RHYME. WAYS OF RHYME.
RHYME - the order of alternation of rhymes in a verse. Basic ways of rhyming:
|
adjacent rhyme « AA BB». So that a comrade carries friendship through the waves, - |
cross rhyming
« BUT B AB».
|
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Ringrhyme
The hops are already drying up on the tyne. |
idle rhyme
« ABCB».
The grass is turning green |
|
Hyperidle rhyme
« ABAC».
The second and fourth verses do not rhyme. The absence of a traditional rhyme at the end of a quatrain leads to the effect of deceiving rhyming expectation. Rhyming is rarely used. |
|
mixed rhyme
(freestyle) - a way of alternation and mutual arrangement of rhymes in complex stanzas. The most famous forms: octave, sonnet,
rondo, tercine, triolet, limerick, etc. An example of a mixed rhyme:
Does the beast roar in the deaf forest,
Does the horn blow, does the thunder rumble,
Does the maiden sing beyond the hill -
For every sound
Your response in the empty air
You suddenly give birth.
(A.S. Pushkin)
TERZA RIMA - a series of three lines with rhyming ABA BCB CDC... (“The Divine Comedy” by Dante).
Having passed half of earthly life,
I found myself in a dark forest
Having lost the right path in the darkness of the valley.
What was he, oh, how to pronounce,
That wild forest, dense and threatening,
Whose old horror I carry in my memory!
He is so bitter that death is almost sweeter.
But, having found good in it forever,
I will tell about everything that I saw in this more often ...
(A. Dante)
LIMERICK - five lines written in anapaest with rhyming AABBA. in the limericks Verses 3 and 4 have fewer stops than 1, 2 and 5.
Once upon a time there was an old man at the pier,
Whose life was depressing.
They gave him a salad
And they played the sonata
And he felt a little better.
(E. Lear)
TRIOLET - octagon with rhyme ABAA ABAB where are the verses BUT and AT repeated like refrains.
You flashed like a vision
Oh, youth, my swift,
One big delusion!
You flashed like a vision
And I'm left with regret
And the later wisdom of the serpent.
You flashed like a vision -
Oh, my youth is swift!
(K. Balmont)
MONORIM
-
a verse built on one rhyme - a monorhyme ( AAAA, AA-BB-SS...), rare in European poetry, but widespread in
classical poetry of the Near and Middle East. Monorims include: ghazal, qasida, mesnevi, fard... Example of fard:
Then only a word to put your debt into action,
When you are sure that there will be a sense.
(Saadi)
RUBAI - rhyming in oriental poetry according to the scheme AABA.
In the cradle - a baby, a dead man in a coffin:
That's all that is known about our fate.
Drink the cup to the bottom and do not ask much:
The master will not reveal a secret to a slave.
(Omar Khayyam)
pantorhyme(pantorim) - a verse in which all the words rhyme with each other.
Bold running intoxicates
Whipping white snow
The noise cuts the silence
Nezhat thoughts about spring.
(V. Bryusov)
Rhyme 4+4("square rhyming") - rhymes of two quatrains according to the scheme: ABCD ABCD
And then summer said goodbye
With a station. Taking off your hat
One hundred blinding photographs -
At night I took away the memory of thunder.The brush of lilac froze. In it
Time he, having picked up an armful
Lightning, from the field they trafil
Light up the management house.
(B.L. Pasternak)
Rhyme 3+3 ("triangular rhyme") - the rhyming of two three-verses with each other according to the scheme ABC ABC.
And then I dreamed of mountains -
In white robes
rebellious peaks,And crystal lakes
At the foot of the giants
And desert valleys...
(V. Nevsky)
It's time, I think, to clarify what rhyme is, what it is and what ways of rhyming exist. That is, it is immediately important to catch - rhyme and type of rhyme - this is not the same thing.
In the standard versions for 2011, questions about male and female rhyme were not met, they were only about the method of rhyming, naturally, a graduate, seeing the word rhyme, entered his answer out of habit.
Let's turn to one of the options where the question about rhyme sounds - Option 10.
What is the name of rhyme used in all stanzas of the poem?
For comparison, I will immediately show a question with a type of rhyme - Option 15.
Which rhyme type used by the poet in the 1st stanza of the poem "I do not like your irony"?
I underlined the key words for you, as you can see, there is a difference in the questions, do not confuse.
Now, I think it's worth moving on to terminology.
We have two types of rhyme: masculine and feminine, very rarely dactylic and hyperdactylic. I named the last two with the aim that all sorts of clever people do not try to say that we are giving something wrong here.
An example of a male rhyme:
Both the sea and the storm rocked our man;
I, sleepy, was betrayed by every whim in the "ln.
Two infinities were in me,
And they willfully played with me." (F.I. Tyutchev "Dream on the Sea").
A masculine rhyme is one in which the stress in a poetic line falls on the last syllable.
In a female rhyme, following the logic, the stress falls on the penultimate one. You can remember it like this: The men are always last, they come after the ladies. =)
An example of a feminine rhyme:
There are speeches meaning "nye,
Dark or nothing,
But they don't care "nya
It is impossible to take in
How full of their sounds
Crazy desire "nya!
There are tears of separation in them,
They have a thrill of meeting "nya." (M.Yu. Lermontov "There are speeches of meaning").
In dactylic rhyme, the stress falls on the 3rd syllable from the end, in hyperdactylic on the 4th syllable from the end. In the exam, only male and female meet.
Crossed out. Let's go to rhyme type(rhyming system, rhyming method, rhyming type - all this is the same). In fact, we already have material for rhyming, but let's repeat it again without leaving the cash register.
The following terms are found in kims: adjacent (pair), ring (ring) and cross.
Adjacent- rhyming of adjacent verses: the first with the second, the third with the fourth, the fifth with the sixth, etc. aaBB
Through the midnight sky an angel yoate
(a)
And a quiet song heate;(a)
And the moon, and the stars, and the clouds of crowdsoh(B)
Attention to that song is holyoh.;
(B)
Ring- the first line rhymes with the fourth, the second with the third. aBBa
Love and friendship before ace(a)
They will reach through the gloomy gates, (B)
Like in your hard labor holes (B)
Comes my free ch ace. (a)
cross- the first line rhymes with the third, and the second with the fourth. aBaB
About the dear companions that our St. no
(a)
With their companions gave life to us, (B)
Do not speak with longing: they no;
(a)
But with gratitude whether .
