by Octavien de Saint-Gelais, whose colleague André de la Vigne appears to have designated his own triolets as rondelets. In the 16th century, variously designated French and Dutch triolets continue to appear, though they largely lose favor by the end of the century. In the 17th century from 1648 to 1652, triolets designated as triolets became suddenly popular in France during the civil uprisings of the "Fronde" when triolets were used for propaganda purposes and for character assassination. However, what remains easily accessible from this period are, basically, two poems, one by Marc-Antoine Girard, Sieur de Saint-Amant and another by Jacques de Ranchin. Saint-Amant's poem is a triolet about writing a triolet and Ranchin's, also known as the "king of triolets", is about falling in love on the first of May. Though the triolet did not recover its former popularity in 18th century France, it did, with the appearance of Théodore de Banville in the mid-19th century, experience a revival of interest with triolets being written by Arthur Rimbaud, Maurice Rollinat, Alphonse Daudet, and Stéphane Mallarmé. The earliest known triolets composed in English were written in 1651 by Patrick Cary, briefly a Benedictine at Douai, who purportedly used them in his devotions. None of Cary's poetry was published until the late 18th century and his triolets did not achieve notice until Sir Walter Scott published them in 1820. Probably, the two earliest publications of a triolet in English were both translations of Ranchin's king of triolets, with one being published in 1728 and the other in 1806. In 1835 a rondel of Froissart was translated into English as a triolet. In 1870 Robert Bridges became the first English poet to write original triolets in English that were published and achieved recognition in England. This, though, was less through his own efforts than through the impact of an influential article written by Edmund Gosse and printed in 1877 in the Cornhill Magazine reintroducing the triolet to the English public at large, among whom it enjoyed a brief popularity among late-nineteenth-century British poets. Not only did the triolet come to enjoy popularity in the late 19th century among English writers, but in the 18th and 19th centuries, it also came to enjoy a certain popularity among writers other European languages. Among the various languages in which the triolet appeared, German writers of triolets, in particular, were not only numerous, but, by and