BALLADES AND RONDEAUS,
CHANTS
ROYAL, SESTINAS, VILLANELLES,
&c., SELECTED
BY GLEESON WHITE.
LONDON:
WALTER SCOTT, LIMITED,
PATERNOSTER SQUARE.
NEW YORK: 3 EAST FOURTEENTH STREET.
To
Robert Louis Stevenson.
The crowning pleasure in the compilation of this book is the permission to dedicate it to you, and this token of personal admiration is not without special fitness, since you were among the earliest to experiment in these French rhythms, and to introduce Charles d'Orléans and François Villon to the majority of English readers.
"Those old French ways of verse making that have been coming into fashion of late. Surely they say a pretty thing more prettily for their quaint old-fashioned liberty! That TRIOLET—how deliciously impertinent it is! is it not?... The variety of dainty modes wherein by shape and sound a very pretty something is carved out of nothing at all. Their fantastic surprises, the ring of their bell-like returns upon themselves, their music of triangle and cymbal. In some of them poetry seems to approach the nearest possible to bird-song—to unconscious seeming through most unconscious art, imitating the carelessness and impromptu of forms as old as the existence of birds, and as new as every fresh individual joy in each new generation, growing their own feathers, and singing their own song, yet always the feathers of their kind, and the song of their kind."—
"Home Again."—George Macdonald.
[INDEX.]
* An asterisk is attached to the titles of those not previously published. Names of American Authors are in Italic type.
| BALLADES. | |||
| AUTHOR. | TITLE. | SOURCE. | PAGE |
|---|---|---|---|
| Adams, Oscar Fay | 'Pipes of Pan' | American | [3] |
| Allen, Grant | 'Of Evolution' | Evolutionist at Large | [4] |
| Anonymous | 'Of Bothers' | Cambridge Meteor | [6] |
| Black, William | 'Of Solitude' | Longman's Mag. | [5] |
| Dick, Cotsford | 'Of Belief' | The Model, etc. | [7] |
| " | 'Of Burial' | " | [8] |
| Dobson, Austin | 'Of the Spanish Armada' | Old World Idylls | [9] |
| " | 'On a Fan' | " | [10] |
| " | 'Of Imitation' | " | [11] |
| " | 'Of Prose and Rhyme' | " | [12] |
| Gosse, Edmund | 'Of Dead Cities' | New Poems | [13] |
| Grant, John Cameron | Ballade | Songs of Sunny South | [14] |
| " | 'Lilith' | A Year of Life | [15] |
| Henley, W. E. | 'Of Antique Dances' | Belgravia | [16] |
| " | 'Of Dead Actors' | Magazine of Art | [17] |
| " | 'Of June' | Belgravia | [18] |
| " | 'Of Ladies' Names' | The London | [19] |
| " | 'Of Spring' | " | [20] |
| " | 'Midsummer Days' | " | [21] |
| " | 'Of Youth and Age' | " | [22] |
| " | 'Of Hot Weather' | " | [77] |
| " | 'Of Aspirations' | " | [78] |
| " | 'Of Truisms' | " | [79] |
| " | 'Of Life and Fate' | " | [80] |
| " | 'Of the Nothingness of Things' | " | [82] |
| Jewitt, W. H. | Ballade | Romance of Love | [23] |
| Lang, Andrew | 'Gringoire' | New Quarterly Mag. | [24] |
| " | 'Valentine' | Waifs and Strays | [25] |
| " | 'Of Primitive Man' | Ballades in Blue China | [26] |
| " | 'Of Sleep' | " | [84] |
| " | 'Of Summer' | Rhymes a la mode | [27] |
| " | 'Of Yule' | " | [28] |
| " | 'Of Middle Age' | " | [29] |
| " | 'For the Laureate' | Longman's Mag. | [30] |
| " | 'Of the Southern Cross' | " | [31] |
| Le Gallienne | 'Of Old Sweethearts' | My Ladies' Sonnets | [32] |
| "Love in Idleness" | Ballade | [33] | |
| " | 'Of Dead Thinkers' | [34] | |
| McCarthy, Justin H. | 'Of Roses'* | [35] | |
| MacCulloch, Hunter | 'Of Death' | From Dawn to Dusk | [36] |
| Matthews, Brander | 'Of Tobacco' | American | [37] |
| " | 'Of Adaptation' | " | [38] |
| " | 'Of Midsummer' | " | [39] |
| " | 'Rain and Shine' | The Century | [40] |
| " | 'An American Girl' | " | [41] |
| Moore, George | 'Of Lovelace' | Pagan Poems | [86] |
| Moran, John | 'From Battle, Murder' | American | [42] |
| Moulton, L. C. | 'In Winter' | The Century | [43] |
| Nichols, J. B. B. | 'Of his Lady' | Longman's Magazine | [44] |
| F. S. P. | 'Of Exmoor' | Waifs and Strays | [45] |
| Payne, John | 'Of Past Delights' | New Poems | [46] |
| " | Ballad | " | [87] |
| " | 'Singers of the Time' | " | [88] |
| Peck, S. M. | 'The Pixies' | 'Cap and Bells' | [47] |
| Pfeiffer, E. | 'Of the Thuner-See' | Songs and Sonnets | [48] |
| Probyn, May | 'Grandmother' | Ballad of the Road | [49] |