(B)
This is what happens at the exam, all sorts of complex, open, poor, and so on. you will study rhymes at the philological faculty, for the exam you need the bare minimum, which I have covered for you here.
Lecture #5
Versification. Rhymes.
Various kinds of rhymes. Different value of rhymes.
Compound and multi-stressed rhymes. Alternating rhymes.
See also "School of poetic and prose craftsmanship" -
DEFINITION OF RHYME.
Echo, a sleepless nymph, wandered along the banks of Peneus.
Phoebus, seeing her, flared up with passion for her.
The nymph bore the fruit of the delights of the enamored god;
Between the talkative naiads, tormented, she gave birth
Sweet daughter...
... on earth it is called Rhyme.
(A.S. Pushkin "Rhyme")
So, the first version of the emergence of rhymes in human life was proposed by A.S. Pushkin. Indeed, it is quite possible that the first poets of rhyme were prompted by an echo.
Nonsense - the echo will be: yes; pigeons - beat; no coins, etc.
Since then, however, the concept of rhyme has expanded significantly.
As a first approximation, rhyme can be defined as the coincidence in the endings of the words of the last stressed vowel and subsequent consonants.
Therefore, the words "hammer" and "clot", "thimble" do not rhyme, although they have the same endings, and the rhyme for the word "hammer" will be - "yellow", "stream".
But it turns out that some vowels and consonants, although different, sound the same. For example, in the words: again - ready; story - blue-eyed; Lensky - rural. Often OGO at the end of words is read as OBO: the word is big. Consonants can also coincide in sound: eye - kvass.
Therefore, a more correct definition of rhyme:
auditory coincidence of a stressed vowel and subsequent consonants at the end of words.
Special mention should be made of the sound coincidence of consonant sounds. This happens when they are at the very end of a word. At the same time, the labial consonants B and P (duB - gluP), V and F (nraV - graph) coincide; dental Z and S (tAZ - kvaS), D and T (plant - belly); hissing F and W (rye - louse, husband - kush); guttural G and K (moG - coK). Sometimes G and X coincide (verse - achieveG).
It is possible to match soft and hard sounding sounds. rye - knife, knife - louse, chizh - be silent. The letter “c” at the end of the words “I swear”, “had to”, “led” is pronounced semi-hard-semi-softly, so it can rhyme with both a hard “s” and a soft one. I swear - Rus, I had to - drop it, I swear - taste, I swear - a load.
This is not a universal rule and, for example, the words BRAT - BRAT, RAZ - DIRT, FIRE - KON - are not rhymes in the classical sense.
Rhymes allow non-coincidence of unstressed vowels, but stressed ones must necessarily match. An exception is made for compound vowels: A - YA (I); O - YO (Yo); U - YU (Yu); E - YE (E). A combination is allowed: I - S. But such rhymes are weaker in sonority: FROST - TEARS, IRON - suddenly, etc., although they can give the poem a certain music.
And not a soul. Only one wheezing
The dreary clang and knock of a knife,
And colliding blocks
Grinding teeth.
(B.Pasternak)
And with a meaningless smile
You look back, cruel and weak,
Like a beast, once flexible
On the tracks of their own paws.
(O. Mandelstam "Century")
With another mismatch, there will be no rhyme: rack - flock, sheet - toast - do not rhyme.
All that is said above refers to the classical rhyme of the 19th century. The Symbolists greatly expanded this concept, but we will talk about this a little later.
TYPES OF RHYMS
A stressed vowel can be placed in a word in several ways. It can close the word, only consonants can go after it, or one or two syllables with unstressed vowels can follow. In the first case, when there are no other vowels after the stressed vowel, the rhyme is called monosyllabic. If there is an unstressed vowel, then it is two-syllable.
Monosyllabic rhymes are called MALE. These are the simplest rhymes: I am mine, mine is a pig, RAZ - kvAS - bass - us, etc.
Two-syllable rhymes are called FEMALE. More sounds coincide in them: PLANS - WOUNDS; STRANGE - MISTY; a flock is a large one, the edges are playing, a fault is a picture.
Sometimes poems are built only on male, sometimes only on female rhyme.
There are speeches - meaning
Dark or nothing
But they don't care
It is IMPOSSIBLE to take.
How full of their sounds
Madness of desire!
There are tears of separation in them,
They have the thrill of goodbye.
(M. Lermontov)
But most often, male and female rhymes alternate, which is automatically obtained, for example, when amphibrach is truncated.
Late fall. The rooks have flown away,
The forest was exposed, the fields were empty.
Only one strip is not compressed ...
She brings a sad thought.
(N. Nekrasov "Uncompressed strip")
The use of different types of rhymes in one poem destroys its monotony and creates music inherent only to it.
After the stressed vowel, two syllables can also follow: worn - asks, cane - bone, stretches - drunkard. Such rhymes are called DACTYLIC.
The lines of Lermontov's "Clouds" ("Clouds of heaven, eternal wanderers ...") are connected with dactylic rhyme. But more common is the alternation of dactylic rhyme with masculine.
In the evenings over the restaurants
The evening air is wild and deaf,
And ruled by drunken shouts
Spring and pernicious spirit.
Far above the dust of the lane,
Over the boredom of country cottages,
Slightly golden pretzel BAKERY
And a child's cry is heard.
(A. Blok "Stranger")
The alternation of feminine and dactylic rhymes is much less common.
Under the embankment, in the unmown moat,
Lies and looks, as if alive,
In a colored scarf, thrown on braids,
Beautiful and young.
It used to be walking with a dignified gait
To the noise and whistle behind the nearby forest.
Bypassing the whole platform long,
Waited, worried under a canopy.
(A. Blok "On the railroad")
The influence of the type of rhyme on the music of a verse is clearly seen in the example of poems of the same size (iamba).
"Mtsyri" by M. Lermontov is built on male rhymes:
He threw himself on my chest towards me;
But in the throat I managed to stick
And then turn twice
My weapon... He howled
I rushed with my last strength,
And we, intertwined like a pair of snakes,
Hugging tightly two friends,
Fell at once, and in the darkness
The fight continued on the ground.
And V. Bryusov's poem "To the City" - on the alternation of male and female rhymes.
The king is powerful over the valley,
Fires piercing the sky
You are the factory palisade pipes
Inexorably surrounded.
Steel, brick and glass,
wrapped in a network of wires,
You are a relentless enchanter
You are an unrelenting magnet.
Dragon, predatory and wingless,
Sowing - you guard the year,
And through your iron veins
Gas flows, water flows.
