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Du Rondeau Du Triolet Du Sonnet

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Du Rondeau Du Triolet Du Sonnet É VI PR FACE. c ices du rh thme et de la rime dirM Char y , les A sselineau ’ s o n t u n s m tôme en h istoire , y p littéraire On n e les trou v e c u ltiv és et o . fl ’ r issan ts u a ux é o u es de or te oés ie où q p q f p , ‘ ’ l imagin ation des p o è tes s in qu iète égale ’ u s en timen t et de la o rme de l ar t et men t d f , de l ensée Ces dern iers mots s emb len t a p . ’ ’ ° u n eu a bs o lu s s i l o n s on e u au X VI I p , g q ’ s ièc le ar exem le le ran d maître en l a rt , p p , g du Ro ndea u et a u ss i du Son n et u t le eu , , f p M i e o in t ré M d Vo iture . a s c oéti ue . e p q , p ’ s ervé u n ait demeu re c o ns tan t à l é o u e , f p q ’ s u elles comme à c e lle du Cénac le l u n de R , , ’ des tro is r h thmes n e v in t as sans l au tr e y p , et tous tro is fu rent égalemen t dédaignés ’ — des lib res r imeu rs de l éco le de Vo ltaire . Cette c onfo rmité dans les alternatives ’ d éclat et de décaden ce es t u n des liens q u i ’ ’ î l à l tr t en ch a n en t u n e l au tre es o is é u des, ’ ’ l rè - v a d a il eu rs t s dis tin ctes u o n lire . , q ’ Ecrites à d asse lon s in terv alles sans lan g g , p ’ 1 Histoire du Sonnet pour serv ir à l h istoire de la P Fr n a Alen o n 1 8 5 6 . és i a ise . o e ç ç , F V I I I PRÉ A CE . ’ Si maintenant l on me demande o u r u o i , , p q ’ ai étudié réc isémen t ces tr ois rh thmes j p y , ’ à l exclu s ion de qu elqu es au tres comme Ballade L a i Virelai Ch an t— Ro a l la , , , y , ’ r ép onse est a isée j a i pris c e q u eje tr o u vais ’ o u J i r te ndu n deb t . a p é o n exh u mer les ormes e n h o nn eu r che n os ères mais re f { p , ’ cherch er d o u et co mmen t s o n t v enu es j u s ’ q u à n o u s celles q u e n ou s r en c o n tr o ns cha o u r dans n os rec u eil c on tem r q ue j s p o ains . ’ u an t à c es a u tres o rmes d h ier c on n ue Q f , s ’ en Fran c e la Ter ine la Sextin e e n ai , r , , j ’ ’ r i n a en dire s in on u e lles daten t d hi r e , q e . ’ ’ P r é m r d u n mot ai c h o is i ces tr o is ou r su e , j r hythmes p ar ce q u e c e son t les seu ls s u rv i v an ts de ceux u i o n t u n e h istoire les seu ls , q , ’ a an t u ne his toire de ceu x u o n em lo ie y , q p ’ h i aujou rd u . DU R ON DEA U A mo n ami Ch arles Vin c en s . 5 JE me pro po se d etudier en qu elques a e u n des mo n dre en re de n o tre p g s , i s g s ’ po ésie fran ç aise le Ro n deau d en fai re ’ h to r e en tan t les mo de e et de le l is iqu ci l s, mo n trer a en o ses de x rem re , ussi bi s us u p iè s fo rme u e o la de rn ère n én e x su b s q s us i , i g i u , ’ til rafn é n en dé a e à Bo ea et au v er , fi , pl is il u s fameu x ' ' L e Ro d au nè Gau/ais a la naz o ete n e , , . De ces tro is formes successi v es du Ro n dea la an en n e est a n ré ée h t u , plus ci i si gl ui 4 DU RONDEAU . v er su r de x r me le rem er rev en an t s u i s , p i a rè le tro me et re r en refra n av e p s isiè , p is i c ’ è e C e t ce le s eco n d po ur termi n er la pi c . s ’ ’ t Je te qu aujo u rd h ui o n n o mme Triole . ci u n trio let c omme exemple L epremierjour du mais de mai Fut le lus heureux de ma v ie p . ‘ Îe v ous v is et e v ous ai ai _ j m L e re ier our du mais de mai p m j . L e beau dessein que je farmai! Si ce den ein v ous lut S lv ie p , y , L e premierjour du mais de mai Fut le plus heureux de ma v ie ° Tel le Ron dea aru t du XI I I e au x1v sœcle u p , , n tem ra n de la Ba ade du re a de co po i ll , Vi l i , la P a to re e mo de n o v ea x u i n e fren t s u ll , s u u q u u e des erfe t o n n emen t de la h an o n q p c i s c s . ’ ’ éta t art u i n a a L a n aï ve et r de C i l q iss it . u éco le du moyen âge pren ait u n air mo in s b ar ’ b are o n faisait to ilette ; à ceux qui n av aien t Triolet de R ah eb in c on ill de Paris , se er au Parlemen t ° xv u siècle ( ). DU RON DEA U . 5 ’ v u en core qu u n des cô tés de la poésie ’ ‘ a t la fo rm To l s l autre côté apparaiss i e . us e an t é é les m me ho e a ant suj ets ét puis s , ê s c s s y en t f de la m me man ère été di tes c ois ê i , il ’ fa a t en o r rév e er atten t on tro ll i bi , p u ill l i , u e e a tre fa o n de les d re L es v er qu lqu u ç i . rh thmes se o m èren t o n eu t r y c pliqu ; , pou ran mer u n a d to re a é le h arme de la i u i i bl s , c ’ f v a e C e t a n u e to te ette di ficulté i n cu . s i si q u c o e de et t en re au x aden ce sav am p uss p i s g s , c s men t co mb n ée fleu rit dé o rma en re ard i s, s is g des lo u rdes et impo s an tes créati on s des temps an tér e r o me h to r u e h an o n de i u s p è s is iq s , c s s e te é en de a é or e ch r n e ri g s s, l g s, ll g i s , o iq u s mées A me re u e les te de n . su q poè s v i ren t h a e e r se fit dé at plus bil s, l u public plus lic ’ ’ l effet musical d un e mesu re plus précise les éd t to c er et h âte a n et n o s uisi us , l cs c l i s, us v o o n en tô t dès le XI Ve e la h an o n y s bi , siècl , c s re e ab o men t a an do n n ée au ro t p sq u s lu b , p fi ’ de la co quette famille q u elle av ait fait ’ ’ n a tre .
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