as César-Pierre Richelet based their definitions of the form on that poem. This conclusion is refuted by Kane, however, who argues that it was instead Pierre-Charles Berthelin's additions to Richelet's Dictionnaire de rimes that first fixed the form, followed a century later by the poet Théodore de Banville; his creation of a parody to Passerat's "J'ay perdu ..." would lead Wilhelm Ténint and others to think that the villanelle was an antique form. Despite its classification and origin as a French poetic form, by far the majority of villanelles have been written in English. Subsequent to the publication of Théodore de Banville's treatise on prosody "Petit traité de poésie française" (1872), the form became popularised in England through Edmund Gosse and Austin Dobson. Gosse, Dobson, Oscar Wilde, Andrew Lang and John Payne were among the first English practitioners—theirs and other works were published in Gleeson White's Ballades and Rondeaus, Chants Royal, Sestinas, Villanelles, &c. Selected (1887), which contained thirty-two English-language villanelles composed by nineteen poets. Most modernists disdained the villanelle, which became associated with the overwrought formal aestheticism of the 1890s, i.e., the decadent movement in England. In his 1914 novel A Portrait of the Artist as a Young Man, James Joyce includes a villanelle written by his protagonist Stephen Dedalus. William Empson revived the villanelle more seriously in the 1930s, and his contemporaries and friends W. H. Auden and Dylan Thomas also picked up the form. Dylan Thomas's "Do not go gentle into that good night" is perhaps the most renowned villanelle of all. Theodore Roethke and Sylvia Plath wrote villanelles in the 1950s and 1960s, and Elizabeth Bishop wrote a particularly famous and influential villanelle, "One Art," in 1976. The villanelle reached an unprecedented level of popularity in the 1980s and 1990s with the rise of the New Formalism. Since then, many contemporary poets have written villanelles, and they have often varied the form in innovative ways; in their anthology of villanelles (Villanelles), Annie Finch and Marie-Elizabeth Mali devote a section entitled "Variations on the Villanelle" to such innovations. Form The villanelle consists of five stanzas of three lines (tercets) followed by a single stanza of four lines (a quatrain) for a total of nineteen lines. It is structured by two repeating rhymes and two refrains: the first line of the first stanza serves as the last line of the second and fourth stanzas, and the third line