Comparing the above examples, we can conclude that masculine rhymes give the impression of pressure, strength. Dactylic - minor mood. An intermediate position is occupied by feminine rhymes.
It is usually believed that the use of one type of rhyme leads to uniformity, so their alternation is recommended.
Let's briefly talk about HYPERDACTYLIC - four, five, six-syllable rhyme: MAD - FURIOUS, TELLING - SMOOTHING.
They are rare.
V. Bryusov "Cold"
Cold, the body is secretly binding,
Cold, soul enchanting ...
From the moon the rays are stretched,
They touch the heart with needles.
….
Snow spreading in nets
Hovering over the forgotten days
Over the last affections
Above the holy innuendo!
DIFFERENT VALUE OF RHYMES
This lecture is devoted to classical rhymes. Non-classical rhymes are dealt with in the following.
Let's compare several female rhymes with the same base:
Naiad - fence,
Parade - fence
The reward is a fence.
The first rhyme, in which the vowels did not exactly match: A - Z and no other matches, except for the sounds lying behind the stressed vowel, no, it sounds much weaker than the others. Such a rhyme is called POOR.
In the second pair of rhymes, in addition to the coincidence of sounds behind the stressed vowel, the consonant standing in front of it also coincided - R: paraD - FENCE. In the third pair, even more sounds coincided before the stressed vowel: reward - fence. Such rhymes are called RICH.
If the coincidence continues further: passed - hay, then the rhyme becomes DEEP.
The more in rhyming words the sounds lying before the shock coincide, the more sonorous the rhyme becomes.
In masculine rhymes, this becomes practically a prerequisite (moonA - sheA). An exception occurs in cases where a stressed vowel is preceded by a vowel or a soft sign: whose - mine, drink - mine, edges - yours.
If in male rhyme the consonants do not coincide before the stressed vowel or there is a vowel and a consonant sound, then the rhyme becomes very poor. Drive - mine, me - yours, drive - mine. Or disappears altogether, with a solid sound of a stressed vowel: led - bye, cheers - the moon, alas - whales, trouble - grass, etc.
In the latter case, rhyme will appear if at least one consonant coincides before the stressed vowel. Such a consonant in all types of rhymes is called BASIC. VELA - was, while - a hand, the moon - she, trouble - water.
Naturally, when several consonants coincide, the male rhyme becomes richer. YEARS - WATER, GATE - FRYING PAN.
This fully applies to other types of rhymes, for example, dactylic ones: HUNGRY - PODKOLODNA.
On the other hand, when vowel sounds coincide in a rhyme, consonants can vary: iron - abyss, frosty - starry, moonlight - crazy.
The easiest way is to pick up rhymes among the same parts of speech: floor, table, stake, they say ... or kvass, bass, hour, time, story, etc. It is even easier to pick up rhymes for verbs, for example, you can pick up a hundred rhymes for the words “drink”, “call”.
Such rhymes are of little value and should be avoided.
We must also try to avoid stereotyped, boring rhymes: blood - love - again, dreams - tears - birches - roses - frosts.
Rhymes take on more value when different parts of speech are rhymed, or words taken in different cases.
On the seas, playing, WEARING
with the destroyer MINONOSITSA.
(Vl. Mayakovsky "Naval Love")
Other examples: impudent - waved, blue - frost, lagged behind - a crystal, throw it apart, eyes - an ace, roses - a question, etc.
Sasha Cherny's poem "Overfatigue" is not only built on classical rhymes, but also contains an interesting play on them.
I look like a mother
I'm ready to grind...
I curse the inkwell
And mother inkwells!
The patches are disheveled,
Stupid like a sheep -
Ah, all the rhymes are spent
Until the end, until the end!
I really have nothing to say today, as always,
But I was not embarrassed by this, believe me, never -
He gave birth to words and words, and gave birth to rhymes to them,
And in cheerful verses, like a foal, neighing.
Paralysis of the spinal cord?
You lie, I won't give up! Stump - migraine,
Bebel - stem, brain - rod,
Skirt - sponge, shadow - seal.
Rhyme, rhyme! I'm running out -
I'll find a theme for the rhyme myself ...
I bite my nails in fury
And in a powerless trance I wait.
Dried out. What will happen to my popularity?
Dried out. What will happen to my wallet?
Pilsky will call me cheap mediocrity,
And Waks Kaloshin - a broken pot ...
No, I won't give up ... Dad - mom,
Dratva - harvest, blood - love,
Drama - frame - panorama,
Eyebrow - mother-in-law - carrots ... socks!
NON-CLASSICAL RHYMS
If the nineteenth century demanded accurate rhymes from poets both in terms of sound and writing, then the poets of the Silver Age focused only on the auditory coincidence of sounds.
In fairness, it must be said that Pushkin also sometimes used sound truncation in female rhymes: Eugene - shadows, steps - Eugene, nanny - dreams. But this was more of an exception. The Symbolists made the rule out of the exception.
Here is an excerpt from Valery Bryusov's article "On Rhyme":
“The principle of a new rhyme is that those words are consonant (rhyme) in which there are a sufficient number of similar-sounding elements. The central place among these elements is occupied by the stressed vowel and the supporting consonant, as the sounds most put forward by pronunciation. If, in addition, the similarity extends to the end of the word, one gets what I call a "juicy" rhyme (as opposed to a "deep" one); if - on the syllables preceding the stressed one, then what can generally be called a “deep” rhyme (generalizing this concept). Moreover, similar elements can be arranged in words even in a different order, for example, interrupted by dissimilar sounds; examples from B. Pasternak: “attic - leapfrog”, “how much cocaine they need”, “east - whistle”, etc. Consequently, this new rhyme not only frees poets from the previous requirements (observe the similarity of endings), but also imposes on poets new requirements (observe the identity of the supporting consonant and look for the similarity of previous sounds). The new rhyme is different than the classical one, but by no means “less precise” or “no less strict.”
Thus, non-classical rhyme still must comply with three rules:
1. Auditory coincidence of stressed vowels.
2. If there are no matching sounds behind the stressed vowel, then the supporting consonants must match (what is the supporting consonant - see above).
3. Regardless of the location of the matching sounds, there should be as many as possible.
Let's illustrate this with examples.
If Pushkin truncated rhyme only on “I”, then the Symbolists, Futurists, Imagists began to truncate consonants and even vowels: eyes - back, crying - engulfed (S. Yesenin), hats - smelling (Vl. Mayakovsky).
