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The great art of the triolet consists in using the refrain line with naturalness and ease and in each repetition slightly altering its meaning, or at least its relation to the rest of the poem.
Their opposite, the destructive human forces, are compacted into that bare, three-beat refrain line, which first appears at the end of stanza two and reappears to end the poem.
We're reminded that Stinie himself is a fiddler, in the non-musical sense, but the refrain line's single amphibrach, part sob, part accusation, constantly reasserts his entrapment and inescapable pathos.
Slight alteration of the refrain line is permissible.
The Latin refrain line dates back to the seventh- or eighth-liturgy of the Office for the Dead.
So, I wanted to write her this song to send her home with, and it's just two verses with a refrain line at the end of each verse.
Similar(53)
Taking two refrain lines from the Song of Solomon, "I have a little sister, she has no breasts" and the question asked in the title, the poem encompasses the paradox of a life lovingly protected but potentially diminished.
For the villanelle they prescribe five three-line stanzas followed by one four-line stanza in the scheme A 1 bA 2 abA 1 abA 2 abA 1 abA 2 abA 1 A 2. The first and third lines, A 1 and A 2, are "refrain" lines that must be repeated three times and positioned precisely as shown.
In Bishop's "One Art," Bishop rephrases the refrain lines.
Rather than have freestanding phrases as refrain lines, Bishop uses line breaks to create refrains.
Bishop also does a variation on the refrain lines that deviates from the form and from the traditional rhyme scheme of the villanelle.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com