| Roberts, C. D. G. | 'Philomela' | In Divers Tones | [50] |
| " | 'Calypso' | " | [51] |
| Robinson, A. M. F. | 'Of Forgotten Tunes' | An Italian Garden | [52] |
| " | 'Of Lost Lovers' | Handful of Honeysuckles | [90] |
| " | 'Of Heroes' | " | [91] |
| Ropes, Arthur Reed | 'Of a Garden' | Poems | [53] |
| Scollard, Clinton | 'Of the Bard' | Pictures in Song | [54] |
| " | 'Of Dead Poets' | " | [55] |
| " | 'To Villon' | " | [56] |
| " | 'The Blithe Ballade' | With Reed and Lyre | [57] |
| " | 'O Lady Mine' | " | [58] |
| " | 'Ships of Tyre' | " | [59] |
| Sharp, William | 'Of Vain Hopes'* | [60] | |
| " | 'Of the Sea-Wind'* | [61] | |
| " | 'Of the Sea-Folk'* | [62] | |
| Sherman, F. D. | 'To Austin Dobson' | Madrigals and Catches | [63] |
| " | 'Of Rhyme' | " | [64] |
| Swinburne, A. C. | 'Of Dreamland' | Poems and Ballads, 2d Ser. | [65] |
| " | 'Of François Villon' | " | [93] |
| " | Villon's Epitaph | " | [94] |
| " | 'Of Bath' | English Ill. Mag. | [95] |
| " | 'Of Sark' | " | [97] |
| Symons, Arthur | 'Of Kings' | Time | [66] |
| Tomson, Graham R. | 'Of Acheron' | Longman's Mag. | [67] |
| " | 'Of Asphodel' | " | [68] |
| " | 'Of the Bourne' | Harper's Mag. | [69] |
| " | 'Of Fairy Gold'* | [70] | |
| " | 'Of Might-be'* | [71] | |
| " | 'Of the Optimist' | St. James' Gazette | [72] |
| Wheeler, Mortimer | 'Of Old Instruments' | Mag. of Music | [73] |
| " | 'Of Sea-Music' | " | [74] |
| Whitney, Ernest | 'Nightingale and Lark' | [75] | |
| Wilton, Richard | 'Grandchildren at Church' | [76] | |
| CHANTS ROYAL. | |||
| Dobson, Austin | 'The Dance of Death' | Old World Idylls | [98] |
| Gosse, Edmund | 'The Praise of Dionysus' | New Poems | [100] |
| Payne, John | 'The God of Love' | New Poems | [102] |
| Pfeiffer, E. | 'Children of the Mist' | Gerard's Monument | [104] |
| Scollard, Clinton | 'King Boreas' | Pictures in Song | [106] |
| Waddington, S. | 'The New Epiphany' | Sonnets, etc. | [108] |
| Whitney, E. | 'Glory of the Year' | The Century | [110] |
| KYRIELLES. | |||
| Payne, John | Kyrielle | New Poems | [115] |
| Robinson, A. M. F. | 'The Pavilion' | An Italian Garden | [116] |
| Scollard, Clinton | Kyrielle | Pictures in Song | [116] |
| PANTOUMS. | |||
| Dobson, Austin | 'In Town' | At the Sign of the Lyre | [117] |
| "Love in Idleness" | 'Monologue d'outre Tombe' | [119] | |
| Payne, John | Pantoum Songs of Life and Death | [121] | |
| Matthews, Brander | 'En route' | The Century | [124] |
| Scollard, Clinton | 'Sultan's Garden' | Pictures in Song | [126] |
| RONDEAUX REDOUBLES. | |||
| Monkhouse, Cosmo | 'My Soul is Sick' | [128] | |
| Payne, John | 'My Day and Night' | New Poems | [129] |
| Scollard, Clinton | 'Prayer of Dryope' | Pictures in Song | [130] |
| Tomson, Graham R. | 'I will go hence'* | [131] | |
| RONDELS. | |||
| Bunner, H. C. | 'O Honey of Hymettus' | Airs from Arcady | [135] |
| " | 'Ready for the Ride' | The Century | [135] |
| Crane, Walter | Two Rondels | [136] | |
| Dabson, Austin | 'The Wanderer' | Old World Idylls | [137] |
| Fay, A. M. | Rondel | [137] | |
| Gosse, Edmund | " | New Poems | [138] |
| Grant, J. C. | " | Songs from the Sunny South | [138] |
| Henley, W. E. | Four Variations | The London | [139] |
| " | 'The Ways of Death' | " | [141] |
| McCarthy, Justin H. | Rondel* | [141] | |
| MacDonald, George | Two Rondels | A Threefold Cord | [142] |
| Moore, George | Two Rondels* | [143] | |
| Monkhouse, Cosmo | 'To a Sheet of Paper'* | [144] | |
| Payne, John | 'Kiss me, Sweetheart' | New Poems | [144] |
| Peck, S. M. | 'Before the Dawn' | Cap and Bells | [145] |
| Pfeiffer, Emily | Rondel | [147] | |
| Probyn, May | " | Ballad of the Road | [145] |
| " | Rondelets | " | [151] |
| Ropes, A. Reed | Two Rondels | Poems | [146] |
| Scollard, Clinton | 'Come, Love' | With Reed and Lyre | [147] |
| " | 'Upon the Stair' | Pictures in Song | [148] |
| " | 'I Heard a Maid' | " | [148] |
| Sherman, F. D. | 'Valentine' | " | [149] |
| Waring, C. H. | 'Love's Captive' | Fun | [149] |
| " | 'Love' | " | [150] |
| Wilton, Richard | Rondel Sungleams | [150] | |
| " | 'Benedicte' | Sunday at Home | [151] |
| RONDEAUS. | |||
| Bates, Arlo | 'Might Love be Bought'* | [152] | |
| " | 'In Thy Clear Eyes'* | [152] | |
| Bell, C. D. | 'The Sweet Sad Years' | Songs in Many Keys | [153] |
| " | 'A Wish' | " | [153] |
