33:
171:, with no particular form implied—a meaning it retains in the vocabulary of early music. According to Julie Kane, the refrain in each stanza indicates that the form descended from a "choral dance song" wherein a vocal soloist—frequently female—semi-improvised the "unique" lyrics of each stanza, while a ring of dancers—all female, or male and female mixed—chimed in with the repetitive words of the refrain as they danced around her in a circle."
107:. From this point, its evolution into the "fixed form" used in the present day is debated. Despite its French origins, the majority of villanelles have been written in English, a trend which began in the late nineteenth century. The villanelle has been noted as a form that frequently treats the subject of obsessions, and one which appeals to outsiders; its defining feature of repetition prevents it from having a conventional tone.
253:
Despite its classification and origin as a French poetic form, by far the majority of villanelles have been written in
English. Subsequent to the publication of Théodore de Banville's treatise on prosody "Petit traité de poésie française" (1872), the form became popularised in England through
506:, that "to use very strict form is a help, because you concentrate on the technical difficulties of mastering the form, and allow the content of the poem a more unconscious and freer release". In an introduction to his own take on the form, entitled "Missing Dates",
371:: the first line of the first stanza serves as the last line of the second and fourth stanzas, and the third line of the first stanza serves as the last line of the third and fifth stanzas. The rhyme-and-refrain pattern of the villanelle is:
79:
and two repeating rhymes, with the first and third lines of the first tercet repeated alternately at the end of each subsequent stanza until the last stanza, which includes both repeated lines. The villanelle is an example of a
482:
opines that the villanelle "is a form that seems to appeal to outsiders, or those who might have cause to consider themselves as such", having a "playful artifice" which suits "rueful, ironic reiteration of pain or
666:
462:
With reference to the form's repetition of lines, Philip K. Jason suggests that the "villanelle is often used, and properly used, to deal with one or another degree of obsession" citing
331:
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
167:—with no fixed poetic form. These poems were often of a rustic or pastoral subject matter and contained refrains. Prior to the nineteenth century, the term would have simply meant
238:
based their definitions of the form on that poem. This conclusion is refuted by Kane, however, who argues that it was instead Pierre-Charles
Berthelin's additions to Richelet's
470:" amongst other examples. He notes the possibility for the form to evoke, through the relationship between the repeated lines, a feeling of dislocation and a "paradigm for
474:". This repetition of lines has been considered to prevent villanelles from possessing a "conventional tone" and that instead they are closer in form to a song or
41:
335:. Since then, many contemporary poets have written villanelles, and they have often varied the form in innovative ways; in their anthology of villanelles (
1109:
1178:
962:
103:-like song with no fixed form; this fixed quality would only come much later, from the poem "Villanelle (J'ay perdu ma Tourterelle)" (1606) by
1930:
40:
scene, depicting a shepherd with his livestock; a pastoral subject was the initial distinguishing feature of the villanelle. Painting by
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147:, meaning a "farmhand". The etymology of the word relates to the fact that the form's initial distinguishing feature was the
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Here, "a" and "A" lines rhyme, and A and A indicate two different refrains which are repeated exactly. It can be
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and Marie-Elizabeth Mali devote a section entitled "Variations on the
Villanelle" to such innovations.
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were among the first
English practitioners—theirs and other works were published in Gleeson White's
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notes in an introduction to her own poem "Villanelle for the Middle of the Way" a point made by
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2015:
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1320:"The First Villanelle: A New Translation of Jean Passerat's 'J'ay perdu ma tourterelle' (1574)"
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46:
20:
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Most modernists disdained the villanelle, which became associated with the overwrought formal
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231:
16:
Fixed verse form; nineteen-line poetic form consisting of five tercets followed by a quatrain
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revived the villanelle more seriously in the 1930s, and his contemporaries and friends
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This article is about the poetic form. For the fictional character in
Killing Eve, see
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Benstock, Bernard (1976). "The
Temptation of St. Stephen: A View of the Villanelle".
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The villanelle has no established meter, although most 19th-century villanelles used
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The fixed-form villanelle, containing the nineteen-line dual-refrain, derives from
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729:, piece of chamber music composed in 1934. It was written for recorder and piano.
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2020:
1986:
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601:
507:
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139:
1473:
1354:
French, Amanda L. (2010). "Edmund Gosse and the
Stubborn Villanelle Blunder".
278:(1887), which contained 32 English-language villanelles composed by 19 poets.
2004:
1973:
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710:
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332:
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Ballades and
Rondeaus, Chants Royal, Sestinas, Villanelles, &c. Selected
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1920:
1910:
1802:
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of the villanelle from a web page for a course taught by poet
Alberto RĂos.
