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A refrain (from Vulgar Latin refringere, "to repeat", and later from Old French refraindre) is the line or lines that are repeated in music or in poetry—the "chorus" of a song. Poetic fixed forms that feature refrains include the villanelle, the virelay, and the sestina.
There are two refrains and two repeating rhymes, with the first and third lines of the first tercet repeated alternately at the end of each subsequent stanza until the last stanza, which includes both repeated lines. The villanelle is an example of a fixed verse form.
The villanelle consists of five stanzas of three lines followed by a single stanza of four lines (a quatrain) for a total of nineteen lines. [8] It is structured by two repeating rhymes and two refrains: the first line of the first stanza serves as the last line of the second and fourth stanzas, and the third line of the first stanza serves as the last line of the third and fifth stanzas.
It was customarily regarded as a challenge to arrange for these refrains to contribute to the meaning of the poem in as succinct and poignant a manner as possible. Perhaps the best-known English rondeau is the World War I poem, In Flanders Fields by Canadian John McCrae: In Flanders fields the poppies blow Between the crosses, row on row,
A roundel (not to be confused with the rondel) is a form of verse used in English language poetry devised by Algernon Charles Swinburne (1837–1909). It is the Anglo-Norman form corresponding to the French rondeau. It makes use of refrains, repeated according to a certain stylized pattern.
Poetry (from the Greek word poiesis, "making") is a form of literary art that uses aesthetic and often rhythmic [1] [2] [3] qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Any particular instance of poetry is called a poem and is written by a poet.
An illustration of the fable of Hercules and the Wagoner by Walter Crane in the limerick collection "Baby's Own Aesop" (1887). The standard form of a limerick is a stanza of five lines, with the first, second and fifth rhyming with one another and having three feet of three syllables each; and the shorter third and fourth lines also rhyming with each other, but having only two feet of three ...
In the later 19th century, the term took on the meaning of a slow form of popular love song and is often used for any love song, particularly the sentimental ballad of pop or rock music, although the term is also associated with the concept of a stylized storytelling song or poem, particularly when used as a title for other media such as a film.