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short metrical structure which in its perfect form consists of thirteen eight- or ten-syllabled verses divided into three strophes of unequal length, and knit together by two rhymes and a refrain. In See also:

Clement See also:

Marot's See also:

time the See also:

LAWS

laws of the rondeau were laid down, and, according to Voiture, in the 17th See also:

CENTURY (from Lat. centuria, a division of a hundred men)

century, the following was the type of the approved form of the rondeau: " Ma See also:

FOY, MAXIMILIEN SEBASTIEN (1775-1825)

foy, c'est fait de moy, See also:

CAR (Late Lat. carra)

car Isabeau M'a conjure de luy faire un Rondeau: Cela me met en une See also:

PEINE

peine extreme. Quoy treize vers, huit en eau, cinq en ease. Je luy ferois aussi-tot un bateau ! En voila cinq pourtant en un monceau : Faisons en huict, en invoquant Brodeau, En puis mettons, See also:

PAR (Lat. par, equal)

par quelque stratageme, Ma foy, c'est fait ! Si je pouvois encore de mon cerveau Tirer cinq vers, 1'ouvrage seroit beau; Mais cependant, je suis dedans l'onzieme, Et si je croy que je fais le douzieme En voila treize ajustez au niveau. Ma foy, c'est fait !" All forms of the rondeau, however, are alike in this, that the distinguishing metrical emphasis is achieved by a See also:

PECULIAR

peculiar use of the refrain. Though we have a set of rondeaux in the Rolliad (written by Dr. See also:

Lawrence the friend of See also:

Burke, according to See also:

Edmund See also:

Gosse, who has given us an admirable See also:

ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay upon See also:

EXOTIC (Gr. EWTIK6s, foreign, from few, outside)

exotic forms of See also:

VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse), it was not till See also:

RECENT

recent years that the form had any real See also:

VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue in See also:

England. Considerable See also:

ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention, how-ever, has lately been given in England to the form.

Some See also:

ENGLISH

English rondeaux are as See also:

bright and graceful as Voiture's own. See also:

SWINBURNE, ALGERNON CHARLES (1837–1909)

Swinburne, who in his Century of Roundels was perhaps the first to make the refrain See also:

RHYME

rhyme with the second verse of the first See also:

STROPHE (Gr. o-rpod>)

strophe, has brought the form into high poetry. In See also:

German, rondeaux have been composed with perfect correctness by See also:

WECKHERLIN, GEORG RUDOLF (1584—1653)

Weckherlin, and with certain divergences from the See also:

French type by Gotz and See also:

FISCHART, JOHANN (c. 1545–1591)

Fischart; the German name for the form is rundum or ringel-gedicht. Although the origin of the retrain in all poetry was no doubt the See also:

IMPROVISATORE

improvisatore's need of a See also:

REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest, a time in which to See also:

FOCUS (Latin for " hearth " or " fireplace ")

focus his forces and recover breath for future flights, the refrain has a distinct metrical value of its own; it knits the structure together, and so intensifies the emotional See also:

ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy, as we see in the Border See also:

BALLADS

ballads, in the Oriana of See also:

Lord See also:

TENNYSON, ALFRED TENNYSON

Tennyson, and in the See also:

SISTER

Sister See also:

HELEN

Helen of See also:

Rossetti. The See also:

SUGGESTION

suggestion of extreme artificiality—of " difficulty overcome "—which is one See also:

GREAT

great See also:

FAULT (Mid. Eng. faute, through the French, from the popular Latin use of fallere, to fail; the originallof the Latin being replaced in English in the 15th century)

fault of the rondeau as a vehicle for deep emotion, does not therefore See also:

SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring from the use of the refrain, but from the too frequent recurrence of the rhymes in the strophes—for which there is no metrical See also:

NECESSITY (Lat. necessitas)

necessity as in the See also:

case of the Petrarchan See also:

SONNET (Ital. Sonetto, dim. of Suono, Fr. Sonnet)

sonnet. The rondeau is, however, an inimitable See also:

INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument of gaiety and See also:

grace in the hands of a skilful poet.

End of Article: RONDEAU (Ital. Rondo)

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