A triolet ( UK : / ˈ t r aɪ ə l ɪ t / , US : / ˌ t r iː ə ˈ l eɪ / ) is almost always a stanza poem of eight lines, though stanzas with as few as seven lines and as many as nine or more have appeared in its history. Its rhyme scheme is ABaAabAB (capital letters represent lines repeated verbatim) and often in 19th century English triolets all lines are in iambic tetrameter , though in traditional French triolets, from the 17th century on, the second, sixth and eighth lines tend to be iambic trimeters followed by one amphibrachic foot each. In French terminology, a line ending in an iambic foot was denoted as masculine, while a line ending in an amphibrachic foot was called feminine. Depending on the language and era, other meters are seen, even in French. The first, fourth and seventh lines are identical, as are the second and final lines, thereby making the initial and final couplets identical as well. In a traditional French triolet, the second and third non-repeating lines rhyme with the repeating first, fourth, and seventh lines, while the non-repeating sixth line rhymes with the second and eighth repeating lines. However, especially in German triolets of the 18th and 19th centuries, one will see this pattern often violated.
55-480: The triolet is a close cousin of the rondeau , the rondel , and the rondelet , other French verse forms emphasizing repetition and rhyme. The form stems from medieval French poetry and seems to have had its origin in Picardy . The earliest written examples are from the late 13th century. In this century, possibly the earliest surviving triolet is from "Li Roumans dou Chastelain de Couci et de la Dame de Fayel", where it
110-405: A A a b A B Sweet gracious face, I have served you with a sincere heart. If you will have pity on me, sweet gracious face, then if I am a bit shy, do not embarrass me: Sweet gracious face, I have served you with a sincere heart. In larger rondeau variants, each of the structural sections may consist of several verses, although the overall sequence of sections remains
165-457: A Benedictine at Douai , who purportedly used them in his devotions. None of Cary's poetry was published until the late 18th century and his triolets did not achieve notice until Sir Walter Scott published them in 1820. Probably, the two earliest publications of a triolet in English were both translations of Ranchin's king of triolets , with one being published in 1728 and the other in 1806. In 1835
220-404: A Naturalist (1909), both edited by W. H. Chesson, and the latter book with an introduction and epilogue by Gosse. Gosse was second cousin of Annie Morgan, also of strict Plymouth Brethren upbringing, who married physician Alexander Waugh (1840–1906) and was mother of Arthur Waugh and grandmother to the writers Alec Waugh and Evelyn Waugh . Gosse started his career as assistant librarian at
275-638: A banker. He later gave an account of his childhood in the book Father and Son , which has been described as the first psychological biography. At the age of 18 and working in the British Museum in London, he broke away from his father's influence in a dramatic coming of age . Nearly a century after Gosse's death, a study based on his published remarks and writings about his father concluded that, in varying degrees, they are "riddled with error, distortion, contradictions, unwarranted claims, misrepresentation, abuse of
330-453: A challenge to arrange for these refrains to contribute to the meaning of the poem in as succinct and poignant a manner as possible. Perhaps the best-known English rondeau is the World War I poem, In Flanders Fields by Canadian John McCrae : A more complex form is the rondeau redoublé . This is also written on two rhymes, but in five stanzas of four lines each and one of five lines. Each of
385-435: A formative influence on Siegfried Sassoon , the nephew of his lifelong friend, Hamo Thornycroft. Sassoon's mother was a friend of Gosse's wife, Ellen. Gosse was also closely tied to figures such as Algernon Charles Swinburne , John Addington Symonds , and André Gide . His book The Autumn Garden , which was published in 1908 by the London publisher William Heinemann , includes over 50 individual poems and essays. Gosse
440-455: A long history, triolets, with the exception of France in the years from 1648 to 1652, have always been a relatively rare verse form. Nevertheless, the number of languages in which triolets have been written and the number of poets who have written triolets has steadily increased and it seems to be exhibiting a new vitality with the advent of the 21st century. The following five triolets were written in 1651, 1806, 1870, 1877 and 1888, respectively,
495-400: A master. 4. Love's but a dance Oh, Love's but a dance, Where Time plays the fiddle! See the couples advance,— Oh, Love's but a dance! A whisper, a glance, — Shall we twirl down the middle? Oh, Love's but a dance, Where Time plays the fiddle! Robert Fellows' piece "The first of May" derives its title from an English translation of the first line of an older triolet written by