| Bowen, H. C. | 'To a Doleful Poet' | Longman's Magazine | [154] |
| Bridges, Robert | 'His Poisoned Shafts' | Poems | [155] |
| Bulloch, J. M. | 'To Homer'* | [155] | |
| Bunner, H. C. | 'September' | Airs from Arcady | [156] |
| " | 'Les Morts vont vite' | " | [156] |
| Crane, Walter | 'In Love's Disport'* | [157] | |
| " | 'What makes the World?'* | [157] | |
| THE SICILIAN OCTAVE. | |||
| Two Examples by Dr. RICHARD GARNETT | [132] | ||
| Dobson, Austin | 'O fons Bandusiæ' | Old World Idylls | [158] |
| " | 'On London Stones' | " | [158] |
| " | 'To Ethel' | " | [159] |
| " | 'With Pipe and Flute' | " | [160] |
| " | 'To a June Rose' | At the Sign of the Lyre | [159] |
| " | 'In After Days' | " | [160] |
| " | 'In Vain To-day' | " | [161] |
| " | 'When Burbadge Played' | " | [161] |
| Chew, Beverly | 'Old Books' | New York Critic | [162] |
| Grant, J. C. | 'A Coward Still' | Songs of Sunny South | [162] |
| Grant, Robert | 'Rondeaux of Cities' | The Century | [163]-4 |
| Goodale, E. | 'Could She have Guessed' | " | [165] |
| Gosse, Edmund | 'Fortunate Love' | On Viol and Flute | [165]-8 |
| " | 'If Love should Faint' | New Poems | [168] |
| Henley, W. E. | 'My Love to Me' | The London | [169] |
| " | 'With Strawberries' | " | [169] |
| " | 'A Flirted Fan' | " | [170] |
| " | 'In Rotten Row' | " | [170] |
| " | 'The Leaves are Sere' | " | [171] |
| " | 'With a Fan' | " | [171] |
| " | 'If I were King' | " | [172] |
| " | 'The Gods are Dead' | " | [172] |
| " | 'Her Little Feet' | " | [173] |
| " | 'When you are Old'* | " | [173] |
| Levy, Nathan | 'My Books' | American | [174] |
| "Love in Idleness" | 'Most Sweet of All' | [174] | |
| Lüders, C. H. | 'The Redbreast' | Hallo, my fancy | [175] |
| " | 'To Q. H. F.' | " | [175] |
| McCarthy, Justin H. | 'Love in London '* | " | [176] |
| Martin, Ada L. | 'Sleep' | Cassell's Magazine | [176] |
| Marzials, Theo. | 'To Tamaris' | Athenæum | [177] |
| " | 'When I see you' | " | [177] |
| " | 'Carpe Diem' | [178] | |
| Matthews, Brander | 'Old and New' | American | [178] |
| " | 'Sub Rosa' | The Century | [179] |
| Monkhouse, Cosmo | 'Violet' | The Spectator | [179] |
| " | 'O scorn me not'* | [180] | |
| " | 'Ten Thousand Pounds'* | [180] | |
| Payne, John | 'One of these days' | New Poems | [181] |
| " | 'Life lapses by' | " | [181] |
| Peck, S. M. | 'Beyond the Night' | Cap and Bells | [182] |
| " | 'Among my Books' | " | [182] |
| Pfeiffer, E. | 'I go my Gait' | Gerard's Monument | [183] |
| Roberts, C. G. D. | 'Laurels for Song' | In Divers Tones | [183] |
| " | 'Without one Kiss' | Orion | [184] |
| Scollard, Clinton | 'Vis Erotis' | With Reed and Lyre | [184] |
| " | 'When Sirius Shines' | " | [185] |
| " | 'At Peep of Dawn' | " | [185] |
| " | 'In Greenwood Glen' | Pictures in Song | [186] |
| Sherman, F. D. | 'Her China Cup' | Madrigals and Catches | [186] |
| " | 'Behind her Fan' | " | [187] |
| " | 'Valentine' | " | [187] |
| " | 'When Twilight comes' | " | [188] |
| " | 'Come, Pan, and Pipe' | " | [188] |
| " | 'An Old Rondo' | " | [189] |
| Sterry, J. Ashby | 'A Street Sketch' | The Lazy Minstrel | [189] |
| " | 'Dover' | " | [190] |
| " | 'Homesick' | " | [190] |
| Tomson, Graham R. | 'In Beechen Shade'* | [191] | |
| " | 'The Gates of Horn'* | [191] | |
| Waddington, S. | 'If Love be True' | Sonnets, etc. | [192] |
| " | 'The Coquette' | " | [192] |
| Weatherly, G. | 'Yes or No' | Cassell's Magazine | [193] |
| Wilton, Rev. R. | 'My Window Birds' | Sungleams | [193] |
| " | 'Snowdrops and Aconites' | " | [194] |
| " | 'Chiff-chaff's Message' | " | [194] |
| Wright, Arthur G. | 'When Summer Dies' | Time | [195] |
| " | 'My Little Sweetheart'* | [195] | |
| ROUNDELS. | |||
| Blomfield, D. F. | Three Roundels | English Ill. Mag. | [196]-7 |
| Swinburne, A. C. | 'A Singing Lesson' | Century of Roundels | [197] |
| " | 'In Guernsey' | " | [198]-9 |
| " | 'The Roundel' | " | [199] |
| Sayle, C. | 'Nothing so Sweet' | Bertha, etc. | [200] |
| " | 'The Trysting-Tree' | " | [200] |
| Symons, Arthur | 'Of Rest'* | [201] | |
| Waddington, S. | 'Mors et Vita'* | [201] | |
| Weller, Bernard | 'Rondels of Childhood' | Home Chimes | [202] |
| SESTINAS. | |||
| Byrne, F. M. | Sestina | American | [205] |
| Coleman, C. W. | 'Love's Going' | Harper's Magazine | [206] |
| Gosse, Edmund | Sestina | New Poems | [207] |
