The quintil's unusual five-line structure appears in some poems by Verlaine, where the odd line count creates a sense of incompleteness or excess, one line too many for the symmetrical quatrain, that perfectly embodies the emotional surplus of lyric yearning; Hugo occasionally uses the quintil in his more experimental verse, finding in its asymmetrical structure a formal equivalent for the excesses and imbalances of Romantic passion that the even stanzas of classical poetry could not accommodate; A student constructing a quintil with the rhyme scheme ABABB should note how the four A and B rhymes in different positions create a sense of almost-satisfaction, the fifth line always seeming to add something beyond the natural closure of a quatrain; The quintil's rarity in French poetry compared to the quatrain and sizain makes it a marked choice when it appears: a poet who chooses five-line stanzas is deliberately seeking the formal instability of the odd number, making the stanza structure itself a bearer of meaning; The AABAB quintil creates a different dynamic from the ABABB: in the first, the opening couplet provides stability before the alternating rhymes disturb it; in the second, the alternation precedes the closing couplet, creating a different rhythm of question and partial resolution; A student analyzing quintils should pay particular attention to how the fifth line functions: does it provide a resolution that the preceding four lines set up, or does it introduce a new element that reopens the question the first four lines appeared to close?