550-401: A physician (but is probably best known as the author of The Pirates' Who's Who (1924) ) and Laura Sylvia (1881-1968), who became a well-known painter. Despite a reportedly happy marriage Gosse had consistent, if deeply closeted, homosexual desires. Although initially reluctant to acknowledge these desires, in 1890 Gosse did acknowledge to John Addington Symonds , around the time the latter
605-509: A point of developing it in new directions not seen with English and French writers. In addition to German, the triolet also appeared in Dutch, Greek, Hungarian, Polish, Portuguese, Russian, Spanish, and possibly other languages during these two centuries. Moreover, in Brazil in the late 19th century, the triolet spawned a new, somewhat abbreviated, six-line verse form known as the biolet. Though possessing
SECTION 10
#1732869913153660-518: A rondel of Froissart was translated into English as a triolet. In 1870 Robert Bridges became the first English poet to write original triolets in English that were published and achieved recognition in England. This, though, was less through his own efforts than through the impact of an influential article written by Edmund Gosse and printed in 1877 in the Cornhill Magazine reintroducing the triolet to
715-475: A slightly abbreviated seven-line variation of the triolet which she, like her predecessors, also termed a rondel. Toward the end of this century, Dutch language triolets (though designated as rondels) by Anthonis de Roovere appear. Also, at the end of the 15th century, the term triolet appears for the first time. It was probably first so designated by Octavien de Saint-Gelais, whose colleague André de la Vigne appears to have designated his own triolets as rondelets. In
770-454: A soloist. The term "Rondeau" is used both in a wider sense, covering older styles of the form which are sometimes distinguished as the triolet and rondel , and in a narrower sense referring to a 15-line style which developed from these forms in the 15th and 16th centuries. The rondeau is unrelated to the much later instrumental dance form that shares the same name in French baroque music , which
825-415: A total of 13 or 14 lines respectively. This form is usually defined as the " rondel " in modern literary compendia. Another version has the refrains shortened even further. Both restatements are reduced to just the first two or three words of the first line, which now stand as short, pithy, non-rhyming lines in the middle and at the end of the poem. These half-lines are called rentrement . If derived from
880-455: A translator at the Board of Trade , a post which he held until 1904 and gave him time for his writing and enabled him to marry and start a family. From 1884 to 1890, Gosse lectured in English literature at Trinity College, Cambridge , despite his lack of academic qualifications. Cambridge University gave him an honorary MA in 1886, and Trinity College formally admitted him as a member, 'by order of
935-529: Is a triolet about writing a triolet and Ranchin's, also known as the "king of triolets", is about falling in love on the first of May. Though the triolet did not recover its former popularity in 18th century France, it did, with the appearance of Théodore de Banville in the mid-19th century, experience a revival of interest with triolets being written by Arthur Rimbaud, Maurice Rollinat, Alphonse Daudet, and Stéphane Mallarmé. The earliest known triolets composed in English were written in 1651 by Patrick Cary , briefly
990-415: Is an example of a modern English triolet. "Birds At Winter" Around the house the flakes fly faster, And all the berries now are gone From holly and cotoneaster Around the house. The flakes fly! – faster Shutting indoors the crumb-outcaster We used to see upon the lawn Around the house. The Flakes fly faster And all the berries now are gone! In the last line the punctuation is altered; this
1045-445: Is common although not strictly in keeping with the original form. Furthermore, the fact that the "berries now are gone" has a new relevance, the birds are going unfed, creates a new significance from the line repetition. Rondeau (poetry) A rondeau ( French: [ʁɔ̃do] ; plural: rondeaux ) is a form of medieval and Renaissance French poetry , as well as the corresponding musical chanson form. Together with
1100-485: Is known as the "rondeau" proper today. The following is a typical example of this form: A large corpus of medieval French rondeaux was collected, catalogued, and studied by Nico H.J. van den Boogaard in his dissertation Rondeaux et refrains du XIIe siècle au début du XIVe: Collationnement, introduction et notes (Paris: Klincksieck, 1969). Like the other formes fixes, the Rondeau (in its original form with full refrains)
1155-404: Is more commonly called the rondo form in classical music. The older French rondeau or rondel as a song form between the 13th and mid-15th century begins with a full statement of its refrain, which consists of two halves. This is followed first by a section of non-refrain material that mirrors the metrical structure and rhyme of the refrain's first half, then by a repetition of the first half of
