English

Etymology

From the French

Noun

villanelle

1. a type of poetry, consisting of five tercets and one quatrain, with only two rhymes.

A villanelle is a poetic form which entered English-language poetry in the 1800s from the imitation of French models. A villanelle has only two rhyme sounds. The first and third lines of the first stanza are rhyming refrains that alternate as the third line in each successive stanza and form a couplet at the close. A villanelle is nineteen lines long, consisting of five tercets and one concluding quatrain.

Many published works mistakenly claim that the strict modern form of the villanelle originated with the medieval troubadours, but in fact medieval and Renaissance villanelles were simple ballad-like songs with no fixed form or length. The chief French popularizer of the villanelle form was the nineteenth-century author Théodore de Banville; Banville was led to think that the villanelle was an antique form by Wilhelm Ténint.

The Penal

Although the villanelle is usually labeled "a French form," by far the majority of villanelles are in English. Edmund Gosse, influenced by Théodore de Banville, was the first English writer to praise the villanelle and bring it into fashion with his 1877 essay "A Plea for Certain Exotic Forms of Verse." Gosse, Austin Dobson, Oscar Wilde, and Edwin Arlington Robinson were among the first English practitioners. Most modernists disdained the villanelle, which became associated with the overwrought formal aestheticism of the 1890s; i.e. the decadent movement in England. James Joyce included a villanelle ostensibly written by his adolescent fictional alter-ego Stephen Dedalus in his 1914 novel A Portrait of the Artist as a Young Man, probably to show the immaturity of Stephen's literary abilities. William Empson revived the villanelle more seriously in the 1930s, and his contemporaries and friends W. H. Auden and Dylan Thomas also picked up the form. Dylan Thomas's "Do not go gentle into that good night" is perhaps the most renowned villanelle of all. Theodore Roethke and Sylvia Plath wrote villanelles in the 1950s and 1960s, and Elizabeth Bishop wrote a particularly famous and influential villanelle, "One Art," in 1976. The villanelle reached an unprecedented level of popularity in the 1980s and 1990s with the rise of the New Formalism. Since then, many contemporary poets (for instance, John M. Ford) have written villanelles, and they have often varied the form in innovative ways.

Form

The villanelle has no established meter, although most nineteenth-century villanelles have used trimeter or tetrameter and most twentieth-century villanelles have used pentameter. The essence of the fixed modern form is its distinctive pattern of rhyme and repetition. The rhyme-and-refrain pattern of the villanelle can be schematized as A1bA2 abA1 abA2 abA1 abA2 abA1A2 where letters ("a" and "b") indicate the two rhyme sounds, upper case indicates a refrain ("A"), and superscript numerals (1 and 2) indicate Refrain 1 and Refrain 2.

Refrain 1 (A1)

Line 2 (b)

Refrain 2 (A2)

Line 4 (a)

Line 5 (b)

Refrain 1 (A1)

Line 7 (a)

Line 8 (b)

Refrain 2 (A2)

Line 10 (a)

Line 11 (b)

Refrain 1 (A1)

Line 13 (a)

Line 14 (b)

Refrain 2 (A2)

Line 16 (a)

Line 17 (b)

Refrain 1 (A1)

Refrain 2 (A2)

Examples

• Edwin Arlington Robinson's villanelle "The House on the Hill" was first published in The Globe in September 1894.

They are all gone away,

The House is shut and still,

There is nothing more to say.

Through broken walls and gray

The winds blow bleak and shrill.

They are all gone away.

Nor is there one to-day

To speak them good or ill:

There is nothing more to say.

Why is it then we stray

Around the sunken sill?

They are all gone away,

And our poor fancy-play

For them is wasted skill:

There is nothing more to say.

There is ruin and decay

In the House on the Hill:

They are all gone away,

There is nothing more to say.

• Dylan Thomas's "Do Not Go Gentle into that Good Night," first published in the journal Botteghe Oscure in 1951.

Do not go gentle into that good night,

Old age should burn and rave at close of day;

Rage, rage against the dying of the light.

Though wise men at their end know dark is right,

Because their words had forked no lightning they

Do not go gentle into that good night.

Good men, the last wave by, crying how bright

Their frail deeds might have danced in a green bay,

Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,

And learn, too late, they grieved it on its way,

Do not go gentle into that good night.

Grave men, near death, who see with blinding sight

Blind eyes could blaze like meteors and be gay,

Rage, rage against the dying of the light.

And you, my father, there on the sad height,

Curse, bless, me now with your fierce tears, I pray.

Do not go gentle into that good night.

Rage, rage against the dying of the light.

The full text is available at Poets.org.

See also

• Vers de société
• Villanella
• Paradelle
• Terzanelle (a villanelle combined with the Terza rima)
• Tercet
• Elizabeth Bishop
• Theodore Roethke
• Weldon Kees
• Marilyn Hacker
• Wendy Cope
• Jared Carter
• Frank Scott
• Fixed Verse Poetry Form

External links

• Description and Examples of the villanelle from a web page for a course taught by poet Alberto Ríos.
• I am the King now, and I want a sandwich by John M. Ford (originally part of the longer "A Little Scene to Monarchize", 1990)
• The Villanelle Sandwich

References