In an attempt to modernize the rhyme, they almost stopped caring about the coincidence of the sounds behind the stressed vowel:
head - naked, dirty - tiptoe, cold - Tolstoy (Vl. Mayakovsky),
bell - at night, garden - front garden (B. Pasternak).
At the same time, the rhyme does not lose its sonority, because instead of the mismatch of the last sounds in the words, many others coincide, as a result, the discrepancy in the post-stress sounds is hidden:
HEAD - NUDE, DRY - TICKETS., PASSWORD - SOMETIMES, COFFIN - MICROBE, BREAKED - WITH RAILINGS, AT RIGHT - NUCLES, HEAT - EATING, GETTING GREAT - RULADE, YOU - TIBET, PAPAHI - smelling.
From the last example, it can be seen that the coincidence of sounds both before and after the stressed one allows you to introduce an extra syllable. Such rhymes are called UNEQUAL. Other examples from Mayakovsky: the baby is gone, the theater is gladiators.
Yawns roar, bare your teeth BADLY!
Burshi,
ride on Kant!
Knife in the teeth!
Checkers SHOULD!
…
Since on the field
They gave the first blood to the war,
In the bowl of the earth, squeezing a DROP.
(Vl. Mayakovsky "War and Peace")
Like a pre-Petrine CORE,
He will jump into the meadow
And scatters a pile of firewood
A LID that has flown to the side.
(B. Pasternak "The Approach of a Thunderstorm")
COMPOSITE AND MULTIPLE-STROKE RHYMS
In COMPOSITE rhyme, one word rhymes with two. A. Pushkin also used this technique, but rather as an exception.
In a year for three clicks you ON the forehead,
Give me some boiled spelled.
Other examples: on kalach - I will beat you, groin? - No, it smells.
Futurists began to introduce an intensely compound rhyme:
Not then
cocked
along the embankments of TEL ONA,
so that, woeful,
blew a weeping vile;
the terrible weight of all that is DONE,
without any
"Beautiful",
pinned down, ugly.
(Vl.Mayakovsky "War and Peace")
Go out of the villages, go out of the GROWS
To the wide frontal SQUARE.
(I. Severyanin)
Mayakovsky's poetry is generally inseparable from compound rhymes:
forehead - bombs,
Magyar mustache - tiers,
attacked - fell,
grow her - quatrain,
parts are participles.
At the same time, compound rhymes can also be unequal:
lies behind her - lives,
lira to you - pulled out,
rattles - not a sound in the sky,
dust about that - velvet.
If you look at the rhymes: groves go - squares, Magyar mustaches - tiers, ice cheeks - pilots, you can see that the stresses in them are in different places. In phrases that are in the first position, the stress falls on the last letter: go, mustache, cheeks, and words that rhyme with them - the first vowel. Such rhymes are called MULTIPLE-IMPACT or side-impact. The rhyme got this name because the metric stress on the last syllable is hidden.
Multi-impact rhymes are not only compound: bone - youth. S. Gorodetsky's poem "Chastushka" is built on them.
How did you go with the harmonica -
Push boredom into the ground!
As we walked down the street
The sun dances on your face.
The mountaineers hanged themselves
Better, heart, have fun!
Here are some examples of compound rhymes from I. Brodsky.
I am writing these lines, aiming with a HAND,
leading them almost blindly,
a second ahead of "ON WHAT".
……….
I am writing from the Empire, whose edges
descend under the water. Taking a SAMPLE from
two oceans and continents, I
I feel the same, almost like a GLOBE.
That is, there is nowhere else. Next row
stars. And they are on fire.
……….
Loneliness teaches the essence of things, for their essence is the same
loneliness. The skin of the back is grateful to the skin
chair backs for a feeling of coolness. Away HAND ON
the armrest becomes stiff. oak gloss
covers the bones of the joints. Brain
beats like ice on the edge of a GLASS.
And a very interesting example from the same Brodsky, when there is no rhyme at all and, nevertheless, these are also poems.
…. Some dirty island
bushes, buildings, grunting pigs,
overgrown garden, some kind of queen,
grass and stones ... Dear Telemak,
all the islands are alike,
when you travel so long, and the brain
already straying, counting the waves,
an eye littered with the horizon cries,
and water meat will cover your hearing.
(I. Brodsky "Odysseus to Telemaku")
ALTERNATION OF RHYMS
In poetry, CROSS rhyming is most widespread, when the first line rhymes with the third and the second with the fourth and CLOSED - the first line rhymes with the fourth and the second with the third.
See how the cloud is alive
The shining fountain swirls;
How it burns, how it crushes
Its in the sun wet smoke.
Rising to the sky with a beam, he
Touched the cherished height -
And again with fire-colored dust
To fall to the ground is condemned.
(F. Tyutchev "Fountain")
However, there are also more complex rhyming lines. They can rhyme in pairs, triplets.
I love cold breath
And a couple of winter confessions:
I am me, reality is reality!
And the boy, red as a flashlight,
His sleigh sovereign
And refueled, rushes afloat.
(O. Mandelstam "I love frosty breath")
Red fire, soar into the dark heights!
Red fire, spin up, spin up!
Lying doll, in a golden chain,
I pierce the lying doll with a needle,
A lying doll in a golden chain!
(V. Bryusov "Spell")
The boundless distance of the meadow.
It flies, a ruddy banner blows,
Illuminated by Dionysus.
And calls anciently wildly
The brightness of the sun's face
The fury of the fiery cry...
(S. Gorodetsky "Chaos")
A line in a poem is called a RHYTHMIC PHRASE. Several rhythmic phrases that make up something musically complete are called a STROPHE. A stanza can be a two-line, three-line. The most common variant is the quatrain. But there are also more complex designs.
Five lines.
Somewhere there is, beyond the dark distance
Terribly shaky water,
Beach of eternal fun
Strangers with sorrow
Hesperides gardens.
Give life to the power of the flow,
And it will nail your boat
Where like necklaces
multicolor stones
They rose above the foam of the waves.
(V. Bryusov "Hesperides Gardens")
Dewdrops grow heavy under the heart of the grass,
The child walks barefoot along the path,
Carries strawberries in an open basket,
And I look at him from the window,
As if in a basket he carries the dawn.
Whenever a path runs towards me,
Whenever a basket sways in your hand,
I would not look at the house under the mountain,
I would not envy the share of another,
I wouldn't go back home at all.
(A. Tarkovsky)
Six lines.
Once upon a time in October mist
I wandered, remembering the chant.
(Oh, a moment of unsaleable kisses!
