virelay

The knight in the meantime, had brought the strings into some order, and after a short prelude, asked his host whether he would choose a sirvente in the language of oc, or a lai in the language of oui, or a virelai, or a ballad in the vulgar English.*

Most adhere to the poetic forms cultivated by the courtly amateurs and the professional poets of the period, the formes fixes with the rondeau and the virelai as the preferred genres.

(23) Flos says of a virelai that he wrote after an encounter with his beloved and other ladies that he set it aside so that it would not be stolen, since sometimes even a person who would not take a thing that was economically valuable might take a poem (1245-47).

This was followed by Catherine Bott with Virelai and their marvellous rendition of Renaissance Love Songs .

The editors have organized the seventy-eight selections that make up the main body of the text in four sections devoted to rondeau, virelai, ballads, and other works.

Leading the showcase of talent are early music specialist and soprano Dame Emma Kirkby and Americanborn lute player Jacob Heringman, founder of the group Virelai, which plays late 15th and early 16th century music.

There will be a performance of his Suite from Heart of Darkness with a guest narrator and the premiere of a new arrangement of Virelai: Douce Dame Jolie for recorder players.

Washable Virelai offers a large-scale yet subdued print; the stripes of Serape have a luxurious, wool-like hand; and Cadence merges a structured geometric pattern with a soft voided-velvet that can stand up to high-traffic environments.

Un beau jour, apres avoir parle successivement du rondeau, du triolet, de la ballade, du lai, du virelai, du chant royal, l'auteur de je ne sais plus quel traite de versification, bacle a la diable comme ils le sont a peu pres tous, abordant a la fin la villanelle, eut l'idee, ou plutot la chance, de citer comme modele de ce dernier genre,--en quoi du reste il n'avait pas tort,--un certain naif chef-d'oeuvre echappee, Dieu sait comme, a la plume du savant Passerat.

We learn that Flos has composed a virelai about his sufferings in love (II.

Chapter 2, on 'Form and Genre', ranges freely and widely, from a virelai by Christine de Pizan to the 'haikuization' of French sonnets by Michelle Grangaud (Poemes fondus, 1997), shifting back and forth in history so that the reader gains some sense of what particular forms and genres put at stake, and of the complexity of their lives.