RONDEL  , a See also:

• FORM (Lat. forma)

form 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 closely allied to the See also:

• RONDEAU (Ital. Rondo)

rondeau (q.v.) but distinguished from it by containing fourteen instead of thirteen lines, and by demanding a slightly different arrangement of rhymes . Moreover, the initial See also:

• COUPLET

couplet is repeated in the See also:

• MIDDLE

middle and again at the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close . The arrangement of rhymes is as follows: a, b b, a; a b, a b; a, b, b, a, a, b . This form, which was invented in the 14th See also:

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

century, was largely used inlater See also:

• MEDIEVAL

medieval See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• POETRY

poetry, but particularly by See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles d'See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans (1391-1465), the very best of whose graceful creations are all rondels . One of the most famous of this See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince's rondels may be given here as a type of their correct construction: " Le temps a laissie son manteau De vent, de froidure et de pluye, Et s'est vestu de brouderie De souleil luisant, cler et beau . I1 n'y a beste ne oyseau Qu'en son See also:

• JARGON

jargon ne chante ou crie: Le temps a laissie son manteau De vent, de froidure et de pluye . See also:

• RIVIERE, BRITON (1840- )

Riviere, See also:

• FONTAINE, PIERRE FRANCOIS LEONARD (1762-1853)

fontaine et ruisseau Portent, en livree jolie, Gouttes d'argent d'or faverie; Chascun s'abille de nouveau; Le temps a laissie son manteau De vent, de froidure et de pluye." The rondel, in French, may begin with either a masculine or a feminine See also:

• RHYME

rhyme, but its solitary other rhyme must be of the opposite See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind . The rondel was introduced into See also:

• ENGLISH

English in the 15th century, but the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early specimens of it are very clumsy . It was revised in the 19th century, but it appears to suit the French better than any other See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language . Correct examples are found in the poems of See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• BRIDGES
• BRIDGES, ROBERT (1844– )

Bridges, See also:

• DOBSON, HENRY AUSTIN (184o- )
• DOBSON, WILLIAM (16ro-1646)

Dobson, See also:

• GOSSE, EDMUND (1849– )
• GOSSE, PHILIP HENRY (1810–r888)

Gosse and See also:

• HENLEY, JOHN (1692-1759)
• HENLEY, WILLIAM ERNEST (1849-1903)

Henley . The following, by See also:

• AUSTIN
• AUSTIN, ALFRED
• AUSTIN, JOHN (179o-1859)
• AUSTIN, SARAH (1793-1867)
• AUSTIN, STEPHEN FULLER (1793-1836)

Austin Dobson, gives an exact impression of what an English rondel should be in all technical respects: " Love comes back to his vacant dwelling,—The old, old Love that we knew of yore ! We see him stand by the open See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door, With his See also:

• GREAT

great eyes sad, and his bosom swelling .

He makes as though in our arms repelling He See also:

• FAIN, AGATHON JEAN FRANCOIS (1778–1837)

fain would See also:

• LIE, JONAS LAURITZ EDEMIL (1833—1908)
• LIE, MARIUS SOPHUS (1842–1899)

lie as he See also:

• LAY

lay before;—Love comes back to his vacant dwelling,—The old, old Love that we knew of yore ! Ah ! who shall help us from over-spelling That sweet, forgotten, forbidden See also:

• LORE
• LORE, AMBROISE DE (1396-1446)

lore ? E'en as we doubt, in our See also:

• HEARTS

hearts once more, With a See also:

• RUSH
• RUSH, BENJAMIN (1745–1813)
• RUSH, RICHARD (1780–1859)

rush of tears to our eyelids welling, Love comes back to his vacant dwelling, The old, old Love that we knew of yore !" See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

Theodore de See also:

• BANVILLE, THEODORE FAULLAIN DE (1823-1891)

Banville remarks that the See also:

• ART

art of the rondel consists in the See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

gay and natural reintroduction of the refrain, which should always seem inevitable, while slightly changing the point of view of the reader . If this is not successfully achieved, " on ne fera que de la marqueterie et du placage, c'est-a-dire, en fait de poesie,—rien!" In See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, the rondel was introduced, in the 18th century, under the name of ringel-gedicht, by Johann Nikolaus Gotz (1731-1781), and was occasionally used, in the course of the 19th century, by See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German poets .