Rondel

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Rondel and Rondeau

The rondel ( French rond "round") is an originally French form of poetry with 13 or 14 verses and only two rhymes .

Like the related forms of the rondeau and the roundel , the form is derived from medieval dance songs and initially did not designate a fixed form, but generally a song with only two rhymes and possible repetitions of verses or steepening ( refrain , French rentrement ). In his L'art de dictier , Eustache Deschamps gives five different schemes for the rondel , one of which corresponds to the form known today as the triolet . The surviving early examples of poems called rondel by Christine de Pisan , Jean Froissart , Octavien de Saint-Gelais and Charles d'Orléans de Rothelin therefore do not have a uniform structure. In verse theory today, rondel is used as a generic name for medieval forms, while the modern forms from the group are referred to as rondeau .

The shape, which is specifically known today as the Rondel , goes back to Théodore de Banville , who in his popular Petit Traité de poésie française declared one of the traditional shapes to be the pattern of the Rondel. From there comes the poem Le Printemps by Charles d'Orleans:

Le temps a laissié son manteau
De vent, de froidure et de pluye,
Et s'est vestu de brouderie,
De soleil luyant, cler et beau.

Il n'y a beste, ne oyseau,
Qu'en son jargon ne chant ou crie:
Le temps a laissié son manteau
De vent, de froidure et de pluye.

Riviere, fontaine et ruisseau
Portent, en livrée jolie,
Gouttes d'argent et d'orfaverie,
Chascun s'abille de nouveau.
Le temps a laissié son manteau.

A
B
b
a

a
b
A
B

a
b
b
a
A

This form, known today as a rondel , consists of 13 verses in three groups (4–4–5), the first two verses being repeated as the 7th and 8th verse and the first verse appearing again as the final line. The rhyme scheme is accordingly

[ABba abAB abbaA].

The first quatrain has an embracing rhyme (degrad), the second is cross- rhymed (abab) and the last four verses are paired (bbaa), so the three most common rhyme forms all appear in the rondel.

In the first edition of 1872, however, due to a misunderstanding, Banville had a 14-line form according to the scheme ABba abAB abbaABaccepted. This mistake was corrected in the second edition and the 13-line form was subsequently used in French poetry. Mention should be made here of Edmond Haraucourt ( Rondel de l'adieu ) and above all Stéphane Mallarmé and the Symbolists . In England (with Henry Austin Dobson , Edmund Gosse , Robert Louis Stevenson and others), however, the 14-line form, which is more similar to the sonnet, was preferred , which is also known as Rondel prime or Rondel supreme .

The Rondel is relatively rare in German literature. The rural rondelles by Oskar Loerke are well known . As an example the rondel of the trombone by Loerke, in which not two, but only one rhyme is used:

The Ükriki trumpet is played by the red beard in the poultry
.
With the cry of Ükriki
the world only becomes this and that: If the

sun creeps God around the knee,
Mondhorn speaks to Mondhorn; Flee.
Because trumpeting Ükriki
the world will only be this and that,

the dream becomes mythology,
the event speaks: happen!
And the burden of the white horse: Pull,
and the burden of the white horse: Never!
And the world is this and that.

The well-known poem by Georg Trakl , entitled Rondel , does not follow this pattern, due to its symmetrical structure and restriction to two rhymes with repetitions of verses (rhyme scheme[ABbBA]) but it corresponds to the generic term:

The gold of the days has passed,
The evening brown and blue colors:
The shepherd's gentle flutes died
The evening blue and brown colors
The gold of the days has passed.

literature

Individual evidence

  1. ↑ Théodore de Banville: Petit Traité de poésie française. G. Charpentier, Paris 2nd ed. 1881, p. 186.
  2. ^ John Drury: The poetry dictionary. 2nd ed. Writer's Digest Books, Cincinnati 2006, ISBN 1-58297-329-6 , p. 262.
  3. ↑ Loerke: Rural roundabouts. In: ders .: Pansmusik. 1916.
  4. ↑ Georg Trakl: The poetic work. Munich 1972, p. 14, online .