Virelai

by S. L. P. Van der Veer

Summer 2005

The virelai is a medieval French verse form often used in poetry and music. One of the most common verse forms set to music in Europe from the late 13th to 15th centuries, the virelai is one of the three formes fixes (fixed forms; the others are the rondeau (DS-Spring 2003) and the ballade) that developed from common dance songs. Written as singing accompaniment to the dances, they were likely performed by one or more leading voices and a chorus. The term “virelai” probably originated as a nonsense refrain that later came to designate the form. The virelai bears resemblance to several other poetic forms as well, including the Italian ballata and the Spanish cantiga.

Early in the development of the fixed forms, composers were less particular about distinguishing between the forms, and there were many variations and optional elements, which led to later difficulties when other poets attempted to document specific structures of the forms. In surviving texts of early compositions, the compositions are sometimes categorized under what is now considered an incorrect heading. The forms were not clearly distinguished until the 14th century. In the 15 th century, the verse form separated from the music form, and many virelais were written without intention of musical accompaniment.

In 1872, Theodore de Banville used a 17th century. writer’s work to create definitions of the lai and virelai (by his definition, a “turned lai”, where the two rhymes are turned from stanza to stanza), which he called the virelai ancien (ancient virelai). He also defined the virelai nouveau (new virelai), which bears no relation to the virelai ancien, and seems more similar to the villanelle.

In the virelai ancien, each stanza has two rhymes, with the second rhyme of each stanza recurring as the first rhyme in the following stanza. The stanzas are written with two long lines followed by a short line (creating a triplet or tercet); only two sources specified a syllable count for each line (8 syllables for long lines, 4 for short, and 5 syllables for long, 2 for short). The long lines rhyme with each other, and the short lines rhymes with the long lines in the next stanza. In the last stanza, the short lines rhyme with the longer lines in the first stanza. Each stanza must have the same number of triplets - at least two (a 6-line stanza), but usually not more than four (a 12-line stanza); one source states the stanzas are 9 lines. The virelai may consist of any number of stanzas. The short lines are not indented. The rhyme pattern (for a 9-line stanza) is:

AAbAAbAAb

BBcBBcBBc

CCaCCaCCa

The virelai nouveau is somewhat more difficult to define. It opens with a rhyming couplet that forms a refrain, which may either be its own stanza or form the first two lines of the first stanza. This refrain is repeated at the end, with the lines reversed. Again, there are only two rhymes, the poem may consist of any number of stanzas, and the short lines are not indented. The stanzas must have either the same rhyme scheme, or two rhyme schemes (each the inverse of the other) used alternately. The last rhyme of each stanza must be ‘a’. One source states that each stanza must end with one of the lines of the opening couplet, and that the lines are used alternately. The stanzas must also be the same length, although if an envoi is used, it may be shorter. A “common” arrangement, if there can be one with an uncommon form, is to have 8-line stanzas and a 5-line envoi (abaaa, where the final two ‘a’s are the refrain).

Noteworthy composers of the virelai include Guillaume de Machaut (1300-1377), a prolific composer, with 33 virelai compositions surviving. Jehannot de l’Escurel (d. 1304) is one of the earliest composers of the virelai, and Guillaume Dufay (1400-1474) is one of the latest.

The poem on the following page is a virelai (ancien) I wrote using a 9-line stanza, with 8 syllables in the long lines and 4 in the short lines.

Fortune Shone

by S. L. P. Van der Veer

 

That night, capricious Fortune shone

within the walls of seamless stone,

upon the maid

who sang, and with her song bemoaned

the fate that left her all alone,

her love betrayed.

Mere days ago, they had not known

the joy they shared was not their own,

its price unpaid.

 

That night, before the stars would fade,

her love would ride - the plans were laid

to set her free.

The trap they’d set he’d not evade,

nor offer up the wanted trade -

too noble, he.

His honour such he’d not be swayed,

he’d face what came with ready blade.

He would not flee.

 

Daunted by their temerity,

she saw their flaw with clarity -

the time was right.

To stars and moon she sang softly,

and to the wind and moss and trees,

to cloud their sight.

The wind sang back with answ’ring breeze;

sudden shadows danced where they pleased

in the moonlight.

 

They knew what road he’d take that night -

they lay in wait, with greater might

than one alone.

It must have been a trick of light,

some sorcery that gave them fright

deep in their bones.

He reached her side without a fight,

set her free and held her tight...

and Fortune shone.

For Additional Information

Haag, Jan. #144 Virelai. http://janhaag.com/PODes134-166.html#verelai

Dobson, Henry Austin. July. (virelai nouveau)

Payne, John. Spring Sadness. (virelai ancien)

de Banville, Theodore. Virelai a mes editeurs. (in French)

de Pisan, Christine. Je chante par couveture. (in French)

Guide to Verse Forms

www.noggs.dsl.pipex.com/vf/virelai_nouveau.htm

www.noggs.dsl.pipex.com/vf/virelai_ancien.htm

The Poets Garret

www.thepoetsgarret.com/repeat/lai.html

Poetry: The Forms & the History - Lai, Virelai, and Lai Nouveau

www.prose-n-poetry.com/display_work/7988

The ORB - Online Reference Book for Medieval Studies

www.the-orb.net/encyclop/culture/music/ffixe.htm

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