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RIME ROYAL , the name given to a See also:strophe or See also:stanza-See also:form, which is of See also:Italian extraction, but is almost exclusively identified with See also:English See also:poetry from the fourteenth to the See also:early seventeenth centuries. It appears to be formed out of the stanza called Ottava rima (q.v.), by the omission of the fifth See also:line, which reduces it to seven lines of three rhymes, arranged ababbcc. It was earliest employed with skill, if not, as seems probable, invented, by See also:Chaucer, who composed his See also:long romantic poem of See also:Troilus and Cressida in rime royal, of which the following is an example:
" And as the new-abashed See also:nightingale,
Thet stinteth first when she beginneth sing,
When that she heareth any herde See also:tale,
Or in the hedges any See also:wight stirring,
And, after, siker doth her See also:voice out-See also:ring,
Right so Cresseyda, when her drede stint,
Opened her See also:heart, and told all her See also:intent."
The " Prioress' Tale," in the See also:Canterbury Tales, offers another particularly beautiful See also:- PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)
proof of Chaucer's skill in the use of the rime royal. In the fifteenth See also:century this stanza was habitually used, in preference to heroic See also:verse, by Hoccleve and See also:Lydgate, and, with more See also:melody and See also:- GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
- GRACE, WILLIAM GILBERT (1848– )
grace, by the unknown writer of The See also:Flower and the See also:Leaf. In the sixteenth century, rime royal was chosen by See also:Hawes as the vehicle of his Pastime of See also:Pleasure (1506) and by See also:Barclay in his See also:Ship of See also:Fools (1509); it was now regarded as the almost exclusive classical form for heroic poetry in See also:England, and it had long been so accepted in See also:Scotland, where The See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
King's Quair of King See also:- JAMES
- JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
- JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
- JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
- JAMES, DAVID (1839-1893)
- JAMES, EPISTLE OF
- JAMES, GEORGE PAYNE RAINSFOP
- JAMES, HENRY (1843— )
- JAMES, JOHN ANGELL (1785-1859)
- JAMES, THOMAS (c. 1573–1629)
- JAMES, WILLIAM (1842–1910)
- JAMES, WILLIAM (d. 1827)
James I., the Fables of See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry-son and The See also:Thistle and the See also:Rose of See also:Dunbar had closely followed Chaucer's See also:pattern. The greater See also:part of that huge poetic See also:miscellany, The See also:Mirror for Magistrates' (1559-161o), was written in rime royal, See also:Sackville's momentous See also:Induction among the See also:rest. The seven-line stanza began to go out of See also:fashion with the revival of Elizabethan poetry, but we find it still used in See also:Spenser's Hymn of Heavenly Beauty, See also:Shakespeare's Lucrece and the See also:Orchestra of See also:Sir See also:John Davys. After the first See also:decade of the seventeenth century rime royal went out of fashion. Since then it has been occasionally revived, but not in poems of See also:great length or particular importance. Rime royal should always be written in See also:iambic See also:metre, and be formed of seven lines of equal length, each containing ten syllables.
End of Article: RIME ROYAL
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