Oh, caresses of unbought maidens!)
And now - in the impenetrable fog
There was a forgotten tune.
And I began to dream of youth
And you, as if alive, and you ...
And I began to dream away
From wind, rain, darkness...
(So early youth is a dream.
Are you coming back?)
(A. Blok "Double")
I'm terrified of outward joy,
From this airy sweetness,
And from the ringing, and from the thunder
icebreaker
On the river
The heart beats lightly.
The spring sun is smiling,
A girl's heart is tender.
This sweet languor
Stranger
And scary -
Spring fell on my heart!
(S. Gorodetsky "Vesnyanka")
Dust settles on things in summer, like snow in winter.
This is the merit of the surface, the plane. In herself
there is this craving upwards: to dust and to snow. Or
just to nothingness. And, akin to a string,
"forget me not" whispers the dust to the hand
with a rag, and a wet rag absorbs the whisper of dust.
(I. Brodsky)
Daniil Kharms's poem "I am a genius of fiery speeches", written in six lines, uses a very interesting rhyme. The first line rhymes with the sixth, the second with the fifth, and the third with the fourth.
I am a fiery speech genius.
I am the master of free thoughts.
I am the king of meaningless beauty.
I am the God of vanished heights.
I am the master of free thoughts.
I am a stream of bright joy.
When I cast my gaze into the crowd,
The crowd freezes like a bird
And around me, like around a pillar,
There is a silent crowd.
The crowd freezes like a bird
And I sweep the crowd like rubbish.
Recall that "Eugene Onegin" was written in fourteen lines. Often found in the work of Pushkin and octaves, triolets, terts, sonnets.
For example, in octaves, Pushkin rhymed the first line with the third and fifth, the second with the fourth and sixth, and the seventh with the eighth.
I am tired of iambic tetrameter:
Everyone writes to them. Boys for fun
Time to leave him. I wanted
A long time ago to take up the octave.
And in fact: I would co-own
With triple consonance. I'm going for glory!
After all, rhymes easily live with me;
Two will come by themselves, the third will be brought.
("House in Kolomna")
There are very complex rhymes. For example, Blok rhymed the first line with the fifth, the second with the sixth, and so on.
Under the wind cold shoulders
Your hugs are so gratifying:
You think - gentle caress,
I know the delight of rebellion!
And eyes glow like candles
Night, and I listen eagerly -
A terrible fairy tale is moving,
And the star breathes between...
(from the series "Autumn Love")
Bryusov's "Greeting" is written in eight lines.
The pre-sunset blush faded.
On the threads of silver-thin
Pearly stars hung
Below is a necklace of lights,
And evening thoughts dance
Dimensional joyful dance
Among the barely audible and sonorous
The tunes of rising shadows.
Half the world, under the mystery of the night,
Inhales elemental spells
And listens to the same tunes
In the temple of open skies.
Trembling, exhausted, virgins,
Kiss their young men in the eyes,
And tormented by insane nightmares
A swift whirlwind of miracles.
Very interesting in terms of alternation of rhymes is Boris Pasternak's poem "Earth", which combines stanzas of four, five, seven and eight lines.
To Moscow mansions
Spring is kicking in.
The moth flies out behind the cupboard
And crawls on summer hats
And they hide fur coats in chests.
On wooden mezzanines
Standing flower pots
With levkoy and wallflower,
And the rooms breathe freely,
And the attics smell of dust.
And the familiar street
With a blind window,
And white night and sunset
Don't miss the river.
And you can hear in the hallway
What is happening in the space
What is in casual conversation
April speaks with a drop.
He knows thousands of stories
About human grief
And the dawns freeze over the fences,
And pull this rigmarole.
And the same mixture of fire and horror
At will and in residential comfort,
And everywhere the air is not its own,
And the same willows through the bars,
And the same white kidney swelling
And at the window, and at the crossroads,
Outdoors and in the workshop.
Why is the distance crying in the fog,
And humus smells bitter?
That's what my vocation is for,
So that distances do not get bored,
To beyond the city limits
The earth does not grieve alone.
For this early spring
Friends come with me
And our evenings are goodbyes
Our feasts are testaments,
So that the secret stream of suffering
Warmed the cold of being.
P.S. It should be noted that complex rhymes create a very rigid frame of a poem, which, in a novice poet, often buries the meaning of what was written.
TASK № 1.
Write what a sonnet is. How do lines in a sonnet rhyme? What is a wreath of sonnets, trunk.
TASK № 2.
Pick up classic, non-classical, compound rhymes for the words: perch, tree, memory.
TASK № 3.
Write a poem consisting of four lines, in which the first and third lines are written in four-foot amphibrach, and the second and fourth - in three-foot amphibrach with a truncated unstressed syllable at the end.
TASK № 4.
Write at least one stanza in the form of four lines, in which the masculine rhyme alternates with the feminine.
TASK number 5.
Write at least one stanza in five or six lines.
Rhyme (ancient Greek υθμς “dimension, rhythm”) is a consonance at the end of two or more words, the ends of verses (or half-verses, the so-called internal rhyme), marking their boundaries and connecting them with each other. Rhyme helps the reader to feel the intonational articulation of speech and forces them to correlate the meaning of those verses that it unites.
Developed from the natural consonances of syntactic parallelism; in European poetry it has been common since the 10th-12th centuries.
It should be noted that rhyme is not the only sign of the completeness of the rhythm; due to the presence of a strong pause, final stress and clause, the end of the line (as a rhythmic unit) is determined even without rhyme, for example:
"Four unfaithful kings
Don Rodrigo won
And they called him Sid
Defeated Tsars" (Zhukovsky).
But the presence of rhyme emphasizes and enhances this completeness, and in verses of a freer rhythmic structure, where the commensurability of rhythmic units is expressed with less distinctness (the lines are different in the number of syllables, places of stress, etc.), the rhythmic meaning of R. appears with the greatest distinctness ( in free and free verse, in raeshnik, etc.)
It is most commonly used in poetic speech and in some eras in some cultures acts as its obligatory or almost obligatory property. Unlike alliteration and assonance (which can occur anywhere in the text), rhyme is determined positionally (by the position at the end of the verse, capturing the clause). The sound composition of a rhyme—or rather, the character of consonance necessary for a pair of words or phrases to be read as rhyme—is different in different languages and at different times.
Types of rhymes
By syllable volume rhymes are divided into:
- masculine (stress on the last syllable),
- feminine (stress on the penultimate syllable from the end),
- dactylic (stress on the third syllable from the end),
- hyperdactylic (stress on the fourth syllable from the end).
