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RONDEL , a See also: form of verse closely allied to the See also: 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 is repeated in the See also: middle and again at the 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 century, was largely used inlater See also: medieval French See also: poetry, but particularly by See also: Charles d'
See also: Orleans (1391-1465), the very best of whose graceful creations are all rondels
.
One of the most famous of this
See also: 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 ne chante ou crie: Le temps a laissie son manteau De vent, de froidure et de pluye
.
See also: Riviere, 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, but its solitary other rhyme must be of the opposite kind
.
The rondel was introduced into See also: English in the 15th century, but the 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 language
.
Correct examples are found in the poems of Robert See also: Bridges, Dobson, Gosse and Henley
.
The following, by See also: 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 door,
With his See also: great eyes sad, and his bosom swelling
.
He makes as though in our arms repelling He fain would lie as heSee also: 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
?
E'en as we doubt, in our See also: hearts once more, With a 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 de Banville remarks that the See also: art of the rondel consists in the 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, 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 poets
.
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