How to Write a Rondeau (with “In Flanders Fields” by John McCrae) The Society October 5, 2016 For Educators, Poetry, Poetry Forms 2 Comments Related How to Write a Sonnet How to Write a Haiku How to Write a Limerick How to Write a Villanelle How to Write a Poem Like the Raven by E. V. Wyler Created by French troubadours during the Middle Ages, the rondeau is valued for its lovely lyrical qualities. The tone of a rondeau may be joyful, mournful, or anything in between. An example of a famous rondeau is “In Flanders Fields” by the Canadian soldier and physician John McCrae: In Flanders Fields In Flanders fields the poppies blow Between the crosses, row on row, That mark our place; and in the sky The larks, still bravely singing, fly Scarce heard amid the guns below. We are the Dead. Short days ago We lived, felt dawn, saw sunset glow, Loved and were loved, and now we lie In Flanders fields. Take up our quarrel with the foe: To you from failing hands we throw The torch; be yours to hold it high. If ye break faith with us who die We shall not sleep, though poppies grow In Flanders fields. Composed at the battlefront on May 3, 1915 during the second battle of Ypres, Belgium. As you can hear from reading John McCrae’s poem aloud, the repetition of the phrase, “In Flanders fields” emphasizes its meaning, creating a poignant echo effect as the poem unfolds. This repetition, along with the use of only two rhyming patterns, creates the poem’s hypnotic enchantment. Although several different formats of the rondeau have evolved, this tutorial pertains to the longer version with 3 stanzas: a (5-line) quintet, a (4-line) quatrain, and a (6-line) sestet. Summary: 15 lines: divided into 3 stanzas (5 lines, 4 lines, 6 lines) 8 syllables per line (except for the two 4-syllable refrains) 2 rhyming schemes (8 “A” end-rhymes & 5 “B” end-rhymes) 8 “A” rhymes + 5 “B” rhymes + 2 refrains = 15 lines The 1st 4 syllables of Line 1 are the refrain (for Lines 9 & 15) Here is the rondeau’s visual layout: Line 1: End-Rhyme “A” — 4-syllable opening phrase + 4 syllables = 8 syllables Line 2: End-Rhyme “A” — 8 syllables Line 3: End-Rhyme “B” — “ “ Line 4: End-Rhyme “B” — “ “ Line 5: End-Rhyme “A” — “ “ Line 6: End-Rhyme “A” — 8 Syllables Line 7: End-Rhyme “A” — “ “ Line 8: End-Rhyme “B” — “ “ Line 9: Refrain (Line 1’s 4-syllable opening phrase) Line 10: End-Rhyme “A” — 8 Syllables Line 11: End-Rhyme “A” — “ “ Line 12: End-Rhyme “B” — “ “ Line 13: End-Rhyme “B” — “ “ Line 14: End-Rhyme “A” — “ “ Line 15: Refrain (Line 1’s 4-syllable opening phrase) One factor in deciding to compose a rondeau (as opposed to a villanelle, sonnet, etc.) is the selection of a strong mood-inducing refrain that works as an opening, a mid-poem repetition, and a closing. In the early stages of a composition, it is best to begin with a simple image or idea. Think of yourself as putting together the pieces of a puzzle whose picture can only be seen in your mind and felt in your heart. I’d compare the puzzle’s straight-line perimeter pieces to the rondeau’s skeletal structure. As the poet creates the rhyme, meter, and plot, the poem’s stanzas continue forming, like the landscape of a scenic puzzle, until finally the last “piece” is placed, and the completed rondeau emerges from the cocoon of the poet’s heart. Finally, thank you to Shirley Anne Leonard for teaching me how to write a rondeau. Rondeaus Published by the Society of Classical Poets: I Love the Dance Games of Gridlock In Prison Cells: Rondeau for the Falun Gong Rondeau Beginning with a Line from the Gospel of Judas: E. V. “Beth” Wyler grew up in Elmont, NY. At 43, she obtained her associate’s degree from Bergen Community College. She and her husband, Richard, share their empty nest with 3 cats and a beta fish. Her oldest daughter is a biomedical engineer and her two other children are SUNY undergraduate students. E. V. Wyler’s poetry has been published in: The Storyteller, Feelings of the Heart, WestWard Quarterly, The Pink Chameleon, Nuthouse Magazine, The Rotary Dial, and on the website Poetry Soup. In addition, 3 accepted poems are pending publication in Vox Poetica. NOTE: The Society considers this page, where your poetry resides, to be your residence as well, where you may invite family, friends, and others to visit. Feel free to treat this page as your home and remove anyone here who disrespects you. Simply send an email to firstname.lastname@example.org. Put “Remove Comment” in the subject line and list which comments you would like removed. The Society does not endorse any views expressed in individual poems or comments and reserves the right to remove any comments to maintain the decorum of this website and the integrity of the Society. Please see our Comments Policy here. Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)Click to print (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to email this to a friend (Opens in new window)Click to share on Pinterest (Opens in new window) 2 Responses Lew Icarus Bede October 8, 2016 E. V. “Beth” Wyler, What a nice contribution to the SCP. Your exposition is clear, and you chose one of the finest classics of Canadian literature as your model, McCrae’s In Flanders Field. One of your own sentences, utilizing simile and metaphor, is itself a fine example of poetic prose, i. e., As the poet creates the rhyme, meter, and plot, the poem’s stanzas continue forming, like the landscape of a scenic puzzle, until finally the last “piece” is placed, and the completed rondeau emerges from the cocoon of the poet’s heart. Here is a rondeau on the relatively unknown American poet, Weldon Kees by literary critic and poet Wilbur Dee Case. On Weldon Kees (1914-1955) by Wilbur Dee Case He left his keys inside his car. Near Golden Gate his car was parked; but he was nowhere to be found. The movie reel had been unwound and put into its crate unmarked. The busy city glittered stars. The haze was slight, his gaze was far. And though he didn’t stay around, he left his keys. Across the bay the bright bridge arced. Above, below, the traffic barked, ten thousand this way, that way bound. A jazz cacaphony of sound surrounded him…when he embarked, he left his Kees. I wonder if you have a rondeau you might share with us. Reply E. V. "Beth" Wyler October 8, 2016 Thank you for your kind compliment. My most recent rondeau, Hiding My Glee, is about a “mixed marriage” in that the spouses having opposing political views. It’s publication is pending on this website. My other rondeau (also political), “Games of Gridlock”, was published here on 9/4/16. Of course, I also write nonpolitical poetry. Thank you for your interest. Regards, E. V. “Beth” Wyler Reply Leave a Reply Cancel ReplyYour email address will not be published.CommentName* Email* Website Notify me of follow-up comments by email. Notify me of new posts by email. This site uses Akismet to reduce spam. Learn how your comment data is processed.