Examples of such interlocking stanzas include, for example, the ghazal and the villanelle, where a refrain ( or, in the case of the villanelle, refrains ) is established in the first stanza which then repeats in subsequent stanzas.

The pantoum is a form of poetry similar to a villanelle in that there are repeating lines throughout the poem.

A villanelle is a poetic form that entered English-language poetry in the 19th century from the imitation of French models.

A villanelle is nineteen lines long, consisting of five tercets and one concluding quatrain.

In music, the villanelle is a dance form, accompanied by sung lyrics or an instrumental piece based on this dance form.

Although the villanelle is usually labeled " a French form ", by far the majority of villanelles are in English.

Dylan Thomas's " Do not go gentle into that good night " is perhaps the most renowned villanelle of all.

In music, a villanella ( plural villanelle — not to be confused with the French poetic form villanelle ) is a form of light Italian secular vocal music which originated in Italy just before the middle of the 16th century.

The rhyme scheme of the verse in the earlier Neapolitan forms of the villanelle is usually abR abR abR ccR.

She is also recognized as a master of " French forms ," particularly the villanelle.

" Do not go gentle into that good night ", a villanelle, is considered to be among the finest works by Welsh poet Dylan Thomas ( 1914 – 1953 ).

The poem is structured as a villanelle, which seems to imply a light gay tone.

Ten of the collections are for five voices ; six are for six voices ; two are for four voices ; one is for four to six voices ; and the remaining five are books of villanelle, a lighter form popular in the late 16th century, for three voices only.

A good example of the light and dainty verse in which Desportes excelled is furnished by the well-known villanelle with the refrain " Qui premier s ' en repentira ," which was on the lips of Henry, duke of Guise, just before his death.

A terzanelle is a poetic form combining aspects of the villanelle and the terza rima.

In the meanwhile Passerat had studied law, and had composed much agreeable poetry in the Pléiade style, the best pieces being his short ode Du Premier jour de mai and the villanelle whose first line is J ' ay perdu ma tourterelle.

The modern nineteen-line dual-refrain form of the villanelle derives from 19th-century admiration of the only Renaissance poem in that form: a poem about a turtledove titled " Villanelle " by Jean Passerat ( 1534 – 1602 ).

In more developed, closed or " received " poetic forms, the rhyming scheme, meter and other elements of a poem are based on sets of rules, ranging from the relatively loose rules that govern the construction of an elegy to the highly formalized structure of the ghazal or villanelle.

* The House on the Hill ( poem ), a villanelle by Edwin Arlington Robinson

William Empson revived the villanelle more seriously in the 1930s, and his contemporaries and friends W. H. Auden and Dylan Thomas also picked up the form.

The tercet also forms part of the villanelle, where the initial five stanzas are tercets, followed by a concluding quatrain.

* Il primo libro delle canzonette villanelle ( Venice 1589 ; five voices )

Many published works mistakenly claim that the strict modern form of the villanelle originated with the medieval troubadours, but in fact medieval and Renaissance villanelles were simple ballad-like songs with no fixed form or length.

The French word villanelle comes from the Italian word villanella, which derives from the Latin villa ( house ) and villano ( farmhand ); to any poet before the mid-19th century, the word villanelle or villanella would have simply meant country song, with no particular form implied.

Edmund Gosse, influenced by Théodore de Banville, was the first English writer to praise the villanelle and bring it into fashion with his 1877 essay " A Plea for Certain Exotic Forms of Verse ".

Most modernists disdained the villanelle, which became associated with the overwrought formal aestheticism of the 1890s ; i. e. the decadent movement in England.

The villanelle reached an unprecedented level of popularity in the 1980s and 1990s with the rise of the New Formalism.

* The villanelle supposedly written by Stephen Dedalus, protagonist in Joyce's novel " Portrait of the Artist as a Young Man ", beginning with the line: " Are you not weary of ardent ways ..."

* Terzanelle ( a villanelle combined with the Terza rima )

The chief French popularizer of the villanelle form was the 19th-century author Théodore de Banville ; Banville was led by Wilhelm Ténint to think that the villanelle was an antique form.

* Il secondo libro delle villanelle alla napolitana a tre voci, de diversi musici di Barri ; raccolte per I. de Antiquis, con alcune delle sue, novam.

The villanelle has been used regularly in the English language since the late 19th century by such poets as Dylan Thomas, W. H. Auden, and Elizabeth Bishop.

James Joyce included a villanelle ostensibly written by his adolescent fictional alter-ego Stephen Dedalus in his 1914 novel A Portrait of the Artist as a Young Man, probably to show the immaturity of Stephen's literary abilities.

* Description and Examples of the villanelle from a web page for a course taught by poet Alberto Ríos.

This he followed by English versions of the rondel, rondeau and villanelle.

The title of the film comes from a villanelle written for his dying father by the twentieth century Welsh poet Dylan Thomas, Do Not Go Gentle Into That Good Night.

A villanelle has only two rhyme sounds.

The rhyme-and-refrain pattern of the villanelle can be schematized as A < sup > 1 </ sup > bA < sup > 2 </ sup > abA < sup > 1 </ sup > abA < sup > 2 </ sup > abA < sup > 1 </ sup > abA < sup > 2 </ sup > abA < sup > 1 </ sup > A < sup > 2 </ sup > where letters (" a " and " b ") indicate the two rhyme sounds, upper case indicates a refrain (" A "), and superscript numerals (< sup > 1 </ sup > and < sup > 2 </ sup >) indicate Refrain 1 and Refrain 2.

Poetic fixed forms that feature refrains include the villanelle, the virelay, and the sestina.

The villanelle has no established meter, although most 19th-century villanelles have used trimeter or tetrameter and most 20th-century villanelles have used pentameter.

* Edwin Arlington Robinson's villanelle The House on the Hill was first published in The Globe in September 1894.