The villanelle, one of the most intriguing and rigid poetic forms in Western literary tradition, is recognized for its structure and repetition. But an essential question often arises: Do villanelles have iambic pentameter? While the villanelle’s strict form demands repetition and rhyme, iambic pentameter is not a requirement of the structure itself, though it often appears in many notable examples. This article explores the relationship between the villanelle form and iambic pentameter, investigating both the history of the villanelle and its metrical composition. We will also examine whether the marriage of villanelle and iambic pentameter is a stylistic choice or an inherent characteristic of the form.
The Villanelle Form: An Overview
Before delving into the connection between the villanelle and iambic pentameter, it’s essential to understand the basic structure of the villanelle. A villanelle is a 19-line poem with a very specific and rigid structure that dates back to 16th-century France. The villanelle’s defining characteristics include:
Fixed Repetition: The first and third lines of the poem are alternately repeated at the end of each stanza, and then they reappear in the final quatrain. This pattern of repetition follows an ABA rhyme scheme, with the two refrains serving as the B rhyme.
Stanzaic Structure: A villanelle consists of 19 lines, divided into five tercets (three-line stanzas) and one final quatrain (four-line stanza). The rhyme scheme for the tercets is ABA, while the final quatrain typically has an ABAA rhyme scheme.
Refrains: The key feature of the villanelle is its two refrains, which occur at the end of the first and third lines and are repeated in a specific order throughout the poem. These refrains create a musical quality and a sense of thematic unity.
The most famous villanelle in the English language is Dylan Thomas‘s Do Not Go Gentle into That Good Night, where the refrains “Do not go gentle into that good night” and “Rage, rage against the dying of the light” take on an emotional weight that builds as the poem progresses.
Despite the fixed form of the villanelle, one key aspect is not rigidly dictated: the meter. While many villanelles are written in iambic pentameter, the form allows for flexibility in metrical structure. But why is there such a preference for iambic pentameter in villanelles, and does this metrical choice define the form in any way?
What is Iambic Pentameter?
Iambic pentameter is a metrical pattern commonly used in English poetry, particularly in classical and early modern works. It consists of five iambic feet per line, where each foot contains two syllables: an unstressed syllable followed by a stressed syllable. The pattern looks like this: da-DUM da-DUM da-DUM da-DUM da-DUM.
“To BE or NOT to BE that IS the QUESTION.”
In this line, each pair of syllables (marked with capital letters for emphasis) follows the iambic pattern, and there are five such pairs or “feet,” making it an example of iambic pentameter.
Iambic pentameter became a dominant meter in English poetry due to its natural rhythm, which mirrors the cadences of ordinary speech. It lends itself to the flow of narrative and dialogue, making it ideal for both dramatic and lyrical purposes. Many poets, including Geoffrey Chaucer, John Milton, and William Shakespeare, frequently used iambic pentameter in their works.
The Villanelle and Iambic Pentameter: A Natural Fit?
While the villanelle form does not inherently require iambic pentameter, there is a strong tradition of writing villanelles in this meter. The reasons for this alignment are rooted in both the structure of the form and the inherent qualities of iambic pentameter.
The Role of Meter in a Villanelle
The strict repetition inherent in the villanelle’s form benefits from the predictability and musicality that iambic pentameter provides. The alternation of unstressed and stressed syllables creates a regular rhythm, which complements the poem’s repetitive structure and enhances its memorability. The rhythmic quality of iambic pentameter also provides a sense of flow, making the refrains more impactful.
Because the villanelle relies so heavily on repetition, the meter helps to reinforce the effect of that repetition. The rhythmic pattern of iambic pentameter supports the emotional build-up as the refrains accumulate throughout the poem.
Historical Precedent for Iambic Pentameter in Villanelles
The relationship between iambic pentameter and the villanelle form was cemented in part through the works of English poets in the 19th and 20th centuries. One of the earliest examples of a villanelle written in iambic pentameter is William Butler Yeats‘s The Ballad of the Old Man and the Young. In this poem, the regular meter and rhythmic flow align perfectly with the repetitive structure of the villanelle.