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324:
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246:; his creation of a parody to Passerat's "J'ay perdu ..." would lead
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226:'s poem "Villanelle (J'ay perdu ma Tourterelle)", published in 1606. The
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520:—had "made it sound absolutely natural like the innocent girl talking".
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suggests that while the villanelle is a "very rigid form", nonetheless
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The first two stanzas of "Villanelle (J'ay perdu ma
Tourterelle)" by
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363:) for a total of nineteen lines. It is structured by two repeating
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148:
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487:". (In spite of this, the villanelle has also often been used for
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669:," the villanelle written by Stephen Dedalus, the protagonist of
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368:
76:
1534:(2nd ed.). New York: Teachers & Writers Collaborative.
958:
Decadent verse: an anthology of late Victorian poetry, 1872–1900
242:
that first fixed the form, followed a century later by the poet
230:(1993) suggests that this became the standard "villanelle" when
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Ballades and Rondeaus, Chants Royal, Sestinas, Villanelles, etc
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100:
68:
64:
1432:
Jason, Philip K. (1980). "Modern Versions of the Villanelle".
92:, and is related to the initial subject of the form being the
1902:
1598:. The Canterbury Poets. The Walter Scott Publishing Co., Ltd.
364:
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and others to think that the villanelle was an antique form.
85:
126:, referring to a rustic song or dance, and which comes from
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1023:
1021:
217:(1534–1602), which established the modern villanelle form
1572:
The Making of a Poem: A Norton Anthology of Poetic Forms
1234:
Rossman, Charles (1975). "Stephen Dedalus' Villanelle".
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756:
754:
752:
608:. (A parody of "Do not go gentle into that good night.")
454:. Slight alteration of the refrain line is permissible.
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927:
679:. It has been the subject of several critical analyses.
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The New Princeton Encyclopedia of Poetry and Poetics
1082:
Lyric Forms from France: Their History and Their Use
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993:
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900:
572:
Curse, bless, me now with your fierce tears, I pray.
142:
551:
Their frail deeds might have danced in a green bay,
1612:McFarland, Robert (1982). "Victorian Villanelle".
1504:
1093:
979:
882:
563:Grave men, near death, who see with blinding sight
319:" is perhaps the most renowned villanelle of all.
1532:The Teachers and Writers Handbook of Poetic Forms
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740:
299:includes a villanelle written by his protagonist
2002:
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558:And learn, too late, they grieved it on its way,
544:Because their words had forked no lightning they
542:Though wise men at their end know dark is right,
228:New Princeton Encyclopedia of Poetry and Poetics
813:
565:Blind eyes could blaze like meteors and be gay,
556:Wild men who caught and sang the sun in flight,
359:) followed by a single stanza of four lines (a
163:-like song—in imitation of peasant songs of an
1340:"Refrain, Again: The Return of the Villanelle"
713:and originating as a parody of the villanelle.
498:On the relationship between form and content,
327:wrote villanelles in the 1950s and 1960s, and
1756:
1636:Pierce, Robert B. (2003). "Defining Poetry".
1171:
549:Good men, the last wave by, crying how bright
537:Old age should burn and rave at close of day;
1569:
879:ed. by Annie Finch and Marie-Elizabeth Mali.
570:And you, my father, there on the sad height,
1691:. Vol. 28 (11th ed.). p. 73.
1270:. New Delhi: Orient Blackswan. p. 61.
703:, an Italian song form with a rustic theme.
576:Rage, rage against the dying of the light.
495:'s "Lugubrious Villanelle of Platitudes".)
1763:
1749:
1072:
567:Rage, rage against the dying of the light.
553:Rage, rage against the dying of the light.
539:Rage, rage against the dying of the light.
1611:
1555:. Princeton: Princeton University Press.
1548:
1295:
719:, a poetic form combining aspects of the
315:also picked up the form. Dylan Thomas's "
1407:
1203:
950:
948:
176:"Villanelle (J'ay perdu ma Tourterelle)"
31:
1529:
1511:. UK: Oxford University Press. p.
1502:
1491:
1458:"The Myth of the Fixed-Form Villanelle"
1233:
676:A Portrait of the Artist as a Young Man
450:and most 20th-century villanelles used
292:A Portrait of the Artist as a Young Man
2003:
1635:
1353:
1337:
1317:
1299:; Mali, Marie-Elizabeth, eds. (2012).
1156:
1128:
1110:"Villanelle for the Middle of the Way"
1102:
574:Do not go gentle into that good night.
