“Do Not Go Gentle into That Good Night” by Dylan Thomas “One Art” by Elizabeth Bishop   The villanelle, with its built-in repetitions and its natural, almost-obsessive, entrenchment, might seem an unlikely candidate for representing the “volta.”  However, two famous villanelles, Dylan Thomas’ “Do Not Go Gentle Into That Good Night” and Elizabeth Bishop’s “One Art,” seem to me to glean their force and power—to have become two of the canon’s most-loved villanelles—because in its final quatrain each embodies and enacts a turn that injects intense and intensely personal emotional suffering into the formal mix. In Thomas’ poem, a completely traditional villanelle, the turn occurs in the final stanza, when we learn that the “good night” is not an abstract theoretical concept, but the…