More famously, Dylan Thomas’s Do Not Go Gentle into That Good Night (1947), one of the most well-known villanelles in English literature, employs iambic pentameter throughout. The poem’s regular rhythm enhances its passionate call to action, reinforcing the urgency and power of the refrains. The meter, combined with the repeated lines, evokes a sense of inevitability while adding musicality to the poem’s moral and emotional resonance.
These works set the stage for the continued association of iambic pentameter with the villanelle form, creating a model that many poets followed in later years.
Does a Villanelle Always Use Iambic Pentameter?
While many of the most famous examples of villanelles use iambic pentameter, the form does not strictly require it. There is flexibility within the villanelle’s metrical structure, and poets are free to experiment with different meters. In fact, some poets choose to deviate from iambic pentameter, using shorter or longer lines, variations in stress patterns, or even free verse within the fixed structure of the villanelle.
Variations in Meter
While iambic pentameter provides a natural rhythm for many poets, the villanelle form allows for significant metrical experimentation. For instance, in a poem written in trochaic or dactylic meter, the overall rhythm might change to create different emotional effects or to highlight particular thematic elements. A poet could opt for shorter lines, using iambic tetrameter or even iambic trimeter for variety or to suit a particular tone.
Contemporary Uses of the Villanelle
Contemporary poets have also shown a great deal of flexibility in using the villanelle form. For example, poets like Agha Shahid Ali have adapted the form in ways that deviate from traditional iambic pentameter. In his villanelles, the metrical pattern is less strict, though the core repetitive structure remains intact.
Moreover, some poets experiment with irregular stress patterns or change the number of syllables per line while still retaining the core structure of the form. These variations allow the poet to engage more fully with the emotional and thematic resonance of the poem, without being confined to the rigidities of iambic pentameter.
How the Meter Influences the Poem
The decision to use iambic pentameter in a villanelle, or to depart from it, can have a profound effect on the poem’s rhythm, tone, and emotional impact.
The Effect of Iambic Pentameter
When written in iambic pentameter, a villanelle often takes on a more formal, controlled tone. The meter’s regularity reinforces the sense of inevitability and precision that comes with the repetitive refrains. In poems like Do Not Go Gentle into That Good Night, the iambic pentameter heightens the urgency and despair that the poet expresses through the refrain lines.
The natural rhythm of iambic pentameter also gives the villanelle a musical quality, which makes it more memorable and lends an almost hypnotic cadence to the repeated lines. In this sense, the meter becomes part of the poem’s larger aesthetic, intertwining with its thematic concerns.
The Effect of Variations in Meter
When a poet moves away from iambic pentameter, they may alter the rhythm to serve different stylistic or thematic purposes. A break from the traditional meter can add an element of surprise or tension to the poem. For instance, using anapestic or dactylic meter might speed up the rhythm, creating a sense of urgency or excitement that contrasts with the solemnity of the repetitive refrain. On the other hand, a slower meter like iambic tetrameter or even trimeter might be used to reflect a more contemplative or meditative tone.
Conclusion
In conclusion, while iambic pentameter is not an inherent requirement of the villanelle, it is a metrical choice that many poets adopt because it complements the form’s repetitive and structured nature. The regularity of iambic pentameter enhances the musicality of the villanelle, helping to emphasize the emotional weight of the refrains. Although the villanelle allows for flexibility in terms of meter, iambic pentameter remains the most common choice for those writing in the form, thanks to its natural rhythm and historical precedence.
The question of whether a villanelle must have iambic pentameter ultimately depends on the poet’s intent. While the two often go hand in hand, it is the form’s core structure—the repetition and rhyme—that defines the villanelle. Thus, while iambic pentameter is a favored choice, the true beauty of the villanelle lies in its potential for metrical variation, providing room for creative expression within a rigid structure.