| Robinson, A. M. F. | 'Pulvis et Umbra' | An Italian Song | [209] |
| Scollard, C. | 'Cupid and the Shepherd' | Pictures in Song | [210] |
| Swinburne, A. C. | Sestina | Poems and Ballads (2nd ser.) | [211] |
| TRIOLETS. | |||
| Alexander, Griffith | 'My Sweetheart' | [215] | |
| Bridges, Robert | Two Triolets | Poems | [215] |
| Bates, Arlo | Four Triolets* | American | [216] |
| Bunner, H. C. | Triolet | The Century | [217] |
| Crane, Walter | Triolet* | [217] | |
| Dick, Cotsford | 'Triolets for the Twelfth' | The Model | [218] |
| Dobson, Austin | 'Rose-leaves' | Old World Idylls | [219] |
| " | 'Oh, Love's but a Dance' | " | [220] |
| Gosse, Edmund | 'After Catullus'* | [221] | |
| Henley, W. E. | Triolet | The London | [221] |
| Learned, Walter | " | American | [221] |
| McCarthy, Justin H. | Triolets* | [222] | |
| Lüders, C. H. | " | Hallo, my fancy | [223] |
| "Love in Idleness" | Triolet | [224] | |
| Macdonald, George | Triolets | A Threefold Cord | [224]-6 |
| Peck, S. M. | 'Under the Rose' | Cap and Bells | [227] |
| Pfeiffer, E. | Triolet | Gerard's Monument | [228] |
| Radford, Ernest | Six Triolets | Measured Steps | [229]-30 |
| Robertson, Harrison | Two Triolets | The Century | [228] |
| Robinson, A. M. F. | 'From Fiametta' | Handful of Honeysuckles | [231] |
| Scollard, Clinton | 'A Snowflake' | With Reed and Lyre | [233] |
| Sterry, J. Ashby | 'A Tiny Trip' | The Lazy Minstrel | [233] |
| Symons, Arthur | 'Vestigia' | Home Chimes | [235] |
| "The Century" | Triolet | [224] | |
| " | 'Apology for gazing' | [233] | |
| " | 'Rejected' | [238] | |
| Tomson, Graham R. | Triolets* | [236]-8 | |
| Waring, C. H. | 'A Pair of Gloves' | Fun | [239] |
| Weatherly, G. | 'In the Orchard' | Cassell's Magazine | [240] |
| VILLANELLES. | |||
| Bevington, L. S. | 'Roses' | Key Notes | [243] |
| Dick, Cotsford | 'A Vacation Villanelle' | The Model | [244] |
| Dobson, Austin | 'Tu ne quaesieris' | Old World Idylls | [245] |
| " | 'When I saw you last, Rose' | " | [246] |
| " | 'Theocritus' | " | [247] |
| " | 'On a Nankin Plate' | " | [248] |
| Gosse, Edmund | Villanelle | New Poems | [249] |
| " | 'Little Mistress mine' | " | [250] |
| Henley, W. E. | 'Where's the use of sighing' | The London | [251] |
| " | 'The Villanelle' | " | [252] |
| " | 'In the Clatter of the Train' | " | [253] |
| Lang, Andrew | 'To M. Boulmier' | Ballades in Blue China | [254] |
| "Love in Idleness" | 'To the Nightingale' | [255] | |
| Monkhouse, Cosmo | 'Hetty'* | [256] | |
| Noble, J. Ashcroft | 'Life' | Verses of a Prose-Writer | [257] |
| Payne, John | 'The Air is White' | New Poems | [258] |
| Peck, S. M. | 'Bonnie Belle' | Cap and Bells | [259] |
| " | 'If some true Maiden's' | " | [260] |
| Pfeiffer, E. | 'When the brow of June' | Sonnets v. Songs | [261] |
| " | 'O Summer-time' | " | [262] |
| Probyn, May | 'In every Sound' | [263] | |
| " | 'The Daffodils' | Ballad of the Road | [264] |
| Scollard, Clinton | 'To Helen' | With Reed and Lyre | [265] |
| " | 'To the Daffodil' | " | [266] |
| " | 'Spring knocks' | Pictures in Song | [267] |
| Sterry, J. Ashby | 'Dot' | [268] | |
| Thomas, Edith W. | 'Across the World'* | " | [270] |
| " | 'Where are the Springs' | The Manhattan | [271] |
| Tomson, Graham R. | 'To Hesperus'* | " | [272] |
| " | 'I did not Dream'* | [273] | |
| Waddington, S. | 'Come, to the Woods' | Sonnets, etc. | [274] |
| Wilde, Oscar | 'Theocritus' | Poems | [275] |
| VIRELAI. | |||
| Payne, John | 'Spring's sadness' | New Poems | [276] |
| VIRELAI NOUVEAU. | |||
| Dobson, Austin | 'July' | Evening Hours | [279] |
| BURLESQUES, ETC. | |||
| Anonymous | 'Ballade of Old Metres' | The Century | [285] |
| " | 'Ballade of the Prodigals' | " | [287] |
| Bunner, H. C. | 'On Newport Beach' (Rondeau) | " | [290] |
| " | 'Ballade of Summer Boarder' | " | [283] |
| " | Chant Royal, 'Mrs. Jones' | " | [294] |
| Cranch, C. P. | 'Young Poet's Advice' | New York Critic | [284] |
| Dobson, Austin | Villanelle | Walnuts and Wine | [293] |
| G. H. | 'Malapropos' | The Lute | [294] |
| Henley, W. E. | 'Villon's Straight Tip'* | [288] | |
| " | 'Culture in the Slums' | [290] | |
| Lang, Andrew | 'Ballade of Cricket' | Rhymes a la mode | [286] |
| Moore, A. M. | 'Ballade of Ballade-mongers' | Hood's Annual | [289] |
[PREFACE.]