SECTION 20
#17328699131531210-425: Is referred to as simply a song ("chanson"). Seven more easily datable 13th century triolets (also known as songs) are to be found in "Cléomadès" by Adenet le Roi. In the early 14th century, the songwriter, Jean Lescurel, wrote many triolets under the term of rondel. Lescurel was followed by Guillaume Machaut and, at the end of the century, by Jean Froissart. In the early 15th century, Christine de Pisan experimented with
1265-719: The Cornhill Magazine . He was soon reviewing Scandinavian literature in a variety of publications. He became acquainted with Alfred, Lord Tennyson and friends with Robert Browning , Algernon Charles Swinburne , Thomas Hardy and Henry James . In the meantime, he published his first solo volume of poetry, On Viol and Flute (1873) and a work of criticism, Studies in the Literature of Northern Europe (1879). Gosse and Robert Louis Stevenson first met while teenagers, and after 1879, when Stevenson came to London on occasion, he would stay with Gosse and his family. In 1875 Gosse became
1320-552: The Sunday Times , and was an expert on Thomas Gray , William Congreve , John Donne , Jeremy Taylor , and Coventry Patmore . He can also take credit for introducing Henrik Ibsen 's work to the British public. Gosse and William Archer collaborated in translating Hedda Gabler and The Master Builder ; those two translations were performed throughout the 20th century. Gosse and Archer, along with George Bernard Shaw , were perhaps
1375-541: The British Museum from 1867 alongside the songwriter Theo Marzials , a post which Charles Kingsley helped his father obtain for him. An early book of poetry published with a friend John Arthur Blaikie gave him an introduction to the Pre-Raphaelite Brotherhood . Trips to Denmark and Norway in 1872–74, where he visited Hans Christian Andersen and Frederik Paludan-Müller , led to publishing success with reviews of Henrik Ibsen and Bjørnstjerne Bjørnson in
1430-458: The ballade and the virelai it was considered one of three formes fixes , and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries. It is structured around a fixed pattern of repetition of verse with a refrain . The rondeau is believed to have originated in dance songs involving singing of the refrain by a group alternating with the other lines by
1485-437: The rondeau cinquain it is AABBA aab AAB aabba AABBA. A typical example of a rondeau cinquain of the 15th century is the following: In the medieval manuscripts, the restatement of the refrain is usually not written out, but only indicated by giving the first words or first line of the refrain part. After the mid-15th century, this feature came to be regarded no longer as a mere scribal abbreviation, but as an actual part of
1540-434: The rondeau simple , each of the structural parts is a single verse, leading to the eight-line structure known today as triolet , as shown in "Doulz viaire gracieus" by Guillaume de Machaut : Doulz viaire gracieus, de fin cuer vous ay servi. Weillies moy estre piteus, Doulz viaire gracieus, Se je sui un po honteus, ne me mettes en oubli: Doulz viaire gracieus, de fin cuer vous ay servi. A B
1595-458: The 15th century, the musical form went out of fashion and the rondeau became a purely literary form. The musical rondeau is typically a two-part composition, with all the "A" sections of the poem's AB-aAab-AB structure set to one line of music, and all the "B" parts to another. Although far rarer than the French usage, the Italian equivalent , the rondello was occasionally composed and listed among
1650-560: The 16th century, variously designated French and Dutch triolets continue to appear, though they largely lose favor by the end of the century. In the 17th century from 1648 to 1652, triolets designated as triolets became suddenly popular in France during the civil uprisings of the " Fronde " when triolets were used for propaganda purposes and for character assassination. However, what remains easily accessible from this period are, basically, two poems, one by Marc-Antoine Girard, Sieur de Saint-Amant and another by Jacques de Ranchin. Saint-Amant's poem
1705-508: The Council', in 1889. He made a successful American lecture tour in 1884 and was much in demand as a speaker and on committees as well as publishing a string of critical works as well as poetry and histories. He became, in the 1880s, one of the most important art critics dealing with sculpture (writing mainly for the Saturday Review ) with an interest spurred on by his intimate friendship with
Triolet - Misplaced Pages Continue
1760-486: The English public at large, among whom it enjoyed a brief popularity among late-nineteenth-century British poets. Not only did the triolet come to enjoy popularity in the late 19th century among English writers, but in the 18th and 19th centuries, it also came to enjoy a certain popularity among writers of other European languages. Among the various languages in which the triolet appeared, German writers of triolets, in particular, were not only numerous, but, by and large, made
