_Rondel_ is the old French form of the word _rondeau_, and the terms are therefore naturally interchangeable. They have been applied to a number of different forms, all characterized by a refrain so repeated as to link together different parts of the structure. Two of these forms are particularly familiar. The first (called more commonly the _rondel_) consists of fourteen lines, with only two rimes; the first two lines const.i.tute the refrain, and are commonly repeated as the seventh and eighth and again as the thirteenth and fourteenth. The rime-scheme varies, but is often _ABba, abAB, abbaAB_ (the capitals indicating the repeated lines of the refrain). Sometimes the form is shortened to thirteen lines, the second line of the refrain not being repeated at the close. The second princ.i.p.al form (called more commonly the _rondeau_) consists of thirteen lines, with two rimes, and an unrimed refrain, taken from the opening words of the first line, which follows the eighth line and is again repeated at the end. The common rime-scheme is _aabba,aab (refrain), aabba (refrain)_. Both these forms are found in early French poetry, together with many variations. The modern distinction between _rondeau_ and _rondel_ is artificial but convenient.

i. _"Rondel" Type_

Now welcom somer, with thy sonne softe, That hast this wintres weders over-shake, And driven awey the longe nightes blake!

Seynt Valentyn, that art ful hy on-lofte, Thus singen smale foules for thy sake: Now welcom somer, with thy sonne softe, That hast this wintres weders over-shake.

Wel han they cause for to gladen ofte, Sith ech of hem recovered hath his make; Ful blisful may they singen whan they wake: Now welcom somer, with thy sonne softe, That hast this wintres weders over-shake, And driven awey the longe nightes blake.

(CHAUCER: _Qui bien aime a tard oublie_, in _The Parlement of Foules_, ll. 680-692. ab. 1380.)

This is the "roundel" sung by the birds "to do Nature honour and plesaunce." "The note" we are told was made in France. It will be seen that Chaucer employs a form with three-line refrain, of which the first two lines are twice repeated, the last only once: _ABB,abAB,abbABB_. The same form is used in the three roundels of _Merciles Beaute_.

Too hard it is to sing In these untuneful times, When only coin can ring, And no one cares for rhymes!

Alas! for him who climbs To Aganippe's spring:-- Too hard it is to sing In these untuneful times!

His kindred clip his wing; His feet the critic limes; If Fame her laurel bring Old age his forehead rimes:-- Too hard it is to sing In these untuneful times!

(AUSTIN DOBSON: _Too hard it is to sing._)

Underneath this tablet rest, Gra.s.shopper by autumn slain, Since thine airy summer nest Shivers under storm and rain.

Freely let it be confessed Death and slumber bring thee gain Spared from winter's fret and pain, Underneath this tablet rest.

Myro found thee on the plain, Bore thee in her lawny breast, Reared this marble tomb amain To receive so small a guest!

Underneath this tablet rest, Gra.s.shopper by autumn slain.

(EDMUND GOSSE: _After Anyte of Tegea._)

In this the second line of the refrain is omitted where we should expect it as line eight, the scheme of the first part of the rondel being changed to _ABab, abbA_.

The ways of Death are soothing and serene, And all the words of Death are grave and sweet.

From camp and church, the fireside and the street, She signs to come, and strife and song have been.

A summer night descending, cool and green And dark, on daytime's dust and stress and heat, The ways of Death are soothing and serene, And all the words of Death are grave and sweet.

O glad and sorrowful, with triumphant mien And hopeful faces look upon and greet This last of all your lovers, and to meet Her kiss, the Comforter's, your spirit lean.-- The ways of Death are soothing and serene.

(W. E. HENLEY: _The Ways of Death._)

ii. _"Rondeau" Type_

Ma foi, c'est fait de moi, car Isabeau M'a conjure de lui faire un rondeau.

Cela me met en peine extreme.

Quoi! treize vers, huit en _-eau_, cinq en _-eme!_ Je lui ferais aussitot un bateau.

En voila cinq pourtant en un monceau, Faisons-en huit, en invoquant Brodeau, Et puis mettons, par quelque stratageme: Ma foi, c'est fait.