560:Do not go gentle into that good night.
546:Do not go gentle into that good night.
535:Do not go gentle into that good night,
159:The villanelle originated as a simple
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954:
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588:Do not go gentle into that good night
530:Do not go gentle into that good night
317:Do not go gentle into that good night
1570:Strand, Mark; Boland, Eavan (2001).
1455:
1181:. The Poetry Archive. Archived from
1112:. The Poetry Archive. Archived from
374:
1414:A History of European Versification
1385:
1263:
1160:The Collected Poems of Dylan Thomas
788:
13:
1604:
822:
763:
14:
2037:
1669:
1495:A History of French Versification
1267:The Country Without a Post Office
688:The Country Without a Post Office
1770:
667:Are you not weary of ardent ways
351:The villanelle consists of five
1257:
1227:
1197:
1150:
580:
203:Here you mourn your mated love;
869:
289:in England. In his 1914 novel
1:
1729:Poem of the Week May 27, 2008
1288:
955:Blyth, Caroline, ed. (2011).
875:Kane, Julie. "Introduction."
439:as AbA abA abA abA abA abAA.
99:The form started as a simple
1939:Perfect and imperfect rhymes
1714:, a parody example from the
207:I have lost my turtledove.)
184:Est-ce point celle que j'oy?
110:
7:
800:Online Etymology Dictionary
775:Online Etymology Dictionary
709:, a poetic form created by
694:
200:I will go and find my love.
196:(I have lost my turtledove:
25:Villanelle (disambiguation)
10:
2042:
1530:Padgett, Ron, ed. (2000).
1338:French, Amanda L. (2004).
1318:French, Amanda L. (2003).
1087:Harcourt Brace and Company
646:If I Could Tell You (poem)
527:
205:Oh, God—I am mourning too:
198:Isn't that her gentle coo?
193:J'ay perdu ma Tourterelle.
182:J'ay perdu ma Tourterelle:
154:
18:
1901:
1778:
1638:Philosophy and Literature
1474:10.1215/00267929-64-4-427
1462:Modern Language Quarterly
1264:Ali, Agha Shahid (1997).
906:Kane 2003 pp. 440–41
843:Academy of American Poets
835:"Poetic Form: Villanelle"
457:
186:Je veus aller aprés elle.
1706:Description and Examples
1549:Preminger, Alex (1993).
1060:Strand et al. 2001, p. 8
733:
660:Edwin Arlington Robinson
606:Holy Tango of Literature
285:of the 1890s, i.e., the
191:Helas! aussi fai-je moy,
84:. The word derives from
67:form consisting of five
1712:The Villanelle Sandwich
1688:Encyclopædia Britannica
1663:(subscription required)
1631:(subscription required)
1492:Kastner, L. E. (1903).
1487:(subscription required)
1451:(subscription required)
1417:. UK: Clarendon Press.
1381:(subscription required)
1253:(subscription required)
1223:(subscription required)
1027:Strand et al. 2001 p. 7
933:White 1887 pp. xiii–xiv
686:, from his collection "
656:"The House on the Hill"
523:
346:
189:Tu regretes ta femelle,
1503:Lennard, John (2006).
1498:. UK: Clarendon Press.
1391:The Ode Less Travelled
1347:University of Virginia
1303:. Everyman's Library.
1157:Thomas, Dylan (1953).
760:Preminger 1993 p. 1358
517:The Sea and the Mirror
210:
143:
52:
23:. For other uses, see
21:Villanelle (character)
1677:Gosse, Edmund William
1650:10.1353/phl.2003.0030
1236:James Joyce Quarterly
1206:James Joyce Quarterly
1079:Cohen, Helen (1922).
240:Dictionnaire de rimes
236:CĂ©sar-Pierre Richelet
179:
130:, meaning peasant or
63:, is a nineteen-line
35:
1456:Kane, Julie (2003).
1185:on February 12, 2010
1138:. The Poetry Archive
727:Villanelle (Poulenc)
624:Mad Girl's Love Song
468:Mad Girl's Love Song
244:Théodore de Banville
1696:List of Villanelles
1507:The Poetry Handbook
1393:. UK: Arrow Books.