This anthology is chosen entirely from poems written in the traditional fixed forms of the ballade, chant royal, kyrielle, rondel, rondeau, rondeau redoublé, sestina, triolet, villanelle, and virelai, with the addition of the pantoum. That such a choice is the result of circumstances it is needless to point out, since only those that had found favour with English writers were available for the purpose. So far as I know, this collection is the first of its sort, although Mr. W. Davenport Adams' Latter Day Lyrics included a section chosen on the same lines. Having, in company, no doubt, with many others, a genuine regard for the group Mr. Adams included there, I had long hoped to see a more ample compilation of later work in this school; but notwithstanding the steady increase in the number of poems written in the forms systematically arranged herein, the ground remained unoccupied, until the appearance of this book; which may fairly claim to be the first in the field, since no other volume has devoted its whole space to them, save in the rarer cases, where an author has published a collection of original poems cast in one mould, notably Mr. Swinburne's Century of Roundels and Mr. Andrew Lang's Ballades in Blue China.
In Mr. Adams' volume another valuable feature was the Note on some Foreign forms of Verse by Mr. Austin Dobson, which many years since introduced to me the laws of the various forms and created my special interest in them. It is no derogation to the charming group in the former volume to say of the present collection, that it far exceeds its predecessor in number and variety, for now there is a wide field to choose from, whereas Mr. Adams was then limited to a selection from the small number extant.
The rules which Mr. Austin Dobson was the first to formulate in English are made the basis (side by side with the treatises of M. de Gramont, M. de Banville, and other authorities) of the following chapter on the rules of the various forms. Lest a name so intimately associated with the introduction of the old French metrical shapes in English poetry should appear to be brought in to add weight to my own attempt, and the reputation of a master invoked for the work of one who at furthest can but style himself an apprentice, I must ask that this necessary tribute to Mr. Dobson's labours be taken only as an apology for so freely using his material, and that his ready help is by no means to be regarded in the faintest way as an imprimatur of any statements in this prefatory matter, save those quoted avowedly and directly from his writings.
It may be best to name at once the authorities who have been consulted in the preparation of the introductory chapter. These include the French treatises of De Banville, De Gramont, and Jullienne, Mr. Saintsbury's Short History of French Literature, Mr. Hueffers' Troubadours, an article by Mr. Gosse in the Cornhill Magazine, July 1877, Les Villanelles by M. Joseph Boulmier, The Rhymester of Mr. Brander Matthews, and many occasional papers on the various forms that have appeared in English and American periodicals. To arrange in one chapter the materials gathered from these and other sources is all that I have attempted. If at times the need to crowd enough matter for a volume into the limits of a few pages results in a want of lucidity, I must plead the necessity imposed by limited space. To those who, by their kindly permission, have allowed their poems to be quoted here, the thanks that I can offer are as hearty as the expression of my gratitude is brief. The somewhat onerous task of obtaining consent from about two hundred authors has been turned to a pleasure, by the evidence of interest taken in this, the first collection of the later growth of this branch of poetic art. Nor did the help cease with the loan of the poems; in many instances a correspondence followed that brought to light fresh material, both for the body of the book and the introductory chapter, and rendered assistance not easy to overvalue. If any writer is quoted without direct permission, it was through no want of effort to trace him, excepting in the case of a very few that reached me in the shape of newspaper cuttings, wholly devoid of any clue to the locality of the writer. To Mr. Austin Dobson my best thanks are due. From Mr. Andrew Lang and Mr. Edmund Gosse I have also appropriated material, acknowledged as often as practicable; also to my friend, Mr. A. G. Wright, for invaluable help during the rather monotonous task of hunting up and copying at the reading-room of the British Museum; and to Mr. William Sharp, whose critical advice and generous encouragement throughout have left a debt of gratitude beyond payment.
In a society paper, The London, a brilliant series of these poems appeared during 1877-8. After a selection was made for this volume, it was discovered that they were all by one author, Mr. W. E. Henley, who most generously permitted the whole of those chosen to appear, and to be for the first time publicly attributed to him. The poems themselves need no apology, but in the face of so many from his pen, it is only right to explain the reason for the inclusion of so large a number.
From America Mr. Brander Matthews and Mr. Clinton Scollard have shown sympathy with the collection, not only by permitting their works to be cited, but also by calling my attention to poems by authors almost unknown in England; while all those writers who in the new world are using the old shapes with a peculiar freshness and vigour, gave ready assent to the demand.
