To the point.
Because of its rarity, only a few examples of classic triolet exist in print. However, several modern-day poets have found the form a succinct way to communicate specific moments or moods.
In this first example, 14th century French poet Jean Froissart actually mislabeled the title as "Rondel." In fact, it is a triolet, indicating how interchangeable the two forms appeared to those who wrote both.
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The old made new.
Skipping five centuries to late 19th century England, triolet experienced a mini-renaissance among poets who were eager to apply antiquated forms to modern subject matter. Many poets who normally worked in free or blank verse grabbed onto old forms and, through their interest, kept them alive in the annals of poesy. This movement was particularly fervent when Robert Bridges reintroduced triolet to the English language some two centuries after Benedictine Monk Patrick Carey used the form for his devotionals.
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Moving to the dramatic.
The most famous poet known to have worked with triolet was Thomas Hardy, who shaped the form to fit more melodramatic subjects. Hardy’s poem, "How Great My Grief," is perhaps the best-known example:
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Favored by women.
Triolet also found favor among women. It is believed that 14th century Italian poet Christine di Pisan (who became a poet after marrying and moving to France) wrote triolet, but no examples have survived. Centuries later, the granddaughter of naturalist Charles Darwin, Frances Cornford, composed a popular triolet:
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The next generation.
The triolet’s original intent of providing humor in its eight lines is captured by poet-musician LuAnn Kennedy, who is quickly establishing a following while in her mid-twenties.
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