Рифмованная строфа "Рифма Рояль": история и особенности

Poetic stanza, rhyming ABABBCC
Rhyme royal (or rime royal) is a rhyming stanza form that was introduced to English poetry by Geoffrey Chaucer. The form enjoyed significant success in the fifteenth century and into the sixteenth century. It has had a more subdued but continuing influence on English verse in more recent centuries.

The rhyme royal stanza consists of seven lines, usually in iambic pentameter. The rhyme scheme is ABABBCC. In practice, the stanza can be constructed either as a tercet and two couplets (ABA BB CC) or a quatrain and a tercet (ABAB BCC). This allows for variety, especially when the form is used for longer narrative poems. Thanks to the form's spaciousness compared to quatrains, and the sense of conclusion offered by the couplet of new rhyme in the sixth and seventh lines, it is thought to have a cyclical, reflective quality.

Chaucer first used the rhyme royal stanza in his long poems Troilus and Criseyde and the Parlement of Foules, written in the later fourteenth century. He also used it for four of the Canterbury Tales: the Man of Law's Tale, the Prioress' Tale, the Clerk's Tale, and the Second Nun's Tale, and in a number of shorter lyrics. He may have adapted the form from a French ballade stanza or from the Italian ottava rima, with the omission of the fifth line. Chaucer's contemporary and acquaintance John Gower used rhyme royal in In Praise of Peace and in one short part, the lover's supplication, in Confessio Amantis. In the fifteenth century, rhyme royal would go on to become a standard narrative form in later Middle English poetry alongside the rhyming couplet. James I of Scotland used rhyme royal for his Chaucerian poem The Kingis Quair. The name of the stanza might derive from this royal use, though it has also been argued that the stanza name comes from the use of poetry for addresses to royalty in festivals and ceremonies. Rhyme royal was employed in drama in the later fifteenth century Digby Conversion of Saint Paul.

In the early sixteenth century rhyme royal continued to appear in the works of poets such as John Skelton (e. g. in The Bowge of Court), Stephen Hawes (Pastime of Pleasure), Thomas Sackville (in the Induction to The Mirror for Magistrates), Alexander Barclay (The Ship of Fools), William Dunbar (The Thrissil and the Rois) and David Lyndsay (Squyer Meldrum). Sir Thomas Wyatt used it in his poem "They flee from me that sometime did me seek". The seven line stanza began to be used less often during the Elizabethan era, but it was still deployed by John Davies in his Orchestra and by William Shakespeare in The Rape of Lucrece. The later sixteenth century poet Edmund Spenser wrote his Hymn of Heavenly Beauty using rhyme royal, but he also created his own Spenserian stanza, rhyming ABABBCBCC, partly by adapting rhyme royal. The Spenserian stanza varies from iambic pentameter in its final line, which is a line of iambic hexameter, or in other words an English alexandrine. In the seventeenth century, John Milton experimented by extending the seventh line of the rhyme royal stanza itself into an alexandrine in "On the Death of a Fair Infant Dying of a Cough" and for the introductory stanzas of On the Morning of Christ's Nativity. In the United States, Emma Lazarus wrote some short sections of her cycle poem "Epochs" in rhyme royal. Notable twentieth century poems in orthodox rhyme royal are W. H. Auden's Letter to Lord Byron (as well as some of the stanzas in The Shield of Achilles), W. B. Yeats's A Bronze Head and John Masefield's Dauber.

Outside English speaking countries rhyme royal was never very popular. It was used in French poetry in the 15th century. Sometimes it occurred in Spanish and Portuguese poetry. Saint John of the Cross wrote the poem Coplas hechas sobre un éxtasis de harta contemplación. Portuguese playwright and poet Gil Vicente used rhyme royal scheme in his Villancete (in the English translation by Aubrey Fitz Gerald Aubertine, the rhyme scheme of the original text is altered):

The villancete is similar in form to the Italian ballata mezzana (used by Guido Cavalcanti) or to the Spanish glosa. It consists of three stanzas: the first is a short envoi, followed by two seven line stanzas. Danish poet Adam Oehlenschläger used rhyme royal in one poem in his Nordens guder. In Eastern Europe, rhyme royal is extremely rare. Polish poet Adam Asnyk used it in the poem Wśród przełomu (At the breakthrough). In Czech literature František Kvapil wrote the poem V hlubinách mraků (In Depths of Darkness) in rhyme royal.