reflect the slow and repetitive nature of life in the trenches. The structure builds tension quietly and steadily, matching the soldiers’ long hours of waiting. This consistent form also makes the poem feel restrained, as if the men’s emotions are being held in, just like their movements and choices in war.

Watching, we hear the mad gusts tugging on the wire, 

Like twitching agonies of men among its brambles. 

Northward, incessantly, the flickering gunnery rumbles, 

Far off, like a dull rumour of some other war. 

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The Mask

by Elizabeth Barrett Browning

‘The Mask’ by Elizabeth Barrett Browning is a highly relatable poem that explores society’s expectations and how they often mean you can’t express yourself fully. 

This poem is divided into sets of five lines, or quintains. These quintains follow the same rhyme scheme of ABABA throughout. This is furthered by the poet's use of a standard metrical pattern.

I HAVE a smiling face, she said,

I have a jest for all I meet,

I have a garland for my head

And all its flowers are sweet, —

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A Wife in London

by Thomas Hardy

Hardy’s ‘A Wife in London’ reveals the irony of war, as a widow receives her fallen husband’s hopeful letter after his death.

This poem is written in quintains, meaning each stanza has five lines. The steady five-line structure supports the calm but heavy tone of the poem. It allows Hardy to deliver the story in slow, quiet sections that reflect the stages of loss. The quintain form helps shape the pacing, especially as the poem moves from news of death to the arrival of a final letter. Its simple form holds the deep emotion without needing anything more complex.

She sits in the tawny vapour

That the Thames-side lanes have uprolled,

Behind whose webby fold-on-fold

Like a waning taper

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Growing Old

by Matthew Arnold

‘Growing Old’ is about the reality of aging and how ones youthful expectations will not be fulfilled as one’s body losing beauty and strength.

This poem is written in quintains, which means each stanza has five lines. The structure gives the poem a steady, organized flow while allowing the speaker to express thoughts in a reflective and personal way. Each stanza builds on the emotions of aging, disappointment, and loss, making the form work well with the poem’s serious tone. The five-line stanzas create a slow, thoughtful rhythm that matches the poem’s reflective nature.

What is it to grow old?

Is it to lose the glory of the form,

The luster of the eye?

Is it for beauty to forego her wreath?

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He Prefers Her Earthly

by Thomas Hardy

‘He Prefers Her Earthly’ by Thomas Hardy is a profoundly moving poem that compares and contrasts the physical and spiritual presence of a dead loved one.

This poem by Thomas Hardy is structured as a quintain as all its stanzas contain five lines. A variety of poetic forms use this style including cinquain and quintilla. Yet Hardy's poem uses its five lines to deeply explore the speaker's grief, as well as their belief that the ethereal pales in comparison to the physical and tangible.

This after-sunset is a sight for seeing,

Cliff-heads of craggy cloud surrounding it.

—And dwell you in that glory-show?

You may; for there are strange strange things in being,

Stranger than I know.

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The Schoolboy

by William Blake

‘The Schoolboy’ by William Blake is told from the perspective of a young boy who believes school is negatively impacting him.

This poem is written in the form of a quintain, which means each stanza has five lines. The structure gives the poem a steady rhythm, making it easy to read and follow. The rhyme pattern changes slightly between stanzas, which adds variety to the flow of the poem. The use of quintains helps create a balance between the boy’s joyful moments in nature and his frustration with school.

I love to rise in a summer morn,

When the birds sing on every tree;

The distant huntsman winds his horn,

And the skylark sings with me:

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Envy

by Mary Lamb

By utilizing different types of flowers, Lamb’s ‘Envy’ showcases that envy is an unnecessary quality to possess.

The structure of the poem is based on three clear stanzas, each made up of six lines. This consistent pattern gives it a quiet and controlled rhythm that supports its message well. The rhyme scheme within each stanza is balanced and easy to follow, helping the poem feel complete without sounding forced. Because the six-line form is central to how the poem is delivered, and it holds the message together, this form deserves the highest score here.

his rose-tree is not made to bear

The violet blue, nor lily fair,

Nor the sweet mignionet:

And if this tree were discontent,

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