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How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College

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How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kane, Julie Ellen, "How the Villanelle's Form Got Fixed." (1999). LSU Historical Dissertations and Theses. 6892. https://digitalcommons.lsu.edu/gradschool_disstheses/6892 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been rqxroduced from the microfilm master. UMI films the text directfy firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, vdiile others may be from any typ e o f com pater printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b^innm g at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for aity photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. HOW THE VILLANELLE’S FORM GOT FIXED A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree o f Doctor of Philosophy in The Department of English by Julie Ellen Kane B.A., Cornell University, 1974 M.A., Boston University, 1975 May 1999 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMX Number: 9925533 UMI Microform 9925533 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, Ml 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS The author wishes to thank the following individuals and institutions for their support and assistance; Kathryn L. Beam, University of Michigan Special Collections Library; Jeanice Brooks, University of Southampton Music Department; Ken Fontenot, Austin, Texas; Wayne H. Hudnall, Louisiana State University Agronomy Department; Margaret Kieckhefer, Library of Congress Rare Books Collection; the Interlibrary Borrowing Stafi^ Louisiana State University’s Middleton Library; and Dave Smith, Louisiana State University English Department. Special thanks to Louisiana State University for a graduate fellowship and to the LSU Center for French and Francophone Studies for a summer research grant. u Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGMENTS.................................................................................... ü ABSTRACT.......................................................................................................... iv CHAPTER 1 VILLANELLE "TRADITION" AND THE INDIVIDUAL TALENT.............................................................1 2 WORDS FOR TUNES AND TUNES FOR WORDS 14 3 THE VILLAN ELLA IN ITALY.................................................. 47 4 THE VILLANELLE IN FRANCE.............................................88 5 THE NEAPOLITAN IN ENGLAND.....................................169 6 THE n X IS IN ........................................................................... 211 7 THE TWENTIETH CENTURY ...............................................261 BIBLIOGRAPHY............................................................................................... 295 VITA.................................................................................................................... 317 111 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT This work debunks the myth of the villanelle as a "fixed poetic form" dating back to the sixteenth century or earlier and replaces it with a new-historical account of how a semi-improvisatory musico-poetic genre, the choral-dance lyric, was "translated" across ruptures in lyric technology between oral, manuscript, and print cultures. The "fixity" of the villanelle's written form is shown to be not a matter of long-standing "heritage" or "tradition," but the result of deliberate actions taken by one eighteenth- and one nineteenth-century individual who inserted less-than- truthful passages into otherwise "authoritative" prosodic treatises. Chapter I identifies the literary sources responsible for the construction of a false villanelle "history" and "tradition" and discusses how belief in such a tradition influences and empowers both poets and critics. Beginning with medieval verse forms. Chapter 2 discusses the musical and poetic features that distinguish semi­ improvised choral-dance lyrics from text-based vocal lyrics, with particular attention to the role of women in the generation and transmission of choral-dance lyrics. The third chapter describes the musical and poetic styles of the sixteenth-century Italian musical villanella, representing a conscious imitation by courtly composers of semi­ improvised refrain songs from the oral tradition; it also contrasts the villa n ella with the more "literary" madrigal. In Chapter 4, all known "poetic" villanelles and allusions to the villanelle are examined for evidence of a "poetic" or "fixed poetic" form in sixteenth-century France. The fifth chapter examines the influence of the musical v illa n ella upon sixteenth-century English poets, particularly Philip Sidney. Chapter 6 traces the step-by-step process by which the villanelle's poetic form came to be "fixed" between the seventeenth and nineteenth centuries. In conclusion. Chapter 7 examines the paradox by which a "genuine" hundred-fifty-year-old fixed- form villanelle tradition that is still generating exciting poems has come to be erected IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. upon the foundations of a false five-hundred-year-old one, and demonstrates how twentieth-century villanelles that are said to "rebel against" traditional villanelle constraints are actually consistent with the villanelle's semi-improvised, multiform origins. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 1 : VILLANELLE "TRADITION" AND THE INDIVIDUAL TALENT Those of us who care about lyric poetry are at least nominally aware that the genre was once inseparable from music. Etymology preserves ancient history: the very adjective "lyric" derives from the Greek word for "lyre," which was the small stringed instrument that accompanied the singing of poetry. And while much of the lyric verse of the twentieth century has been "free" in form, with no apparent historical link to music, the "fixed forms" of sonnet, sestina, ballade, rondeau, virelai, and villanelle (which never quite died out while free verse was ascendant, and several of which have enjoyed a surprising resurgence since the New Formalist movement of the nineteen-eighties) were all originally sung or recited to musical accompaniment. Their forms are called "fixed" because their rhyme schemes, overall lengths, and metrical organizations are governed by strict conventions. Still other "subgenres" of the genre of lyric poetry—elegy, ode—were also once associated with specific kinds of music, although they have not been passed down to us with any rigidly imposed formal structure. The sestina's form appears to have been "invented" by the twelfth-century troubadour poet Amaut Daniel, and the sonnet's thirteenth-century origins are still uncertain (although it seems likely that the latter*s octave and sestet may have derived from separate oral-tradition musico-poetic forms), ^ but the other four "fixed forms" existed as oral-tradition musico-poetic genres prior to being codified in print as written poetic forms. However, while the ballade, rondeau, and virela i made their transitions from oral-musical to written poetic status prior to the fourteenth century, from which time period large numbers of monastic
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