To Messrs. Cassell & Co., for allowing poems that appeared in Cassell's Family Magazine (those by Miss Ada Louise Martin and Mr. G. Weatherley); to Messrs. Longman, for liberty to quote freely from the many graceful examples that appeared in Longman's Magazine; to Messrs. Kegan Paul, Trench, & Co., for endorsing Mr. Andrew Lang's permission to include specimens from Rhymes à la Mode and Ballades in Blue China, the utmost thanks are due for the courtesy shown; also to the proprietors of the Century Magazine, where so many of the American poems (many since collected by the authors in their own volumes) first appeared; and to Messrs Harper for permission to use Mr. Coleman's Sestina, and Mr. Graham R. Tomson's Ballade of the Bourne, which first appeared in their popular monthly. The poems that are cited by the courtesy of Mr. John Payne appear respectively in Songs of Life and Death (W. H. Allen & Co.), New Poems (ditto), and Poems by François Villon (Reeves & Turner), now out of print.
Having named so many who have lent aid, it is but fair to exonerate them from any blame for errors that, no doubt, in spite of the utmost care, may have crept in. In view of a later edition, I should be glad to be informed of any additional data of the use of the forms in English verse, which, if quoted, would add to the value of the collection, or to have any erroneous statements corrected.
Notwithstanding the many shortcomings of my own share in the production of this volume, I cannot doubt but that the charm of the poems themselves will endear it to readers; and as a lover of the "Gallic bonds," I venture to hope it may do some little towards their complete naturalisation in our tongue.
GLEESON WHITE.
August 1887.
[NOTES]
ON THE EARLY USE OF THE
VARIOUS FORMS.
[SOME NOTES ON THE EARLY USE OF THE VARIOUS FORMS, AND RULES FOR THEIR CONSTRUCTION.]
In the limited space available, it is hardly possible to give more than a very crude sketch of the origin of these forms; but some reference to early Provençal literature is inevitable, since the nucleus of not a few of them can be traced among the intricate rhyming of the Troubadours. Yet it would be beyond the purpose to go minutely into the enticing history of that remarkable period, nor is it needful to raise disputed questions regarding the origin of each particular fashion. The number of books on Provençal subjects is great, the mere enumeration of the names of those in the library of the British Museum would fill several pages. The language itself has a fascination which allures many to disaster, for as Mr. Hueffer points out, it "looks at first sight so like the Latin and more familiar Romance languages that it offers special temptations" to guess at its meaning, with very doubtful success.
The term Provençal is usually applied to a dialect more correctly known as "the Langue d'Oc, which, with the Langue d'Oil, forms the two divisions of the Romance language spoken in the country we now know as France;" but Mr. Saintsbury remarks that, strictly speaking, the Langue d'Oc should not be called "French" at all, since it is hardly more akin to the Langue d'Oil than it is to Spanish and Italian, and that those who spoke it applied the term "French" to northern speech, calling their own Limousin, or Provençal, or Auvergnat. The limits where it prevailed extended far beyond Provence itself. Authorities differ with regard to the exact boundaries. It will suffice for the present purpose to take those Mr. Hueffer adopts—namely, the district within a boundary formed by a line drawn from the mouth of the Gironde to that of the Saone, in the north, while the southern limit includes parts of Spain, such as Aragon, Valencia, Catalonia, and the Balearic Islands.
Herr Karl Bartsch, the eminent historian of Provençal literature, divides it into three periods:—the first, to the end of the eleventh century; the second, which is the one that marks the most flourishing time of the poetry of the Troubadours, extending over the twelfth and thirteenth; and the third period—of its decadence—in the fourteenth and fifteenth centuries. To this may be added the attempt to revive it in our own day, by the school of the so-called Félibres, including Mistral, Aubanel, Alphonse Daudet, and others, who have worked vigorously, and with no mean success, to produce a modern literature in the old dialect, worthy of its former dignity. In this preface it is impossible to mention any part of the prose of this marvellous literature, which sprang almost suddenly into a gigantic growth, that has been a fruitful theme for wonder and admiration ever since, and left its influence widely felt. The point that is to the purpose here, concerns the invention by the Provençal poets of many set forms of verse, some few of which are still written, but most so altered and renewed by later use, that their original character is well-nigh obscured. The forms included in this book are often erroneously attributed en masse to the jongleurs of Provence, yet few assumptions are less true. Altered by the Trouvères, the fifteenth century poets, the Ronsardists, and later writers, it is safer to assign to the Troubadours only the germs which evolved gradually into their now matured forms. To linger over the extraordinary period is a temptation hard to dismiss; the very name still has a flavour of romance, and brings a curious medley of images to the mind when it is heard, many perhaps as far from the actual Provençal Troubadour as Nanki-Poo in the "Mikado" is from the wandering minstrel of the court of King Thibaut. Of the Troubadours who have come down to fame, four hundred and sixty are recorded by name, besides two hundred and fifty-one pieces that have survived without evidence of their authors. King Richard I. (our own Cœur de Lion), Guillem de Cabestanh, Peire Vidal, Bertran de Born, The Monk of Montaudon, and many others, have biographical sketches of exceeding interest allotted to them in Mr. Hueffer's "The Troubadours." A halo of romance has gathered round their names, and thrown a glamour over the record of their lives; to read their history is to be transported to a region where all topics but love and song are deemed unimportant trifles, unless the old chroniclers are singularly untruthful in their statements. We know now-a-days many a young poet's crushed life appears only in his verses, and outside those he appears but an average Philistine to vulgar eyes. Perhaps the "land of the nightingale and rose" was not so idyllic as its historians paint it; but with every deduction, there yet remains evidence of an exceptional importance attached to the arts, more especially to that of song. To those who wrote, or rather sang, witty impromptus (made often, we can but fancy, with much labour beforehand), or produced dainty conceits in elaborate rhymes and rhythms, when sound came perilously near triumphing over sense, a welcome was extended, as widespread and far more personal in its application than even that accorded to our modern substitute for the troubadour—the popular novelist. The doings of the Courts of Love, set down in sober chronicles, are hardly less fantastic than Mr. Gilbert's ingenious operas. Matters of the most sentimental and amorous character were debated in public, with all the earnestness of a question of state. That their poetry was singularly limited in its character there is little doubt, but Mr. Hueffer declares that it had its serious side, often lost sight of, and that no small portion was devoted to stately and dignified subjects. Mr. Lowell, on the other hand, in an essay on Chaucer in My Study Windows, says—
"Their poetry is purely lyric in its most narrow sense, that is, the expression of personal and momentary moods. To the fancy of the critics who take their cue from tradition, Provence is a morning sky of early summer, out of which innumerable larks rain a faint melody (the sweeter because rather half divined than heard too distinctly) over an earth where the dew never dries and the flowers never fade. But when we open Raynouard it is like opening the door of an aviary. We are deafened and confused by a hundred minstrels singing the same song at once, and more than suspect the flowers they welcome are made of French cambric, spangled with dewdrops of prevaricating glass."