961:. London, England:
888:French 2004 pp. 7–8
746:Kastner 1903 p. 279
42:Ferdinand Chaigneau
1957:Off-centered rhyme
1682:"Villanelle"
1434:College Literature
1099:French 2004 p. 147
985:French 2004 p. 152
866:French 2010 p. 245
682:"A Villanelle" by
514:—in his long poem
491:, as for instance
53:
1998:
1997:
1700:Poetry Foundation
1581:978-0-393-32178-4
1522:978-0-19-926538-1
1424:978-0-19-815879-0
1400:978-0-09-950934-9
1368:10.1353/vp.0.0104
1310:978-0-307-95786-3
1277:978-81-7530-037-8
1048:Jason 1980 p. 141
1015:Fitch et al. 2012
1006:French 2004 p. 13
997:French 2004 p. 15
972:978-0-85728-403-7
915:French 2004 p. 30
432:
431:
287:decadent movement
262:. Gosse, Dobson,
138:derives from the
119:derives from the
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1765:
1758:
1751:
1742:
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1723:Dorothy Gambrell
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1614:Victorian Poetry
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1356:Victorian Poetry
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897:French 2003 p. 1
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639:Elizabeth Bishop
617:Theodore Roethke
598:"Halt, Dynamos!"
493:Louis Untermeyer
375:
355:of three lines (
329:Elizabeth Bishop
321:Theodore Roethke
218:
146:
82:fixed verse form
75:. There are two
59:, also known as
50:
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2001:
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1991:Weak/Unaccented
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1888:Verse paragraph
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1620:(12): 125–138.
1607:
1605:Further reading
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1409:Gasparov, M. L.
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1136:"Missing Dates"
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1935:Forced/Oblique
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1848:Sapphic stanza
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1670:External links
1668:
1666:
1665:
1644:(1): 151–163.
1633:
1608:
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1603:
1601:
1600:
1592:, ed. (1887).
1590:White, Gleeson
1586:
1580:
1574:. US: Norton.
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1167:. p. 128.
1165:New Directions
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978:
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965:. p. 17.
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528:Main article:
525:
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508:William Empson
459:
456:
430:
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422:Refrain 2 (A)
379:
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348:
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305:William Empson
248:Wilhelm TĂ©nint
180:
174:
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165:oral tradition
156:
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140:Medieval Latin
112:
109:
71:followed by a
15:
9:
6:
4:
3:
2:
2038:
2027:
2026:Stanzaic form
2024:
2022:
2019:
2017:
2016:French poetry
2014:
2012:
2009:
2008:
2006:
1990:
1988:
1985:
1982:
1980:
1977:
1975:
1974:Perfect rhyme
1972:
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1793:Ballad stanza
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1788:Alcaic stanza
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1468:(4): 427–43.
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1242:(3): 281–93.
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849:on 2012-10-13
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711:Billy Collins
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472:schizophrenia
469:
465:
455:
453:
449:
445:
440:
438:
428:
423:
420:Refrain 1 (A)
413:Refrain 2 (A)
406:Refrain 1 (A)
399:Refrain 2 (A)
392:Refrain 1 (A)
385:Refrain 2 (A)
381:Refrain 1 (A)
377:
376:
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370:
366:
362:
358:
354:
344:
342:
338:
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333:New Formalism
330:
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310:
306:
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288:
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279:
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269:
265:
261:
260:Austin Dobson
257:
251:
249:
245:
241:
237:
233:
229:
225:
224:Jean Passerat
219:
216:
215:Jean Passerat
208:
177:
172:
170:
166:
162:
152:
150:
145:
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137:
133:
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105:Jean Passerat
102:
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83:
78:
74:
70:
66:
62:
58:
48:
43:
39:
34:
30:
26:
22:
2011:Poetic forms
1979:Rhyme scheme
1921:Broken rhyme
1911:Alliteration
1892:
1803:Burns stanza
1772:Poetic forms
1734:The Guardian
1732:
1719:Cat and Girl
1718:
1686:
1641:
1637:
1617:
1613:
1594:
1571:
1551:
1531:
1506:
1494:
1465:
1461:
1437:
1433:
1413:
1390:
1387:Fry, Stephen
1359:
1355:
1330:
1326:
1300:
1297:Finch, Annie
1266:
1259:
1239:
1235:
1229:
1209:
1205:
1199:
1187:. Retrieved
1183:the original
1179:"Villanelle"
1173:
1163:. New York:
1159:
1152:
1140:. Retrieved
1130:
1118:. Retrieved
1114:the original
1104:
1095:
1081:
1074:
1065:
1032:
1011:
1002:
981:
963:Anthem Press
957:
938:
929:
920:
911:
902:
893:
884:
877:Villanelles,
876:
871:
862:
851:. Retrieved
847:the original
838:
815:
803:. Retrieved
799:
790:
778:. Retrieved
774:
771:"Villanelle"
765:
742:
674:
628:Sylvia Plath
592:Dylan Thomas
581:Example list
534:
515:
497:
476:lyric poetry
464:Sylvia Plath
461:
441:
434:
426:
380:
350:
336:
325:Sylvia Plath
313:Dylan Thomas
290:
283:aestheticism
280:
275:
256:Edmund Gosse
252:
239:
227:
221:
211:
181:
175:
169:country song
168:
158:
135:
127:
123:
116:
114:
98:
60:
56:
54:
29:
1931:Cross rhyme
1843:Rhyme royal
1301:Villanelles
1212:(1): 31–8.