- If a rhyme ends in a vowel, it is called open; if it ends in a consonant, it is called closed.
By the nature of the sound(accuracy of consonances) rhymes are distinguished:
- accurate and approximate
- rich and poor,
- assonances, dissonances,
- composite,
- tautological,
- unequal,
- multi-shock.
By position in verse rhymes are:
- final,
- initial,
- internal;
By position in the stanza:
- adjacent,
- cross
- covering (or belted)
With regard to the multiplicity of repetitions, rhymes are paired, triple, quadruple and multiple.
Poems without rhyme are called white, inexact rhymes - "rhymes".
There are also the following poetic devices and terms for them:
- Pantorhyme - all words in the line and in the next one rhyme with each other (for example, the 1st, 2nd and 3rd words of two lines rhyme, respectively)
- through rhyme - a rhyme that runs through the entire work (for example - one rhyme in each line)
- echo rhyme - the second line consists of one word or a short phrase rhymed with the first line.
Rhyme examples
Men's- rhyme with stress on the last syllable in the line:
Both the sea and the storm rocked our boat;
I, sleepy, was betrayed by every whim of the waves.
Two infinities were in me,
And they arbitrarily played with me.
Women's- with stress on the penultimate syllable in the line:
Quiet night, late summer
How the stars shine in the sky
As under their gloomy light
Dormant fields are ripening.
Dactylic- with stress on the third syllable from the end of the line, which repeats the dactyl pattern - -_ _ (stressed, unstressed, unstressed), which, in fact, is the reason for the name of this rhyme:
A girl in a field with a willow pipe,
Why did you hurt the spring branch?
She cries at her lips like a morning oriole,
Crying more bitterly and more and more inconsolably.
Hyperdactylic- with stress on the fourth and subsequent syllables from the end of the line. This rhyme is very rare in practice. It appeared in the works of oral folklore, where the size as such is not always visible. An example of such a rhyme sounds like this:
Goblin scratches his beard,
The stick is hewn gloomily.
Exact and approximate rhymes
AT exact sufficient rhyme match:
- a) last stressed vowel
- b) sounds starting from the last stressed vowel.
In exact rhyme a rhyme like "writes - hears - breathes" (Okudzhava) is also considered. The so-called. iotized rhymes: "Tani - spells" (ASP), "again - a handle" (Firnven).
An example of a stanza with exact rhymes (it is the sounds that match, not the letters):
It's nice, squeezing a katana,
Turn the enemy into a vinaigrette.
Katana - the dream of a samurai
But better than her - a gun. (Gareth)
AT inaccurate rhyme not all sounds coincide, starting from the last stressed vowel: "towards - cutting", or "book - King" by Medvedev. There can be much more imprecise rhymes than precise ones, and they can greatly decorate and diversify a verse.
Rich and poor rhymes
rich rhymes, in which the reference consonant sound coincides. An example is the lines from A. S. Pushkin's poem "To Chaadaev":
Love, hope, quiet glory
The deceit did not live long for us,
Gone are the funs of youth
Like a dream, like a morning mist.
In poor rhymes, stressed sounds and a stressed vowel partially coincide.
Assonances, dissonances
- assonant rhymes in which the vowel stressed sound coincides, but the consonants do not.
- dissonant (consonant) rhymes, where, on the contrary, stressed vowels do not match:
It was
Socialism -
awesome word!
With a flag
With a song
stood on the left
And herself
On the heads
glory descended
- Compound rhymes, where the rhyming pair consists of three or more words, as in lines 2 and 4 of N. S. Gumilyov:
You will take me in your arms
And you, I will hug you
I love you prince of fire
I want and wait for a kiss.
tautological rhyme - repetition of the same words: "curtained the window - look in the window again" - Blok).
truncated rhyme- a rhyming technique, when one of the words rhyming at the end of the verse does not completely cover the consonances of another word. In Russian classical verse U. r. a rhyme with a truncation of the sound “th” (short “and”) is considered:
So what? The sad God believed.
Cupid jumped for joy
And in front of his eyes with all his strength
I tightened the new one for my brother.
Poetry of the 20th century truncated rhyme is sometimes called uneven rhyming:
Whistle in an undertone aria,
Drunk with brilliance and noise, -
Here on the night sidewalk
She is a free bird!
Childishly playing with a curl,
Curly boldly to the eyes,
Then he suddenly leans towards the windows,
Looks at the rainbow junk.
(V. Bryusov)
In nonequisyllabic rhymes, the stressed part has a different number of syllables (externally - pearls).
AT multi-stressed rhymes the sounds of rhymed words coincide, but the stressed vowels occupy different positions in them (about glasses - butterflies).
- Ioted rhyme is one of the widespread examples of a truncated rhyme; so in it, as the name implies, the sound "y" becomes an additional consonant sound. This type of rhyme is used in this poem by A. S. Pushkin in lines 1 and 3:
Clouds are rushing, clouds are winding;
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy ...
Types of rhyme
ring(girdle or enveloping) rhyme abba,
adjacent(pair) rhyme aabb,
cross rhyme abab and, more rarely, through rhyme aaaa.
Adjacent- rhyming of adjacent verses: the first with the second, the third with the fourth (aabb) (the endings of the verses that rhyme with each other are indicated by the same letters).
This is the most common and obvious rhyming system. This method is subject even to children in kindergarten and has an advantage in the selection of rhymes (an associative pair appears in the mind immediately, it is not clogged with intermediate lines). Such stanzas have greater dynamics, the fastest pace of reading.
Weaved on the lake the scarlet light of dawn,
Capercaillie are crying in the forest with bells.
An oriole is crying somewhere, hiding in a hollow.
Only I don’t cry - my heart is light.
The next way is cross rhyming- also appealed to a large number of the writing public.
Cross - rhyming of the first verse with the third, the second - with the fourth (abab).
Although the scheme of such a rhyme seems to be a little more complicated, it is more flexible in terms of rhythm and allows you to better convey the necessary mood. Yes, and such verses are easier to learn - the first pair of lines, as it were, pulls out of memory the second pair that rhymes with it (while with the previous method everything breaks up into separate couplets).
I love the storm in early May,
When the first spring thunder
As if frolicking and playing,
Rumbles in the blue sky.
The third way - ring(in other sources - belted, embracing) - already has a smaller representation in the total mass of poems.
