I am in awe of the implications of the “shrouding” in this particular villanelle’s form, Ma’am Luisa. The deliberate breaking of the syntax in the refrain lines is refreshing, and the intentional lack of the a-b end rhyme in the ending quatrain’s first two lines is startling. Again, form is manipulable. It always follows function: here, sound, syncopation, cadence. And, ultimately, sense.