This is a collective designation for the three chief forms of late medieval French poetry and music: ballade, virelai, and rondeau. Their main period was the 14th century, under the poet-composer Guillaume de Machaut. After 1450 they gradually declined in importance, being replaced by freer and more varied forms. All three forms have a refrain, which, however, has an entirely different function in the rondeau from that in the two other forms. The presence of a refrain as well as etymological considerations ("ballare," to dance; "virer," to turn round; and "rond," round) suggest that originally they may have been dancing songs.
Ballade
The poem usually has three stanzas, each of seven or eight lines, the last one or two of which are identical in all the stanzas, thus forming a refrain. The form of the stanza is: a b a b c d E or a b a b c d E F (capital letters indicate the refrain), a scheme that, so far as the music concerned, can be simplified as follows: a a b C (a = ab; b=cd; C=refrain).
The Ballade plays a prominent role in the work of Machaut, who treated it as a polyphonic composition of great refinement and subtlety. His example was followed by the French and Italian composers of the late 14th century. The form continued to be cultivated, though much more sparingly, during the first half of the 15th century by composers such as Dufay, and Binchois.
The Ballade form, without refrain, was adopted by the minnesingers under the name Bar. The ballade is not to be confused with the Italian "ballata" form, which is entirely different.
Virelai
Also called "chanson balladee." Consisted of a refrain (R) that usually alternates with three stanzas (S): R-S1-R-S2-R-S3-R. The stanzas begin with two rhyming versicles and close with a versicle paralleling the refrain. The musical structure corresponds exactly to that of the poem, the two parallel versicles being sung to the same music and the closing versicle to that of the refrain. The entire musical structure is A b b a A b b a A b b a A b b a.
This same form appears in a strict version in the 14th century Italian ballata and in modified types like the laude and cantigas.
Rondeau
In its simplest, 13th-century form, consists of eight short lines with a rather artificial repeat structure, line 1 being identical with lines 4 and 7, and line 2 with line 8. Lines 1 and 2 therefore form a refrain that recurs in part in the middle and complete at the end. Music is composed for the refrain only (line 1=a, line 2=b) and is repeated according to the scheme A B a A a b A B (capital letters indicating the refrain). Of the formes fixes, the rondeau was the only one widely used after 1400.
A triolet (/ˈtraɪ.əlᵻt/ or US: /ˌtriː.əˈleɪ/) is almost always a stanza poem of eight lines, though stanzas with as few as seven lines and as many as nine or more have appeared in its history. Its rhyme scheme is ABaAabAB and in 19th century English triolets often all lines are in iambic tetrameter, though in traditional French triolets from the 17th century on the second, sixth and eighth lines tend to be iambic trimeters followed by one amphibrachic foot each. In French terminology, a line ending in an iambic foot was denoted as masculine, while a line ending in an amphibrachic foot was called feminine. Depending on the language and era, other meters are seen, even in French. The first, fourth and seventh lines are identical, as are the second and final lines, thereby making the initial and final couplets identical as well. In a traditional French triolet, the second and third non-repeating lines rhyme with the repeating first, fourth, and seventh lines, while the non-repeating sixth line rhymes with the second and eighth repeating lines. However, especially in German triolets of the 18th and 19th centuries, one will see this pattern often violated.[1]
"Birds At Winter"
Around the house the flakes fly faster,
And all the berries now are gone
From holly and cotoneaster
Around the house. The flakes fly! – faster
Shutting indoors the crumb-outcaster
We used to see upon the lawn
Around the house. The Flakes fly faster
And all the berries now are gone!
Thomas Hardy
Notes: Berksian Sonnet
RESPONSE SONNET
this is what happened
why
complaint, blame, pain, regret
you are wrong
this is what you should have done
a b b a a b b a - c d e c d e
pentameter tetrameter
DIZAIN / HUITAIN
dizain
a b a b b c c d c d french
a b a b b c a c d d sydney
huitain
a b a b b c b c french / english
a b b a a c a c french / english
a b a b a c a c spanish
a b b a a c c a spanish
a a b a a b c c enlace
a b a b c c c b romantique
dizain
a
b this is what happened
a
b _______________________________
c why
c _______________________________
d
e complaint, blame , pain, regret
e
d
huitain
a a a
b a b you are wrong
a b b
b a a _______________________________
c a a this is what is right
c b c this is what you should have done
c c a
b c c
BERKSIAN SONNET
8 8 8 8 8 8 8 8 6 6 6 6 6 6
a b b a a b b a c d e c d e
c d d c e f g e f g
complaint || reply
huitain
a b a b b c b c french / english
a b b a a c a c french / english
a b a b a c a c spanish
a b b a a c c a spanish
a a b a a b c c enlace
a b a b c c c b romantique
a b a b c d c d
a b a b c d c d
a b b a c d d c
a a b b c c d d
a a a b c c c d
sestain
a b c a b c
a b a c b c
c d e c d e
c d c e d e
c c d d e e
c d c d f f
c d d c f f
c c d e e d tail rhyme
c c c d c d
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