Triolet
Triolet ( French triolet ) is a poem form of French origin in verse . The triolet consists of eight verses with eight or nine syllables each, whereby the first verse, identical or slightly modified, returns as the fourth and seventh lines, the second verse is then repeated in the eighth final line. The rhyme scheme is:
- [ABaAabAB]
Are there A. and B. the repeated verses and a or. b With A. or. B. rhyming verses. Sometimes the triolet is also used as a stanza form. The main difficulty lies in avoiding the impression of being constructed despite the repetitions and only two available rhymes. German authors have, however, allowed themselves various freedoms in relation to this basic form.
French poetry
The triolet appeared in France as a song form in the 13th century by Adenet le Roi ( Cléomades ), Eustache Deschamps and Jean Froissart (from him the name rondel sangle comes from , ie rondel simple , "simple rondel"). Today, the triolet is considered to be the original form of the various forms of the rondeau , it was later replaced by these, disappeared towards the end of the 16th century and then reappeared from the 17th century by Vincent Voiture and La Fontaine . In the 19th century, the form was revived by Théodore de Banville and adopted by Arthur Rimbaud , Stéphane Mallarmé , Maurice Rollinat and Alphonse Daudet . As an example, a triolet by Jacques de Ranchin , which Gilles Ménage called "King of the triolets":
Le premier jour du mois de Mai
Fut le plus beau jour de ma vie.
Le beau dessein que je formai
Le premier jour du mois de Mai!
Je vous vis, et je vous aimai.
Si ce dessein vous plut, Sylvie,
Le premier jour du mois de Mai
Fut le plus beau jour de ma vie.
German poetry
In German literature, the four-part iambus is mostly used as a verse for the triplet; the four-part trochee is also common. Triplets were particularly popular in Anacreontics , the Goethe era and Romanticism . The authors are among others Friedrich von Hagedorn , Johann Wilhelm Ludwig Gleim , Friedrich Rückert , August von Platen and Adelbert von Chamisso ; Karl Friedrich Schimper was a particularly productive triolettist . Friedrich Hagedorn copied the aforementioned Ranchin triolet as follows:
The first day of May
is the happiest of all for me.
I saw you, and I confessed to you,
The first day of May,
That my heart was devoted to you.
If you like my confession
, the first day of May is
the happiest of all for me.
In terms of content, most of the triplets revolve around the themes of love and friendship, which are designed in a light, often flirting tone; other topics are less common, but are treated in the same tone. Man and boy (Karl Friedrich Schimper):
My boy on the hobby horse
With the crack of the whip and swing and leap
And this Reitermann gesture!
My little boy on the hobby horse
Makes that I become a boy myself:
An old rider becomes young,
A boy on the hobby horse
With a crack of the whip and swing and jump!
Often there are also self-referential triplets, such as Das Triolett ( Ludwig Gleim ):
Should I sing a triplet for her?
A triplet is way too small to bring in
your kudos!
Should I sing a triplet for her?
How should I wrestle with the small thing,
It must be a great hymn!
Should I sing a triplet for her?
A triplet is way too small!
Triplets are often grouped together. Triplet pairs are popular, in which the two triplets can be read independently, but closely refer to each other in terms of content: question - answer ( Ernst Schulze ). The sensation of spring ( Friedrich von Hagedorn ) and I want to kiss, I want to kiss ( Adelbert von Chamisso ) are examples of triplet groups in which the individual triplets share a common theme. Strophic used as part of a longer poem the Triolett rare occurrence: double sun (John Roeloffs) lullaby ( Friedrich Halm ).
The triplet is also used as an occasional poem, for example by Heinrich Wilhelm von Stamford and Klamer Schmidt , who expressed their mutual appreciation in related triplets: An Klamer Schmidt , An Stamford .
The German authors modified the triolet in various ways. In addition to the eight-verse basic form, there are occasionally triplets with only seven verses or, more often, triplets with an additional ninth verse. In Friedrich Wilhelm Rogge's call to spring , the seventh verse is, Schaurig rushes the north's plumage! , inserted into the otherwise completely implemented triolet scheme:
Old spring, come back
in emerald robes,
give me flowers, give me songs!
Old spring, return again,
Let the swelling
green limbs break their icy bonds!
The feathers of the north rustle eerily!
Old spring, return
in emerald robes!
In addition to triplets from four-letter verse, there are also those that use three- or five-letter verse; Triplets composed of two-part verse are rare. Dreihebige verses used Karl Friedrich Schimper in his Triolett on a Mehlwürmchen , the content very inclines to the nonsense:
It grew with flour and butter,
Thrive with millet and semolina
To house bird feed!
It grew with flour and butter,
In the house was the mother, In
front of it the road
gravel -
It grew with flour and butter,
Thrive with millet and semolina!
Often the rhyming arrangement of the verses that are not repeated literally does not correspond to the basic scheme. For example, in An Elisa in the third verse, Karl Reinhard does not use the rhyme from V1 as intended, but the rhyme from V2:
Girl give my heart back,
Or give me yours!
Can you see me crying
girl give my heart back
Heart for heart and luck for luck,
or each his own!
Girl give my heart back,
Or give me yours!
Other seals
In English literature, examples can be found in Henry Austin Dobson , Edmund Gosse , Robert Bridges, and William Ernest Henley . In the 20th century, the shape was initially rare, but then became popular again with the appearance of the New Formalism in the United States. Triolets can be found here in the poems of Sandra McPherson , Wendy Cope , AE Stallings and especially Marilyn Nelson ( Triolets for Triolet ) in an almost epic form.
literature
- A. Preminger, C. Scott, J. Kane: Triolet. In: Roland Greene, Stephen Cushman et al. (Ed.): The Princeton Encyclopedia of Poetry and Poetics. 4th edition. Princeton University Press, Princeton 2012, ISBN 978-0-691-13334-8 , p. 1460 f ( limited preview in Google book search).
- Gero von Wilpert : Subject dictionary of literature. 8th edition. Kröner, Stuttgart 2013, ISBN 978-3-520-84601-3 , p. 850.