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A rondeau (plural rondeaux) is a form of medieval and Renaissance French poetry, as well as the corresponding musical chanson form. Together with the ballade and the virelai it was considered one of the three ''formes fixes'', and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries. It is structured around a fixed pattern of repetition of material involving a refrain. The rondeau is believed to have originated in dance songs involving alternating singing of the refrain elements by a group and of the other lines by a soloist. The term "Rondeau" is today used both in a wider sense, covering several older variants of the form – which are sometimes distinguished as the triolet and rondel – and in a narrower sense referring to a 15-line variant which developed from these forms in the 15th and 16th centuries. The rondeau is unrelated with the much later instrumental dance form that shares the same name in French baroque music, which is an instance of what is more commonly called the rondo form in classical music. ==Verse structure == 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. 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. 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. If the poem has more than one stanza, it continues with further sequences of aAab-AB, aAab-AB, etc. 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: In larger rondeau variants, each of the structural sections may consist of several verses, although the overall sequence of sections remains the same. 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 the ''rondeau quatrain'', the rhyme scheme is usually ABBA–ab–AB–abba–ABBA; in the ''rondeau cinquain'' it is AABBA–aab–AAB–aabba–AABBA. A typical example of a ''rondeau cinquain'' of the 15th century is the following: :''Allés, Regrez, vuidez de ma presence;'' :''allés ailleurs querir vostre acointance;'' :''assés avés tourmenté mon las cueur,'' :''rempli de deuil pour estre serviteur'' :''d'une sans per que j'ay aymée d'enfance.'' :Fait lui avés longuement ceste offence, :Ou est celluy qui onc fut ne en France, :qui endurast tel mortel deshonneur? ::''Allés, Regrez, …'' :N'y tournés plus, car, par ma conscience, :se plus vous voy prochain de ma plaisance, :devant chascun vous feray tel honneur :que l'on dira que la main d'ung seigneur :vous a bien mis a la malle meschance. ::''Allés, Regrez, …'' In the medieval manuscripts, the restatement of the refrain is usually not written out, but only indicated by giving the first words or first line of the refrain part. After the mid-15th century, this feature came to be regarded no longer as a mere scribal abbreviation, but as an actual part of the poetry. As the form was gradually divorced from the musical structure and became a purely literary genre, it is often not entirely clear how much of the refrain material was actually meant to be repeated.〔 A ''rondeau quatrain'' in which the first refrain interjection (lines 7–8, rhymes AB) is preserved in full, while the final restatement of the refrain is reduced to a single line (A) or again just two lines (AB), ends up with a total of 13 or 14 lines respectively. This form is usually defined as the "rondel" in modern literary compendia. Another version has the refrains shortened even further. Both restatements are reduced to just the first two or three words of the first line, which now stand as short, pithy, non-rhyming lines in the middle and at the end of the poem. These half-lines are called ''rentrement''. If derived from the erstwhile ''rondeau quatrain'', this results in a 12-line structure that is now called the "rondeau prime", with the rentrements in lines 7 and 12. If derived from the erstwhile 21-line ''rondeau cinquain'', the result is a 15-line form with the rentrements in lines 9 and 15 (rhyme scheme aabba–aabR–aabbaR). This 15-line form became the norm in the literary rondeau of the later Renaissance, and is known as the "rondeau" proper today. The following is a typical example of this form:〔 :''Avant mes jours'' mort me fault encourir, :Par un regard dont m'as voulu ferir, :Et ne te chault de ma grefve tristesse; :Mais n'est ce pas à toy grande rudesse, :Veu que to peulx si bien me secourir? :Auprés de l'eau me fault de soif perir; :Je me voy jeune, et en aage fleurir, :Et si me monstre estre plein de vieillesse ::''Avant mes jours.'' :Or, si je meurs, je veulx Dieu requerir :Prendre mon ame, et sans plus enquerir, :Je donne aux vers mon corps plein de foiblesse; :Quant est du cueur, du tout je te le laisse, :Ce nonobstant que me faces mourir ::''Avant mes jours.'' A large corpus of medieval French rondeaux was collected, catalogued, and studied by Nico H.J. van den Boogaard in his dissertation ''(Rondeaux et refrains du XIIe siècle au début du XIVe: Collationnement, introduction et notes )'' (Paris: Klincksieck, 1969). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Rondeau (forme fixe)」の詳細全文を読む スポンサード リンク
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