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 the form of a triangle, and played with the follis, and also one known as harpastum, which seems to imply a “scrimmage” among several players for the ball. These games are known to us through the Romans, though the names are Greek. The various modern games played with a ball or balls and subject to rules are treated under their various names, such as polo, cricket, football, &c.

From Fr. bal, baller, to dance (late Lat. ballare, and hence connected with “ballad,” “ballet”) comes “ball,” meaning a dance, and especially a social gathering of people for the purpose of dancing. BALLADE, the technical name of a complicated and fixed form of verse, arranged on a precise system, and having nothing in common with the word ballad, except its derivation from the same Low Latin verb, ballare, to dance. In the 14th and 15th centuries it was spelt balade. In its regular conditions a ballade consists of three stanzas and an envoi; there is a refrain which is repeated at the close of each stanza and of the envoi. The entire poem should contain but three or four rhymes, as the case may be, and these must be reproduced with exactitude in each section. These rules were laid down by Henri de Croi, whose L’Art et science de rhétorique was first printed in 1493, and he added that if the refrain consists of eight syllables, the ballade must be written in huitains (eight-line stanzas), if of ten syllables in dizains (ten-line), and so on. The form can best be studied in an example, and we quote, as absolutely faultless in execution, the famous “Ballade aux Enfants Perdus,” composed by Théodore de Banville in 1861:—

This is the type of the ballade in its most elaborate and highly-finished form, which it cannot be said to have reached until the 14th century. It arose from the canzone de ballo of the Italians, but it is in Provençal literature that the ballade first takes a modern form. It was in France, however, and not until the reign of Charles V., that the ballade as we understand it began to flourish; instantly it became popular, and in a few years the out-put of these poems was incalculable. Machault, Froissart, Eustache Deschamps and Christine de Pisan were among the poets who cultivated the ballade most abundantly. Later, those of Alain Chartier and Henri Baude were famous, while the form was chosen by François Villon for some of the most admirable and extraordinary poems which the middle ages have handed down to us. Somewhat later, Clément Marot composed ballades of great precision of form, and the fashion culminated in the 17th century with those of Madame Deshoulières, Sarrazin, Voiture and La Fontaine. Attacked by Molière, and by Boileau, who wrote

the ballade went entirely out of fashion for two hundred years, when it was resuscitated in the middle of the 19th century by Théodore de Banville, who published in 1873 a volume of Trente-six ballades joyeuses, which has found many imitators. The ballade, a typically French form, has been extensively employed in no other language, except in English. In the 15th and 16th centuries many ballades were written, with more or less close attention to the French rules, by the leading English poets, and in particular by Chaucer, by Gower (whose surviving ballades, however, are all in French) and by Lydgate. An example from Chaucer will show that the type of strophe and rhyme arrangement was in medieval English:—

The absence of an envoi will be noticed in Chaucer’s, as in most of the medieval English ballades. This points to a relation with the earliest French form, in its imperfect condition, rather than with that which afterwards became accepted. But a ballade without an envoi lacks that section whose function is to tie together the rest, and complete the whole as a work of art. After the 16th century original ballades were no more written in English until the latter part of the 19th, when they were re-introduced, almost simultaneously, by Algernon Charles Swinburne, Austin Dobson, Andrew Lang, Edmund Gosse and W. E. Henley; but D. G. Rossetti’s popular translation of Villon’s “Ballade of Fair Ladies” may almost be considered an original poem, especially as it entirely disregards the metrical rules of the ballades. Mr. Dobson’s “The Prodigals” (1876) was one of the earliest examples of a correct English specimen. In 1880 Mr Lang published a volume of Ballades in Blue China, which found innumerable imitators. The modern English ballades have been, as a rule, closely modelled on the lines laid down in the 15th century by Henri de Croi. With the exception of the sonnet, the ballade is the noblest of the artificial forms of verse cultivated in English literature. It lends itself equally well to pathos and to mockery, and in the hands of a competent poet produces an effect which is rich in melody without seeming fantastic or artificial.

BALLADS. The word “ballad” is derived from the O. Fr. baller, to dance, and originally meant a song sung to the rhythmic movement of a dancing chorus. Later, the word, in the form of  (q.v.), became the technical term for a particular form of old-fashioned French poetry, remarkable for its involved and