1815-509: The French poet Ranchin in c. 1690. In reference to Ranchin's original French triolet, English poet and literary critic Edmund Gosse claimed that "No more typical specimen of the [early French] triolet could be found": Le premier jour du mois de mai Fut le plus heureux de ma vie: Le beau dessein que je formais, Le premier jour du mois de mai! Je vous vis et je vous aimais. Si ce dessein vous plut, Sylvie, Le premier jour du mois de mai Fut le plus heureux de ma vie. The following
1870-670: The Italian forms of poetry for music. A single rondello appears in the Rossi Codex . In addition, several rondeaux in French appear entirely in sources originating in Italy, the Low Countries , and Germany , suggesting that these works (including Esperance, qui en mon cuer ) may not have a purely French provenance. Later, in the Baroque era, the label rondeau (or the adjectival phrase en rondeau )
1925-450: The book Father and Son has been described as the first psychological biography. His friendship with the sculptor Hamo Thornycroft inspired a successful career as a historian of late-Victorian sculpture. His translations of Henrik Ibsen helped to promote that playwright in England, and he encouraged the careers of Sarojini Naidu , W. B. Yeats and James Joyce . He also lectured in English literature at Cambridge University . Gosse
1980-508: The end of The Parliament of Fowls , where the birds are said to "synge a roundel" to a melody "imaked in Fraunce": In its classical 16th-century 15-line form with a rentrement (aabba–aabR–aabbaR), the rondeau was used by Thomas Wyatt . Later, it was reintroduced by some late 19th-century and 20th-century poets, such as Paul Laurence Dunbar (" We Wear the Mask "). It was customarily regarded as
2035-415: The erstwhile rondeau quatrain , this results in a 12-line structure that is now called the "rondeau prime", with the rentrements in lines 7 and 12. If derived from the erstwhile 21-line rondeau cinquain , the result is a 15-line form with the rentrements in lines 9 and 15 (rhyme scheme aabba–aabR–aabbaR). This 15-line form became the norm in the literary rondeau of the later Renaissance, and
2090-483: The first four being written by Englishmen and the last by an American. 1. Farewell all earthly joys and care Worldly designs, fears, hopes, farewell! Farewell all earthly joys and cares! On nobler thoughts my soul shall dwell, Worldly designs, fears, hopes, farewell! At quiet, in my peacefull cell, I'll think on God, free from your snares; Worldly designs, fears, hopes, farewell! Farewell all earthly joys and cares 2. The first of May The first morn in
2145-407: The first four lines (stanza 1) get individually repeated in turn once by becoming successively the respective fourth lines of stanzas 2, 3, 4, & 5; and the first part of the first line is repeated as a short fifth line to conclude the sixth stanza. This can be represented as - A1,B1,A2,B2 - b,a,b,A1 - a,b,a,B1 - b,a,b,A2 - a,b,a,B2 - b,a,b,a,(A1). The following example of the form was written from
2200-452: The literary critics most responsible for popularising Ibsen's plays among English-speaking audiences. Gosse was instrumental in getting official financial support for two struggling Irish writers, W.B. Yeats in 1910 and James Joyce in 1915. This enabled both writers to continue their chosen careers. His most famous book is the autobiographical Father and Son , about his troubled relationship with his Plymouth Brethren father, Philip, which
2255-601: The month of May I prize far more than all the rest; For thee I saw and told that day, The first morn of the month of May, That thou my heart had'st stolen away. If thee please what I then confessed, The first morn in the month of May I prize far more than all the rest. 3. When we first met When first we met we did not guess That Love would prove so hard a master; Of more than common friendliness When first we met we did not guess Who could foretell this sore distress, This irretrievable disaster When first we met? We did not guess That Love would prove so hard
Triolet - Misplaced Pages Continue
2310-433: The poetry. As the form was gradually divorced from the musical structure and became a purely literary genre, it is often not entirely clear how much of the refrain material was actually meant to be repeated. A rondeau quatrain in which the first refrain interjection (lines 7–8, rhymes AB) is preserved in full, while the final restatement of the refrain is reduced to a single line (A) or again just two lines (AB), ends up with
2365-567: The point of view of one of the RAF officers carrying the coffin of Diana, Princess of Wales to the plane that was to carry it to England. Edmund Gosse Sir Edmund William Gosse CB ( / ɡ ɒ s / ; 21 September 1849 – 16 May 1928) was an English poet, author and critic. He was strictly brought up in a small Protestant sect, the Plymouth Brethren , but broke away sharply from that faith. His account of his childhood in