The forms in which the Provençal poets wrote were chiefly these:—The oldest was called vers, and consisted of octosyllabic lines arranged in stanzas; from this grew the canzo, with interlaced rhymes—later on with the distinctive feature still prominent in French, but unknown in English poetry, the rhymes masculine and feminine. The canzo was used entirely for subjects of love and gallantry, but the sirvente, composed of short stanzas, simply rhyming, and corresponding one to the other, was employed for political and social subjects, sometimes treated seriously, at others satirically. The tenso was a curious trial of skill in impromptu versification. Two antagonists met and agreed that the one should reply on the opposite side to any argument the first might select. The opening stanza, chosen at will by the speaker, was imitated in the reply, both in observance of its rhyme and rhythm, the same rhyme-sound being often kept throughout the whole poem. It must not be forgotten that the Langue d'Oc was singularly fertile in rhymes, so that the feat was less arduous than it would be in other tongues. The alba, a farewell at morning, and the serena, or evening song, the pastorella, devoted, as its name implies, to pastoral subjects, appear to govern the themes of the verses rather than the form. There is record, however, of the breu-doble (double short), invented by Guirant Riquier, a little form with three rhymes, two of which are repeated twice in three four-lined stanzas, and given once in a concluding couplet, while the third finished each quatrain. The retroensa is noticeable for its refrain of more than one line. The sonnet has ceased to be claimed as a Provençal invention, yet it must be noted, as at one time its origin there was a favourite theory. The ballade, "a song serving to accompany the dance," must not be confused with the later ballade; and lastly, the greatest in most respects, the sestina, which, as it occurs among the poems noticed technically later on, need not be further mentioned here.
"The artificial verse-forms of Provence include some as peculiar and arbitrary as ever issued from the brain of Persian poet—verse-forms by the side of which the metrical glitter of ballade, chant royal, rondeau, rondel, triolet, virelai and villanelle must pale," says a writer in the Westminster Review (October 1878), and instances the tenso and the sestina in proof of his assertion. Mr. Hueffer also treats the chant royal as mere child's play beside the intricate feats displayed by the Troubadours. The above short list shows many examples of forms using the refrain and some other features preserved in Northern poetry; but the debt owed by the North to the Troubadours is far less, according to later writers, than that assigned to Provençal influence some few years ago. Mr. Saintsbury says that "poems called rondeaux and ballades, of loose construction and undecided form, began to make their appearance at the end of the twelfth and beginning of the thirteenth century," but the forms as we know them owe their present shape to their reformation in Northern France, culminating in the poems of Charles d'Orléans and François Villon. In this revival, the lai and pastourelle kept their Provençal titles, but were made much more exact in form, and never attained the widespread celebrity of the newer shapes, which are to all intents and purposes the models for the forms in this volume, save the sestina, which is practically an Italian, and the pantoum, an Eastern form.
There is no space here to notice more than the names of a few of even the most prominent of the poets who succeeded the Provençal singers in their use of these forms. There are thousands of ballades in MSS. in the Royal French Library, by known and unknown writers. Eustache Deschamps (1328-1415), a friend of Chaucer's, "has left no less than 1175 ballades. Rondeaus, virelais, etc., also proceeded in great numbers from his pen; also an important Art of Poetry, a treatise rendered at once necessary and popular by the fashion of artificial rhyming."[1] Some of the earliest ballades and rondel-triolets bear the name of Jehan Froissart (1337-1410), the chronicler. Messire Guy de la Tremouille, according to Mr. Gosse, is supposed to have been the first to devise the elaborate rules of construction of the ballade, which have been in force ever since. He was guard of the Oriflamme in 1383, and died in 1398; but Deschamps is more often credited with the honour. That he cultivated the form we know, besides writing an "Art of making Chansons, Ballades, Virelais, and Rondels," which is a valuable relic of his time. Jehannot de Lescurel, "of whom absolutely nothing is known, has left sixteen ballades, fifteen rondeaus (not in regular form), and other pieces, said to be 'of singular grace, lightness, and elegance.'"
[1] See Saintsbury's Short History of French Literature, p. 103.
Guillaume de Machault (1284-1377) was also a voluminous writer. One of his poems, a chanson balladée, is printed in Mr. Saintsbury's Short History of French Literature, which contains also a Ballade by Alain Chartier (1390-1458), the hero of the famous story of the kiss of Queen Margaret of Scotland, and other specimens of this period, in a succinct and trustworthy account of the growth of French poetry, surpassed by no book in our own language.
