Campbell-Asheton be generous! (But they voted such things were not the cheese) Sullivan, hear us, magnanimous! (But Sullivan thought with their enemies.) And shortly they got both of help and ease For a mad majority crowded to say―― “Debate we’ve drunk to the dregs and lees; Give us――ah! give us――the Derby Day.” _Envoi._ Prince, most just was the motion of these And many were seen by the dusty way, Shouting glad to the Epsom breeze Give us――ah! give us――the Derby Day. W. E. HENLEY. [Illustration] Ballades, Rondeaus and Villanelles. The revival of the taste for these curious old French forms of poetry has received a great impetus from the delightful examples produced by Austin Dobson, Edmund Gosse, W. E. Henley, Andrew Lang, R. Le Gallienne, J. Ashby-Sterry, A. C. Swinburne, C. H. Waring and Oscar Wilde. The composition of all poetry in the English language is governed by clearly defined rules, and although a man ignorant of these rules, if gifted with a fine ear, and original conceptions, may produce a pretty song or ballad, it is very rare indeed that any truly great work is composed, which is not written in accordance with certain regulations as to metre and rhyme. In ordinary poetry these restrictions allow of great variations in style and treatment, but it is far otherwise when any of the old French poetical fashions are selected; then the rules are exact and peremptory, and for each of the following varieties, the form is clearly defined, and perfectly distinct. They are the _Ballade_, _Chant Royal_, _Kyrielle_, _Pantoum_, _Rondeau Redoublé_, _Rondel_, _Rondeau_, _Sicilian Octave_, _Triolet_, and _Villanelle_, with a few minor forms. It is quite beyond the scope of this collection to formulate the rules governing the composition of these poetic trifles, nor indeed is it necessary, for Mr. Gleeson White’s charming little book on the subject is readily accessible, and contains nearly all that can be said about it. It is entitled _Ballades and Rondeaus_, selected, with a chapter on the various forms, by Gleeson White. London, Walter Scott, 1887. The editor’s name is sufficient to indicate that the selections are the best that could be chosen, and the introductory essay is, in itself, a distinct gain to our literature, treating as it does, of a somewhat exotic branch of poetry. Mr. Gleeson White is very much in earnest, and although he inserts a few burlesques it is evident that he regards them as desecrations of his favourite metres. To the Parodist nothing is sacred, but whilst some of the following parodies are quoted from Mr. White’s collection, those who would wish to read the originals must refer to the work itself.