671:James Joyce
512:W. H. Auden
504:T. S. Eliot
500:Anne Ridler
489:light verse
480:Stephen Fry
437:schematized
418:Line 17 (b)
416:Line 16 (a)
411:Line 14 (b)
409:Line 13 (a)
404:Line 11 (b)
402:Line 10 (a)
341:Annie Finch
337:Villanelles
309:W. H. Auden
297:James Joyce
268:Andrew Lang
264:Oscar Wilde
61:villanesque
45: [
2005:Categories
1926:Consonance
1893:Villanelle
1883:Terza rima
1868:Tail rhyme
1828:Quatorzain
1289:References
1189:7 February
1142:7 February
1120:7 February
853:2012-10-15
805:15 October
780:15 October
721:terza rima
717:Terzanelle
701:Villanella
650:W.H. Auden
613:The Waking
452:pentameter
448:tetrameter
397:Line 8 (b)
395:Line 7 (a)
390:Line 5 (b)
388:Line 4 (a)
383:Line 2 (b)
272:John Payne
232:prosodists
124:villanella
117:villanelle
57:villanelle
36:A classic
1983:Semirhyme
1969:Pararhyme
1964:Monorhyme
1916:Assonance
1658:201779079
1482:161541323
1376:161093800
839:Poets.org
796:"Villain"
707:Paradelle
673:'s novel
604:, in his
151:subject.
115:The word
111:Etymology
1987:Syllabic
1944:Holorime
1838:Quintain
1833:Quatrain
1813:Cinquain
1808:Chaubola
1716:webcomic
1679:(1911).
1626:40002150
1446:25111324
1411:(1996).
1389:(2007).
1327:Meridian
1248:25487187
1218:25476025
695:See also
485:fatalism
444:trimeter
369:refrains
367:and two
361:quatrain
234:such as
149:pastoral
144:villanus
94:pastoral
77:refrains
73:quatrain
38:pastoral
1878:Triolet
1853:Sestain
1818:Couplet
1780:Stanzas
635:One Art
357:tercets
353:stanzas
155:History
136:Villano
132:villein
128:villano
121:Italian
90:Italian
88:, then
69:tercets
1903:Rhymes
1873:Tercet
1863:Sonnet
1858:Sestet
1823:Ghazal
1798:Biolet
1656:
1624:
1578:
1559:
1538:
1519:
1480:
1444:
1421:
1397:
1374:
1307:
1274:
1246:
1216:
969:
458:Effect
427:
365:rhymes
270:, and
161:ballad
101:ballad
65:poetic
2021:Rhyme
1731:from
1654:S2CID
1622:JSTOR
1478:S2CID
1442:JSTOR
1372:S2CID
1343:(PDF)
1323:(PDF)
1244:JSTOR
1214:JSTOR
734:Notes
648:" by
637:" by
626:" by
615:" by
590:" by
86:Latin
49:]
1576:ISBN
1557:ISBN
1536:ISBN
1517:ISBN
1419:ISBN
1395:ISBN
1305:ISBN
1272:ISBN
1191:2014
1144:2014
1122:2014
967:ISBN
807:2012
782:2012
524:Poem
466:'s "
347:Form
323:and
311:and
258:and
1721:by
1698:at
1646:doi
1470:doi
1364:doi
658:by
600:by
446:or
339:),
2007::
1685:.
1652:.
1642:27
1640:.
1618:20
1616:.
1515:.
1513:52
1476:.
1466:64
1464:.
1460:.
1436:.
1370:.
1360:48
1358:.
1345:.
1331:12
1329:.
1325:.
1240:12
1238:.
1210:14
1208:.
1085:.
1053:^
1041:^
1020:^
990:^
947:^
841:.
837:.
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798:.
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751:^
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478:.
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295:,
266:,
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1565:.
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1472::
1448:.
1438:7
1427:.
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1349:.
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1193:.
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1124:.
1089:.
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644:"
641:.
633:"
630:.
622:"
619:.
611:"
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586:"
27:.
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