Ring (belted, embracing) - the first verse - with the fourth, and the second - with the third. (abba)
Such a scheme can be given to beginners a little more difficult (the first line is, as it were, overwritten by the next pair of rhyming lines).
I looked, standing over the Neva,
Like Isaac the giant
In the frosty haze
The golden dome shone.
And finally woven rhyme has many patterns. This is a common name for complex types of rhyming, for example: abvabv, abvvba, etc.
Far from the sun and nature
Far from light and art
Far away from life and love
Your younger years will flash,
Feelings that are alive will die,
Your dreams will shatter.
Inner rhyme- consonance of half-lines:
"Children's shoulders of your trembling,
Children's eyes bewilderment
Meeting moments, goodbye hours,
A long hour, like a century of languor"
The semantic role of rhyme
Along with the rhythmic, rhyme also has a great semantic meaning. The word that is at the end of the line, underlined by the pause that follows it and highlighted with the help of sound repetition, naturally attracts the most attention to itself, occupies the most advantageous place in the line. With inexperienced poets, the desire for rhyme leads to the pursuit of sound repetition and to the detriment of meaning; rhyme, as Byron said, turns into "a mighty steamer that makes poetry swim even against the current of common sense."
The emergence and development of rhyme
The rhymed half-lines, on which the theory sometimes stops, are, in essence, ordinary verses, rhymed according to the scheme and printed in pairs in a line. - The appearance of rhyme in the poetry of European peoples has not been fully elucidated; it was supposed to have passed here from Semitic poetry, where it is very common, through the Spanish Arabs, in the 8th century; but it is hardly possible to insist on this after acquaintance with the Latin poetry of the first centuries before Christ. Already in Ovid, Virgil, Horace there are rhymes that cannot be considered accidental. It is highly probable that rhyme, known to the Roman classics and neglected by them like an unnecessary toy, gained importance among the minor poets of decadence, who paid exclusive attention to the game of formal contrivances. In addition, the displacement of strictly metrical versification by elements of tonic versification required a more distinct distinction between individual verses, which was achieved by rhyme.
In the verses of Christian poets of the IV century. Ambrose of Milan and Prudentius, assonances sometimes turn into full-sounding rhymes. However, rhymes were fully introduced into Latin verses in the 5th century. the poet Sedulius, who was that “deaf child” and “crazy black man” whom Paul Verlaine considered the inventor of rhyme.
The first entirely rhyming work is Commodian's Latin "Instructiones" (270 AD); there is one rhyme throughout the poem. Rhyme varied and changing with each couplet appears in the so-called Leonine hexameter, where the first half-line rhymes with the end; then from 600 we find it in ecclesiastical Latin poetry, where from 800 it becomes obligatory and from where it passes into the secular poetry of the Romanesque, and then the Germanic peoples.
Rhyme is already characteristic of the oldest Welsh texts, but their dating presents significant difficulties. Thus, the surviving copies of the poem "Gododdin" on the basis of paleographic data date back to the 9th century, however, after the works of the classic of Welsh philology Ivor Williams, it is generally accepted to attribute almost all of its text, as well as some works attributed to Taliesin, to the 6th century. In this case, the Welsh rhyme - due to a fixed stress on the last (since the 9th or 11th century - on the penultimate) syllable - is the earliest systematically used rhyme in Europe.
In Irish poetry, rhyme begins to be used systematically in poetic genealogies dated on the basis of linguistic data of the 7th century, which also indicates the "outrunning" of continental trends.
The "Celtic rhyme", characteristic of both Irish and Welsh poetry (in the latter, however, the name odl Wyddeleg, "Irish rhyme" is adopted for it), was very free: all vowels, deaf and voiced consonant variants rhymed among themselves ( k / g, t / d, p / b), smooth and nasal (r / l, m / n), and even consonants, subjected and not subjected to various mutations characteristic of the Celtic languages (b / bh [v] / mb [m], t/th[θ], d/dh[ð], m/mh[v], c[k]/ch[x], etc.). Alliteration was arranged in a similar way.
Rhyme was introduced into German poetry under the influence of Romanesque forms. “Insinuating Italian or French melodies found their way to Germany, and German poets substituted German texts for them, as the minnesingers and poets of the Renaissance did later; with such melodies, songs and dances came rhyme. We first meet it on the upper Rhine, from where it probably originally spread.
The fate of rhyme in French poetry was associated with literary movements that emphasized form. Already Ronsard and Du Bellay, not carried away by the metrical verse unusual for the French language, avoided non-rhyming verses, demanding exact, rich, but by no means refined rhyme, and forbidding them to sacrifice a happy turnover or precision of expression. Malherbe made rhyme even more stringent requirements: he forbade light and banal rhymes - a prohibition that found such brilliant application in the verses of his contemporaries and even more so in the poetry of romanticism. The importance of rhyme in French - syllabic - versification is due to the severity in its application, unknown to other languages: here - despite the complete consonance - it is forbidden to rhyme the plural with the singular, the word ending in a vowel, with the word ending in a consonant (canot and domino, connus and parvenu ) etc.
The very emergence of rhyme in European literature, as one might think, is connected with the sound organization of the verse. Sound repetitions that were initially unorganized, if they coincided with the words most clearly distinguished at the end of the rhythmic unit, sounded most sharp and noticeable; thanks to this, a certain attraction was created for them to the ends of lines or half-verses. This attraction was also intensified due to syntactic parallelism, i.e., the repetition of homogeneous parts of speech with similar endings. At the same time, the transition from oral poetic systems with a musical-rhythmic organization to written verse, weakening the clarity of the rhythmic organization of the verse, caused a search for new rhythm-forming elements, which, in particular, was a rhyme that was essentially unknown to either ancient or folk versification (although sporadically she appeared in them). The complex of these conditions, in each given case, is historically unique, and underlies the appearance of rhyme in the new poetry.
In Russia, rhyme occasionally appeared in epics, as well as in written monuments of the 17th century. as a result of the coincidence (with parallelism of verses) of grammatical endings:
“We offer an end to this scripture.
We do not forget things for ever.
Looking for the real
We will write this long story in this long story" etc.
But basically, rhyme develops in syllabic verse, starting with Simeon of Polotsk (1629-1680) and other poets, in whom it developed under the influence of Western poetry and, above all, Polish poets. This influence itself was based on the process of creating written verse instead of oral, which took place in the 17th century. in Russia and was caused by sharp social and cultural shifts.