Charles d'Orléans (1391-1466), noticed among the English writers, is specially honoured as the master of the rondel; while François Villon (1431-1485) stands out as the "prince of all ballade-makers." For brief, but splendid sketches of these two, Mr. R. L. Stevenson's Familiar Studies of Men and Books should be consulted, while for more prosaic description there is no lack of data. Since the revival of interest in Villon, France has done tardy but unstinted honour to her most famous poet, as it is the fashion just now to style him, but there is a doubt whether the praise given is not in danger of being exaggerated. Yet, making all allowances, there is vital humanity in his wondrous writings, that now, after four hundred years, read as living and modern in their presentation of life, as though they were by a realist of our own day. In Villon, student, poet, housebreaker, we find the forerunner of the Zola of to-day—one who, in so eminently an artificial form as the ballade, cast aside all conventional restraints, and sang of what he saw and knew. It is much to be regretted that space forbids more translations of his poems to be included in this collection. For those who wish to tackle him in his old, and by no means easy, French, a good edition is published for a franc, in the Collection Jannet-Picard (Paris). Mr. Payne has translated the whole of his authentic works into English in a volume, at present out of print, which contains also a very graphic and full biography of this remarkable man. Space forbids insertion of the sketch of his life prepared for this chapter. Born in 1431, student 1448, B.A. in 1452, writing his Lesser Testament in 1446, his Greater Testament in 1461; in those few years he contrived to win more fame, and, to speak truly, more infamy, than a whole generation of lesser poets. He was condemned to die—he wrote his marvellous Ballade of the Gibbet while lying under sentence of death—but escaped. Where he died is unknown, the date of his Greater Testament being the last record of Master François Villon of Paris.
In 1493 appeared L'art et science de rhéthorique pour faire rigmes et ballades, by Henry de Croï—an invaluable treatise on French Poetics. The works of Pierre Gringoire (1478-1544) must be named, if only for the fact of De Banville's splendid ballade in his comedy "Gringoire," founded on an incident in the poet's life. By Mr. Lang's permission a translation is quoted in the body of this volume. Mr. John Payne also englished it, in the Dublin University Magazine, 1879. The works of Clement Marot (1497-1544) demand special note, since his ballades and chants royaux are now accepted as the ideal models for imitation.
In his Art Poëtique, 1555, Thomas Sibilet reviews many of the former writers, and gives the rules of the poetry then in force. Immediately after this date came another change; with the famous school of Ronsard (1524-1585) and the Pléiade, as they are styled, one of whom, however, Du Bellay, was eager to abolish the ballade and chant royal in favour of the sonnet. The members of this group produced some notable work in strict forms. Among the Ronsardists we find Grévin the dramatist, who wrote some graceful poems which he called Villanesques—a modified form of the Villanelle—and Jean Passerat (1534-1602) who is specially noteworthy, since in his hand the Villanelle crystallised into its present shape, Joseph Boulmier, in the last revival, making this form his special study, and writing all his verses after Passerat's model given elsewhere in this volume.
The rondeau was revived in great splendour in the middle of the seventeenth century. Foremost among the brilliant group is Voiture (1598-1648), the acknowledged master of this form. Only thirty of his rondeaus are left, but each one of these is a masterpiece, and may be studied for all the subtle devices and dainty inventions that the form has yet yielded. Benserade (1612-1691) and Sarrasin were also famous for rondeau-making, the former translating the whole of Ovid's Metamorphoses into rondeaus, which were sumptuously printed at the King's Press at a cost of 10,000 francs. When Voiture died in 1648, it is curious to note that Sarrasin wrote a "pompous funereal poem—possibly the most funny serious elegy ever composed—in which, among other strange mourners, he makes the 'poor little triolet,' all in tears, trot by the side of the dead poet," who, according to Mr. Gosse, from whom the above paragraph is quoted, had never written one in his life. Sarrasin also left a curious specimen of the Glose, written on the famous Sonnet "de IOB" by Benserade. In 1649 Gérard de Saint Amant wrote a volume of sixty-four triolets. From the seventeenth to the nineteenth century no important examples occur. About thirty years ago De Banville revived these old shapes, and initiated a movement that Daudet, Glatigny, Boulmier, and a host of others have helped forward, so that now modern French literature is flooded with examples of the forms-the ballade, rondeau, and triolet being the most widely used.
Having imperfectly followed the growth of the forms in France, it will be interesting to give a few notes of the various attempts made to acclimatise some in England. Although no effort previous to 1873 warrants us in claiming an English pedigree for them, yet it is curious to see how often the attempt was made to write them in our own tongue. The sonnet gradually grew into use, until it became as little an exotic as the potato, to employ an uncouth simile; the ballade and rondeau—hardly more formal in their rules, and with susceptibilities of infinite grace and beauty—failed to be even residents amongst us, much less naturalised subjects, sharing the rights and duties of citizens. Chaucer is believed to have used these forms, as in "The Legend of Good Women" he says, speaking of himself—
"Many a himpne for your holy daies
That highten balades, roundels, virelaies."
His "Balade de Vilage sauns Peynture," however, does not correspond with the accepted form. Mr. Gosse says that the Chaucer of 1651 contains a number of poems attributed to himself and Lydgate "which are merely pieces in rhyme-royal, so arranged as to imitate the French ballade: without its severity of form."
The following is a roundel attributed to Chaucer:—