rustic song in Italy, where the term originated (Italian villanella from villano: “peasant”); the term was used in France to designate a short poem of popular character favoured by poets in the late 16th century. Du Bellay's “Vanneur de Blé” and Philippe Desportes' “Rozette” are examples of this early type, unrestricted in form. Jean Passerat (Passerat, Jean) (died 1602) left several villanelles, one so popular that it set the pattern for later poets and, accidentally, imposed a rigorous and somewhat monotonous form: seven-syllable lines using two rhymes, distributed in (normally) five tercets and a final quatrain with line repetitions.

The villanelle was revived in the 19th century by Philoxène Boyer and J. Boulmier. Leconte de Lisle and, later, Maurice Rollinat also wrote villanelles. In England, the villanelle was cultivated by W.E. Henley, Austin Dobson, Andrew Lang, and Edmund Gosse. Villanelles in English include Henley's “A Dainty Thing's the Villanelle,” which itself describes the form, and Dylan Thomas' “Do Not Go Gentle into That Good Night.”