Blank verse
White verse is a verse that does not have a rhyme, but, unlike free verse, has a certain size: white iambic, white anapaest, white dolnik. Refers to liroaeropic.
The term white verse passed into Russian poetics from French - vers blanc, which, in turn, was taken from English poetics, where unrhymed verses are called blank verse (blank - to smooth, erase, destroy), i.e. verses with erased, destroyed rhyme . Ancient poets wrote poetry without rhymes.
White verse (more precisely, without rhyme) is most commonly used in Russian folk poetry; the structural role of rhymes here is played by a certain clause. In bookish Russian poetry, blank verse, on the contrary, is less common.
The use of this term is possible only for those national poetry for which both meter and rhyme are characteristic, system-forming features: for example, in relation to ancient Greek poetry, in which something similar to rhyme arose only as an exception, it is not customary to talk about blank verse.
In Russian poetry, white verse enjoyed considerable popularity at certain periods (mainly at the end of the 18th and beginning of the 19th centuries); this is especially true of white iambic, which was widely used in poems and poetic dramas.
The presyllabic and syllabic period of Russian poetry is characterized by the special attention of poets to rhyme. But already V. Trediakovsky, having seen the basis of the verse not in rhyme, but in rhythm, meter, dismissively called rhyme "a child's nozzle." He was the first to write hexameters in blank verse, without rhyme.
Following him, A. Cantemir translated Anacreon's Songs and Letters by Quintus Horace Flaccus in blank verse - a fact of great importance, indicating that the syllabist poets considered the main thing in verse not rhyme, but, as Cantemir wrote, "a kind of dimensional agreement and some pleasant ringing”, i.e. metric rhythm, foot size.
If white verse in hexameter and other ancient meters were accepted in Russian book poetry without dispute, then blank verse in other meters did not immediately take root in the practice of poets.
The most resolute defender of white verse in the early 19th century. was V. Zhukovsky. He was supported by A. Pushkin, A. Koltsov, and partly by M. Lermontov; and further blank verse ceases to be a rare phenomenon in Russian poetry.
For B. s. astrophic or poor strophicity is characteristic, since the strophic variety in foot verse is determined by a diverse system of rhyming. However, the absence of rhyme does not deprive white verse of poetic merit; the main components of verse—rhythm, imagery of language, clause, etc.—are preserved in it. In particular, blank verse remains the most accepted in dramatic works—usually iambic pentameter. Here are some examples:
iambic tetrameter:
Lampada in a Jewish hut
In one corner it burns pale,
An old man in front of the lamp
Reads the bible. gray-haired
Hair falling on the book...
(A. Pushkin)
iambic pentameter:
Everyone says: there is no truth on earth.
But there is no higher truth. For me
So it is clear, like a simple gamma.
I was born with a love for art...
(A. Pushkin)
Four foot trochee:
It is difficult for the bird-catcher:
Learn bird habits
Remember flight time
Whistle with different whistles.
(E. Bagritsky)
In the 20th century, the use of blank verse in Russian poetry is declining, and its appearance usually indicates a deliberate stylization.
Monosyllabic rhymes (or masculine) rhymes from words in which the stressed syllable is the last.Two-syllable rhymes (or feminine) rhymes from words with stress on the second syllable from the end.
Three-syllable rhymes (or dactyllic) - rhymes from words with stress on the third syllable from the end.
Four-syllable rhymes (or hyperdactylic) - rhymes from words with stress on the fourth syllable from the end.
Five-syllable rhymes (or hyperdactylic) - rhymes from words with stress on the fifth syllable from the end.
Six-syllable rhymes (or superhyperdactylic) - rhymes from words with an accent on the sixth syllable from the end.
Seven-syllable rhymes (or superhyperdactylic) - rhymes from words with an accent on the seventh syllable from the end.
Eight-syllable rhymes (or superhyperdactylic) - consisting of words with an accent on the eighth syllable from the end.
Nine-syllable rhymes (or superhyperdactylic) - consisting of words with an accent on the ninth syllable from the end.
Other types of rhymes:
Vowel rhymes are monosyllabic (masculine) rhymes with the stress on the last sound, where the last stressed vowel is preceded by a vowel sound, the sound "y" or a soft sign.Consonant rhymes - a kind of final rhymes, consisting of words with an accent on the last sound. In consonant rhymes, the last stressed vowel is preceded only by a consonant sound, which is the main one and carries the main load in the rhyme.
Women's rhymes - rhymes from words with stress on the second syllable from the end. Same as two-syllable rhymes.
Ring rhymes - rhyming according to the ABBA principle. The same as encircling rhymes.
Belted, Belted, Covering rhymes - rhyming according to the ABBA principle. Same as ring rhymes.
Closed rhymes are rhymes that end in a consonant.
Open rhymes - rhymes from words ending in vowels.
Male rhymes - rhymes from words in which the stressed syllable is the last. The same as Monosyllabic rhymes.
Cross rhymes - ABAB rhyming.
Mixed rhymes - a kind of rhyme according to the relative position in the verses.
It is formed with a mixed method of rhyming in complex stanzas.
Compound rhymes - rhymes involving conjunctions, particles, pronouns and service parts of speech:
ka, well, whether, le, then, I, you, he, after all, only, really, you, we, them, etc. Compound rhymes can be both exact and approximate.
Butt rhymes - a kind of rhyme according to the position in the verse; the end of one verse rhymed with the beginning of the next.
Superhyperdactylic rhymes - the second name for all six-, seven-, eight- and nine-syllable rhymes; rhymes from words with an accent on the sixth, seventh, eighth or ninth syllable from the end. Unlike hyperdactylic ones, they are not used in versification.
Tautological rhymes are epiphora; the word rhymes with itself.
Hard-soft rhymes are rhymes in which a soft consonant is opposed to a hard one.
Exact rhymes - the general name of rhymes with full correspondence of post-stress endings in words. Unlike graphic rhymes, both graphic and sound similarities are implied.
Triple rhymes - rhymes from three consonant words in complex stanzas.
Truncated rhymes are basic equally complex rhymes in which the passive word ends in a consonant (or two), and the active word ends in a vowel.
Settled rhymes are often used bundles of words that are not quite similar in sound.
Single rhymes - a kind of rhyme according to the relative position in the verse. It is formed with an idle rhyming method, in which some verses (most often the first and third in a quatrain. The rhyming scheme is ABCB) do not rhyme. Thus, the conditional concept of "idle rhyme" should be understood as its partial absence within the stanza.
Quarter rhymes - rhymes of four consonant words in a stanza.