Si je pouvais encore de mon cerveau Tirer cinq vers, l'ouvrage serait beau; Mais cependant je suis dedans l'onzieme: Et si je crois que je fais le douzieme, En voila treize ajustes au niveau.

Ma foi, c'est fait!

(VOITURE: _Rondeau_, ab. 1640. In _uvres de Voiture_, ed. Ubicini, vol. ii. p. 314.)

This is perhaps the most famous of rondeaus of the type which Voiture did much to make popular.

What no pardy ye may be sure Thinck not to make me to yor lure With wordes and chere so contrarieng Swete and sowre contrewaing To much it were still to endure Trouth is tryed where craft is in ure But though ye have had my herte cure Trow ye I dote withoute ending What no pardy Though that with pain I do procure For to forgett that ons was pure Wtin my hert shall still that thing Unstable unsure and wavering Be in my mynde without recure What no pardye.

(SIR THOMAS WYATT: Rondeau in Wyatt MS., reproduced in _Anglia_, vol.

xviii. p. 478. ab. 1540.)

Besides the rondeaus found in the Wyatt MS., three poems of Wyatt's, published in Tottel's _Songs and Sonnets_ (1557), were evidently intended as rondeaus (see Arber's Reprint, pp. 53, 73). The editor, not understanding the form or thinking it too unfamiliar to be popular, seems to have changed it to a sort of sonnet, omitting the refrain at the end and making a complete line of it as the ninth of the poem. These hidden rondeaus were discussed by Mr. Dobson in the _Athenaeum_ for 1878 (vol. i. p. 380); see also Alscher's _Sir Thomas Wyatt und seine Stellung_, etc.

Thou fool! if madness be so rife, That, spite of wit, thou'lt have a wife, I'll tell thee what thou must expect-- After the honeymoon neglect, All the sad days of thy whole life;

To that a world of woe and strife, Which is of marriage the effect-- And thou thy woe's own architect, Thou fool!

Thou'lt nothing find but disrespect, Ill words i' th' scolding dialect, For she'll all tabor be, or fife; Then prythee go and whet thy knife, And from this fate thyself protect, Thou fool!

(CHARLES COTTON: _Rondeau._ ab. 1675. Quoted by Guest, _English Rhythms_, Skeat ed., p. 645.)

A good rondeau I was induced to show To some fair ladies some short while ago; Well knowing their ability and taste, I asked should aught be added or effaced, And prayed that every fault they'd make me know.

The first did her most anxious care bestow To impress one point from which I ne'er should go: "Upon a good beginning must be based A good rondeau."

Zeal bid the other's choicest language glow: She softly said: "Recount your weal or woe, Your every subject, free from pause or haste; Ne'er let your hero fail, nor be disgraced."

The third: "With varying emphasis should flow A good rondeau."

(J. R. BEST: _Ung Bon Rondeau_, in _Rondeaulx_. Translated from the French, ed. 1527. 1838. Quoted in _Ballades and Rondeaus_, Introduction, p. x.x.xviii.)

Death, of thee do I make my moan, Who hadst my lady away from me, Nor wilt a.s.suage thine enmity Till with her life thou hast my own; For since that hour my strength has flown.

Lo! what wrong was her life to thee, Death?

Two we were, and the heart was one; Which now being dead, dead I must be, Or seem alive as lifelessly As in the choir the painted stone, Death!

(ROSSETTI: _To Death, of his Lady_, from the French of Villon, 1450.)

This represents an early short form of the rondeau.

With pipe and flute the rustic Pan Of old made music sweet for man; And wonder hushed the warbling bird, And closer drew the calm-eyed herd,-- The rolling river slowlier ran.

Ah! would,--ah! would, a little span, Some air of Arcady could fan This age of ours, too seldom stirred With pipe and flute!

But now for gold we plot and plan; And from Beersheba unto Dan Apollo's self might pa.s.s unheard, Or find the night-jar's note preferred.-- Not so it fared, when time began With pipe and flute!

(AUSTIN DOBSON: _With Pipe and Flute._)