The villanelle, a traditional poetic form known for its intricate structure and repetitive lines, has captured the imagination of poets for centuries. Among its defining features are its rhyme scheme, its use of refrains, and the challenge it presents to the poet’s skill and creativity. One crucial question that often arises when discussing villanelles is whether they are always written in iambic pentameter, one of the most commonly used meters in English poetry. In this article, we will explore this question in depth, discussing the nature of both the villanelle and iambic pentameter, how they intersect, and whether or not a villanelle must adhere to the iambic pentameter meter.
Understanding the Villanelle
Before we dive into the specifics of meter, it’s important to first understand what a villanelle is. The villanelle originated in France in the 16th century, and its name is derived from the Italian word villanella, which referred to a rustic song or pastoral poem. It gained prominence during the Renaissance and became a favorite form for poets such as William Shakespeare and Dylan Thomas.
A villanelle is a 19-line poem with a strict structure. The poem is divided into five tercets (three-line stanzas) followed by a final quatrain (four-line stanza). The most notable feature of the villanelle is its use of refrains, which are lines that repeat at regular intervals throughout the poem. Specifically:
The first and third lines of the first stanza serve as the refrains and will repeat alternately at the end of each subsequent stanza.
In total, there are five tercets, each with a rhyme scheme of aba.
The final quatrain has a rhyme scheme of abaa, and the two refrains appear at the end of the poem in a particular order.
The repetition of refrains, combined with the strict rhyme scheme, creates a sense of circularity and emphasis, often contributing to the overall theme of obsession, inevitability, or even melancholy. A famous example of the villanelle form is Dylan Thomas’s Do Not Go Gentle into That Good Night, which powerfully utilizes the form’s structure to explore themes of defiance against death.
What Is Iambic Pentameter?
Now that we have a firm understanding of the villanelle, let’s turn to iambic pentameter, which is a specific meter that is widely used in English poetry. Meter refers to the rhythmic structure of a poem, determined by the pattern of stressed and unstressed syllables in each line.
Iambic refers to the type of foot in the meter. An iamb is a metrical foot made up of two syllables, where the first syllable is unstressed, and the second syllable is stressed. Pentameter means that there are five feet in each line. Therefore, iambic pentameter consists of ten syllables per line, with the stress pattern alternating between unstressed and stressed syllables.
This rhythmic pattern is arguably the most famous and widely used meter in English poetry, and it has been employed by poets such as William Shakespeare, John Milton, and Geoffrey Chaucer. Iambic pentameter gives a natural, flowing rhythm to a poem, making it particularly suitable for a wide range of subjects, from dramatic monologues to epic narratives.
Villanelle and Iambic Pentameter: A Possible Union
The question we seek to answer in this article is whether a villanelle must be written in iambic pentameter. The answer is nuanced. While iambic pentameter is a common and traditional choice for the meter of a villanelle, it is not a strict requirement. Let’s explore this in more detail.
The Role of Meter in a Villanelle
The meter of a poem is an important element that influences the poem’s rhythm and overall feel. A villanelle’s repetitive structure, with its alternating refrains, demands a certain fluidity and musicality to keep the poem engaging. Iambic pentameter is often favored because of its balanced, natural rhythm, which enhances the repetition of the refrains.
Poets writing in iambic pentameter are able to take advantage of the meter’s smooth, natural flow. The ten-syllable lines provide a certain cadence that supports the poem’s structure, making the refrain lines stand out when they repeat. In some sense, iambic pentameter complements the structural demands of the villanelle, as both elements contribute to the overall sense of symmetry and rhythm.
Historical Precedent for Iambic Pentameter in Villanelles
Historically, many of the most famous villanelles are written in iambic pentameter. For instance, Dylan Thomas’s Do Not Go Gentle into That Good Night is a quintessential example of a villanelle in iambic pentameter. The strict rhythm of iambic pentameter provides a sense of urgency and inevitability, which aligns well with the poem’s theme of defiance against death.
Similarly, many of the early examples of the villanelle form, including works by poets like Gérard de Nerval and Edmund Gosse, are also written in iambic pentameter. The pentameter rhythm, combined with the repeating refrains, creates a hypnotic effect that draws the reader into the theme of the poem.
Flexibility in Meter: Other Possibilities
While iambic pentameter is a natural choice for villanelles, it is not a requirement. Poets often play with meter in order to achieve a particular effect or tone. Some poets opt for a different meter to achieve a different rhythm or pacing.
Iambic tetrameter (four feet per line) is another common meter that is occasionally used in villanelles. This meter still maintains the iambic structure, but with fewer syllables in each line, resulting in a slightly quicker rhythm. Some poets may choose to experiment with other types of metrical feet, such as trochaic (where the stress pattern is reversed: DA-dum) or anapestic (where each foot consists of two unstressed syllables followed by one stressed syllable: da-da-DUM). For instance, a poet might choose iambic tetrameter or trochaic meter if they wish to create a faster, more driving rhythm or to avoid the sometimes too-predictable quality of iambic pentameter. This can work particularly well in modern or contemporary villanelles, where the strict rhythm of traditional forms might feel too formal or rigid.
The Importance of Rhythmic Variety in Villanelles
While the meter in a villanelle plays a crucial role in establishing the rhythm, it is important to note that the repetitious nature of the form itself creates a natural rhythm. The two refrains, by virtue of their repetition, introduce a rhythmic structure that gives the poem its musicality. Therefore, even if a villanelle is not written in strict iambic pentameter, the structural demands of the form can still create a strong, recognizable rhythm.
Poets may choose to alter the meter in one or more lines to achieve a particular tone or effect. For instance, a line in iambic pentameter could be followed by one in iambic tetrameter or even a line with a more irregular meter to disrupt the flow and draw attention to a key idea or shift in the poem’s meaning.
Modern Villanelles and Meter Flexibility
In contemporary poetry, poets often experiment with various meters, and the villanelle is no exception. Some modern poets may abandon the strict adherence to iambic pentameter altogether, opting instead for a freer rhythm that suits the tone of their poem. The poem The House on the Hill by Edwin Arlington Robinson, for instance, though technically a villanelle, departs from traditional metrical structures.
This flexibility allows the poet more room to engage with the themes and emotions they wish to explore, without being constrained by the demands of meter. Modern villanelles might vary in line length or rhyme scheme, and the use of meter can be more irregular, allowing the poet to break free from the classical expectations of the form.
Conclusion
In conclusion, while iambic pentameter is a traditional and common choice for villanelles, it is not an absolute requirement. The villanelle form is primarily defined by its structure, specifically its repeating refrains and its fixed rhyme scheme. Meter, on the other hand, while important for setting the rhythm, can vary. Iambic pentameter works well for the villanelle because of its natural flow and its ability to enhance the repetitive structure of the poem. However, poets are free to experiment with other meters and rhythmic structures to achieve the desired tone and effect.
Whether or not a villanelle is written in iambic pentameter ultimately depends on the poet’s artistic intentions. The beauty of the villanelle lies in its versatility; it can be both a traditional form and a platform for innovation. Therefore, while iambic pentameter may be a standard choice, it is by no means a strict rule for writing a villanelle.
