A villanelle is a highly structured, yet fascinating form of poetry, with roots stretching back to Renaissance France. Its complex, repeating structure, intricate rhyme scheme, and potential for emotional depth make it a unique and challenging form for poets. In this article, we will examine whether a villanelle must adhere to the metrical pattern of iambic pentameter, a common meter in English poetry. We will break down the history of the villanelle, explore its defining characteristics, discuss the interplay between meter and form, and provide insights into how iambic pentameter may or may not fit within a villanelle’s structure.
What is a Villanelle?
The villanelle is a 19-line poem divided into six stanzas: five tercets (three-line stanzas) followed by a final quatrain (four-line stanza). What sets the villanelle apart from other fixed forms is its distinctive rhyme scheme and its repetition of entire lines throughout the poem.
The Relationship Between Meter and Form
Before delving into whether a villanelle is written in iambic pentameter, it’s important to understand the relationship between meter and form in poetry.
Meter: An Overview
In poetry, meter refers to the rhythmic structure of a poem, determined by the arrangement of stressed and unstressed syllables in a line. Each distinct pattern is called a foot, and the most common type of foot in English poetry is the iamb—a two-syllable unit in which the first syllable is unstressed, followed by a stressed syllable (e.g., de-light, a-way).
Iambic pentameter specifically refers to a meter composed of five iambs in each line, creating a ten-syllable line (da-DUM da-DUM da-DUM da-DUM da-DUM). This meter is famously associated with Shakespeare’s works and many other classical English poets.
The Role of Meter in Villanelles
While the villanelle’s structural complexity (its rhyme scheme and repetition) is essential to its identity, meter plays a more flexible role. A villanelle may be written in any meter, including iambic pentameter, but it is not confined to one particular metrical pattern.
The most important aspect of a villanelle’s meter is its consistency within each stanza, which aids in the sense of flow and rhythm. However, while traditional poetic forms like the sonnet are typically tied to a specific meter (e.g., iambic pentameter), the villanelle allows for greater metrical flexibility. Poets often choose meters based on their emotional intention, thematic content, or stylistic preference.
The History of Iambic Pentameter in Villanelles
Iambic pentameter, with its rhythm of five iambic feet, has long been the dominant meter in English poetry, most notably used by William Shakespeare, John Milton, and other literary giants. It became the preferred meter for many forms of traditional English verse because of its natural flow, mirroring the natural rhythm of English speech. The balance of stressed and unstressed syllables allows for both formal precision and emotional resonance.
But what of the villanelle? The earliest examples of the villanelle are found in French poetry, particularly in the works of Jean Passerat in the 16th century. The French villanelle, like its Italian predecessors, was composed without regard to a strict meter. The poem’s emphasis was on rhyme and repetition rather than metrical precision.
However, when the villanelle was adopted into English poetry in the 19th century, poets like Dylan Thomas, W. H. Auden, and others began experimenting with a more formal, consistent metrical structure. Iambic pentameter, given its ubiquity in English verse, became a natural choice for many poets writing in this form.
Dylan Thomas’s “Do Not Go Gentle into That Good Night”
One of the most famous English-language examples of a villanelle in iambic pentameter is Dylan Thomas’s “Do Not Go Gentle into That Good Night.” This poem, written in 1947, is perhaps the quintessential modern example of a villanelle. Thomas employs both the repeating structure and the iambic pentameter, showing that it is possible to marry the formal complexity of the villanelle with the regularity of iambic pentameter.
The poem’s strict adherence to iambic pentameter adds to its emotional weight. The rhythm of the lines evokes a sense of urgency and passion, especially in the lines of the refrain. This combination of metrical regularity with thematic repetition creates an almost incantatory effect that resonates with readers.
Do All Villanelles Have to Be in Iambic Pentameter?
Despite the prominence of iambic pentameter in English poetry, the villanelle is not inherently tied to this meter. The structure of the villanelle itself does not require any specific meter. While many famous English-language villanelles (like Dylan Thomas’s) are written in iambic pentameter, it is by no means a necessity.
Flexibility in Meter
Poets are free to experiment with different meters in the villanelle, just as they are in any other fixed form. For instance, a poet might choose a different metrical pattern, such as iambic tetrameter (four iambic feet) or even a more irregular pattern that suits their stylistic preference.
The decision to write a villanelle in iambic pentameter or in any other meter depends on the poet’s intention and the emotional resonance they hope to achieve. The villanelle, with its repetitive structure, can support both strict meter and looser, more varied metrical arrangements.
The Emotional Power of Meter
Meter plays a crucial role in shaping the emotional tone of a poem. Iambic pentameter, with its steady rhythm, lends itself well to themes of resolve, mourning, and reflection. The predictability of the meter provides a sense of structure and control, making it ideal for poems that explore serious or weighty topics. Conversely, if a poet aims to evoke a more disordered or tumultuous emotional state, they might opt for a less regular meter, allowing for more freedom in the rhythm.
Examples of Villanelles in Non-Iambic Pentameter
It’s important to note that while many famous English villanelles use iambic pentameter, there are numerous examples of villanelles that depart from this meter.
W. H. Auden’s “The Funeral Blues”
W. H. Auden’s “The Funeral Blues” (also known as “Stop all the clocks”) is another villanelle, though it does not adhere strictly to iambic pentameter. Instead, Auden uses a more fluid approach to meter, with lines that vary in length and rhythm. This choice works well for the somber tone of the poem, underscoring the deep personal grief that Auden conveys through the loss of a loved one.
The lack of strict adherence to iambic pentameter in this villanelle does not detract from its emotional power. In fact, Auden’s flexible approach to meter allows him to break the rhythm when necessary, heightening the intensity of certain moments in the poem.
Conclusion
In summary, while iambic pentameter is a common meter used in many English-language villanelles, it is not a requirement for the form. The villanelle’s primary defining characteristics are its structure—19 lines, a specific rhyme scheme, and the repeated refrains—not the meter in which it is written. Poets may choose to write in iambic pentameter, as it brings a sense of regularity and gravitas to the form, but they are not bound by this meter.
The beauty of the villanelle lies in its versatility. It can be used with a variety of metrical patterns, depending on the emotional impact the poet seeks to achieve. Whether in iambic pentameter or a different meter, the villanelle remains a powerful tool for expressing complex emotions and thoughts through its repeating refrains and tightly wound structure.