2420-418: The refrain, then by a new section corresponding to the structure of the full refrain, and finally by a full restatement of the refrain. Thus, it can be schematically represented as AB aAab AB, where "A" and "B" are the repeated refrain parts, and "a" and "b" the remaining verses. If the poem has more than one stanza, it continues with further sequences of aAab AB, aAab AB, etc. In its simplest and shortest form,
2475-495: The registry office wedding) at the end of their honeymoon in Devon and Cornwall. She continued to paint and wrote stories and reviews for various publications. In 1907, she inherited a sizeable fortune from her uncle, James Epps (the brother of John Epps and who had made his fortune in cocoa). They were married more than 53 years and they had three children: Emily Teresa ("Tessa") (1877-1951), Philip Henry George (1879–1959) who became
2530-400: The same. Variants include the rondeau tercet , where the refrain consists of three verses, the rondeau quatrain , where it consists of four (and, accordingly, the whole form of sixteen), and the rondeau cinquain , with a refrain of five verses (and a total length of 21), which becomes the norm in the 15th century. In the rondeau quatrain , the rhyme scheme is usually ABBA ab AB abba ABBA; in
2585-626: The sculptor Hamo Thornycroft . Gosse would eventually write the first history of the renaissance of late-Victorian sculpture in 1894 in a four-part series for The Art Journal , dubbing the movement the New Sculpture . In 1902 he published an English translation of Alexandre Dumas fils Lady of the Camellias . In 1904, he became the librarian of the House of Lords Library , where he exercised considerable influence till he retired in 1914. He wrote for
2640-453: The written record, and unfamiliarity with the subject." Eliza Gosse's brother George Brightwen was the husband of Eliza Brightwen née Elder (1830–1906), a naturalist and author, whose first book was published in 1890. After Eliza Brightwen's death, Edmund Gosse arranged for the publication of her two posthumous works, Last Hours with Nature (1908) and Eliza Brightwen, the Life and Thoughts of
2695-415: Was applied to dance movements in simple refrain form by such composers as Jean-Baptiste Lully and Louis Couperin . Arnold Schoenberg 's Pierrot Lunaire sets 21 poems by Albert Giraud , each of which is a 13-line poetic rondeau. The French rondeau forms have been adapted to English at various times by different poets. Geoffrey Chaucer wrote two rondeaus in the rondeau tercet form, one of them at
2750-453: Was dramatised for television by Dennis Potter . Published anonymously in 1907, this followed a biography he had written of his father as naturalist, when he was urged by George Moore among others to write more about his past. Historians caution, though, that notwithstanding its psychological insight and literary excellence, Gosse's narrative is often at odds with the verifiable facts of his own and his parents' lives. In later life, he became
2805-411: Was eight and they moved to Devon, his life with his father became increasingly strained by his father's expectations that he should follow in his religious tradition. Gosse was sent to a boarding school where he began to develop his interests in literature. In 1860, his father remarried the deeply religious Quaker spinster Eliza Brightwen (1813–1900), whose brother Thomas tried to encourage Edmund to become
SECTION 50
#17328699131532860-430: Was frequently set to music. The earliest surviving polyphonic rondeaux are by the trouvère Adam de la Halle in the late 13th century. In the 14th and 15th centuries, Guillaume de Machaut , Guillaume Dufay , Hayne van Ghizeghem and other prominent composers were prolific in the form. Early rondeaux are usually found as interpolations in longer narrative poems, and separate monophonic musical settings survive. After
2915-676: Was the literary editor for the 1911 edition of the Encyclopædia Britannica . Gosse married Ellen Epps (23 March 1850 – 29 August 1929), a young painter in the Pre-Raphaelite circle, who was the daughter of George Napoleon Epps . Though she was initially determined to pursue her art, she succumbed to his determined courting and they married in August 1875, with a reception at the house of Lawrence Alma-Tadema (her brother-in-law) and visiting Gosse's father and step-mother (who did not attend
2970-503: Was the son of Philip Henry Gosse and Emily Bowes . His father was a naturalist and his mother an illustrator who published a number of books of poetry. Both were deeply committed to a small Protestant sect, the Plymouth Brethren . His childhood was initially happy as they spent their summers in Devon , where his father was developing the ideas that gave rise to the craze for the marine aquarium . After his mother died of breast cancer when he
3025-457: Was working on A Problem in Modern Ethics , that indeed he (Gosse) was attracted to men, thus confirming suspicions Symonds had voiced earlier. "Either way, I entirely deeply sympathize with you. Years ago I wanted to write to you about all this," Gosse wrote to Symonds, "and withdrew through cowardice. I have had a very fortunate life, but there has been this obstinate twist in it! I have reached
#152847