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TRIOLET , one of the fixed forms of See also:verse invented in See also:medieval See also:France, and preserved in the practice of many See also:modern literatures. It consists of eight See also:short lines on two rhymes, arranged a b a a a b a b, and in See also:French usually begins on the masculine See also:rhyme. The first See also:line reappears as the See also:fourth line, and the seventh and eighth lines repeat the opening See also:couplet; the first line, therefore, is repeated three times, and hence the name. No more typical specimen of the triolet could be found than the following, by Jacques Ranchin (c. 169o):
" Le premier jour du mois de ,See also:mai Fut le plus heureux de ma See also:vie: Le beau dessein que je formais, Le premier jour du mois de mai Je See also: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."
This poem was styled by See also:Menage " 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 of triolets." The See also:great See also:art of the triolet consists in using the refrain-line with such naturalness and ease that it should seem inevitable, and yet in each repetition slightly altering its meaning, or at least its relation to the See also:rest of the poem. The triolet seems to have been invented in the 13th See also:century. The earliest example known occurs in the Cleomadis of Adenez-le-Roi
(1258-1297). The medieval triolet was usually written in lines of ten syllables, and the lightness of See also:touch in the modern specimens was unknown to these perfectly serious examples. One of the best-known is that of See also:Froissart, " Mon cceur s'ebat en odorant la See also:rose." The rules are laid down in the Art et See also:Science de Rhethorique (1493) 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 de Croi, who quotes a triolet written in words of one syllable. According .to Sarrasin, who introduces the triolet as a mourner in his Pompe See also:June/ire de Voiture, it was that writer who " remis en See also:vogue " the See also:ancient precise forms of verse, " See also:par ses balades, ses trio-lets et ses rondeaux, qui par sa mort (1648) retournaient clans leur ancien decri." Boileau threw scorn upon the delicate art of these pieces, and mocked the memory of See also:Clement See also:Marot because he " tourna See also:des triolets," but See also:Marmontel recognized the neatness and See also:charm of the See also:form. They continued to be written in France, but not by poets of much pretension, until the See also:middle of the 19th century, when there was a great revival of their use.
The earliest triolets in See also:English are those of a devotional nature composed in 1651 by See also:Patrick See also:Carey, a See also:Benedictine See also:- MONK (O.Eng. munuc; this with the Teutonic forms, e.g. Du. monnik, Ger. Witch, and the Romanic, e.g. Fr. moine, Ital. monacho and Span. monje, are from the Lat. monachus, adaptedfrom Gr. µovaXos, one living alone, a solitary; Own, alone)
- MONK (or MONCK), GEORGE
- MONK, JAMES HENRY (1784-1856)
- MONK, MARIA (c. 1817—1850)
monk at See also:Douai, where he probably had become acquainted with what Voiture had made a fashionable French pastime. In modern times, the triolet was re-introduced into English by See also:Robert See also:Bridges, in 1873, with his
" When first we met, we did not guess
That Love would prove so hard a See also:master;
Of more than See also:common friendliness
When first we met we did not guess.
Who could foretell the sore See also:distress,
This irretrievable disaster,
When first we met ?—we did not guess
That Love would prove so hard a master."
Since then the triolet has been cultivated very widely in English, most successfully by See also:Austin See also:Dobson, whose " Rose kissed me to-See also:day," " I intended an See also:Ode " and " In the School of Coquettes " are masterpieces of ingenuity and easy 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. In later French literature, triolets are innumerable; perhaps the most graceful See also:cycle of them is " See also:Les Prunes," attached by See also:Alphonse See also:Daudet to his Les Atnoureuses in 1858; and there are delightful examples by See also:Theodore de See also:Banville. In See also:Germany the triolet has attracted much See also:attention. Those which had been written before his day were collected by See also:Friedrich Rassmann, in 1815 and 1817. But as See also:early as 1795 an See also:anthology of triolets had been published at See also:Halberstadt, and another at See also:Brunswick in 1796. Rassmann distinguished three See also:species of triolet, the legitimate form (which has been described above), the loose triolet, which only approximately abides by the rules as to number of rhymes and lines, and single-See also:strophe poems which more or less accidentally approach the true triolet in See also:character. The true triolet was employed by W. See also:Schlegel, See also:Hagedorn, See also:Ruckert, Platen and other romantic poets of the early 19th century. In many See also:languages the triolet has come into very frequent use to give point and brightness to a brief stroke of See also:satire; the French See also:newspapers are full of examples of this. The triolet always, or at least since medieval times, has laboured under a suspicion of frivolity, and See also:Rivarol, in 1788, found no more cutting thing to , say of Conjon de See also:Bayeux than that he was " si recherche pour le triolet." But in the hands of a genuine poet who desires to See also:record and to repeat a See also:mood of graceful See also:reverie or pathetic See also:humour, the triolet possesses a very delicate charm.
See Friedrich Rassmann, Sammlung triolettischer Spiele (See also:Leipzig, 1817). (E.
End of Article: TRIOLET
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