![]() Variants include the rondeau tercet, where the refrain consists of three verses, the rondeau quatrain, where it consists of four (and, accordingly, the whole form of sixteen), and the rondeau cinquain, with a refrain of five verses (and a total length of 21), which becomes the norm in the 15th century. In larger rondeau variants, each of the structural sections may consist of several verses, although the overall sequence of sections remains the same. In its simplest and shortest form, the rondeau simple, each of the structural parts is a single verse, leading to the eight-line structure known today as triolet, as shown in "Doulz viaire gracieus" by Guillaume de Machaut: If the poem has more than one stanza, it continues with further sequences of aAab AB, aAab AB, etc. Thus, it can be schematically represented as AB aAab AB, where "A" and "B" are the repeated refrain parts, and "a" and "b" the remaining verses. This is followed first by a section of non-refrain material that mirrors the metrical structure and rhyme of the refrain's first half, then by a repetition of the first half of the refrain, then by a new section corresponding to the structure of the full refrain, and finally by a full restatement of the refrain. The older French rondeau or rondel as a song form between the 13th and mid-15th century begins with a full statement of its refrain, which consists of two halves. Verse structure Structural plan of 14th century rondel/rondeau forms The rondeau is unrelated to the much later instrumental dance form that shares the same name in French baroque music, which is more commonly called the rondo form in classical music. The term "Rondeau" is used both in a wider sense, covering older styles of the form which are sometimes distinguished as the triolet and rondel, and in a narrower sense referring to a 15-line style which developed from these forms in the 15th and 16th centuries. The rondeau is believed to have originated in dance songs involving singing of the refrain by a group alternating with the other lines by a soloist. It is structured around a fixed pattern of repetition of verse with a refrain. Together with the ballade and the virelai it was considered one of three formes fixes, and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries. Approaching the Poetria nova with a poet's eye expands the range and scope of likely influences on the treatise and, more importantly, deepens our appreciation for his remarkable commitment as a poet to the affective potential of transumptive language.A rondeau ( French: plural: rondeaux) is a form of medieval and Renaissance French poetry, as well as the corresponding musical chanson form. Only by recognizing the resonance of these images can we fully appreciate just how highly Geoffrey values transumptio. Thus, the Poetria nova leverages the spiritual significance of the images to make a decisively literary point about the wondrous power of subtle, transumptive language. Rather, peregrinatio and the nubes serena have a rich history in liturgical drama, biblical commentary, and iconography where they signify a kind of spiritual transport remarkably similar to Geoffrey's conception of transumptio in terms of process and quality. ![]() ![]() The images are not original to Geoffrey, nor are they drawn from the discourse of formal rhetoric. When that meaning becomes clear to the reader, however, the recognition can be delightful, intoxicating, or even wondrously transporting. ![]() Both help him explain how transumptive language at first displaces or hides meaning beneath something that is deceptively ordinary. In describing its moving effects, Geoffrey uses the imagery of a pilgrimage ( peregrinatio) and of a "clear cloud" ( nubes serena). This study, therefore, focuses on two images in the section on ornatus graves, or weighty ornamentation, the category of figures defined by its reliance on transumptio. This imbalance in criticism limits our understanding of his ideas and the appeal they held for medieval poets. Geoffrey of Vinsauf's Poetria nova must be studied as a poem in its own right as thoroughly as it has been studied as a technical rhetorical treatise although many scholars have acknowledged the brilliance of his style, few analyses thereof exist. ![]()
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