The ends of verses (or half-verses, the so-called internal rhyme), marking their boundaries and linking them together. Rhymes are distinguished: by volume - 1-complex, 2-complex, etc.; at the place of stress (on the 1st, 2nd, 3rd, 4th, ... syllable from the end) - male, female, dactylic, hyperdactylic; according to the accuracy of consonance - exact ("white - bold"), approximate ("white - bold"), inaccurate ("I - me", "flame - memory", "unknown - next"). By the coincidence of pre-shock sounds, rich rhymes stand out; according to lexical and grammatical features - homogeneous (for example, verbal) and heterogeneous, homonymous, tautological, compound, etc .; according to the relative position of rhyming lines - adjacent (aabb; identical letters conditionally designate rhyming verse lines), cross (abab), inclusive (abba), mixed (for example, ternary, aabccb), double, triple, etc.

Modern Encyclopedia. 2000 .

Synonyms:

See what "RIHMA" is in other dictionaries:

Rhymer, ah, oh... Russian word stress

Sound repetition at the end of a rhythmic unit: “My uncle used the most honest rules, When he couldn’t play hard, He made him respect himself And it’s better to invent | could not" (Pushkin). The highlighted syllables at the ends of the lines are interconnected by sound repetitions, ... ... Literary Encyclopedia

- (Greek rhythmos). Consonance of words with which poems end; monotonous end of the verse. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. Rhyme in Greek. rhythmos. Consonant ending of verses. Explanation of 25000… … Dictionary of foreign words of the Russian language

Rhyme, rhymes, female (Greek rhythmos) (lit.). In versification, the consonance of the ends of poetic lines. Masculine rhyme (with emphasis on the last syllable), feminine rhyme (on the penultimate syllable), dactylic rhyme (on the third from the end). Rich, poor rhyme. ... ... Explanatory Dictionary of Ushakov

Rhyme- RHYTHM "marks a certain place (mostly the end) in the metric and euphonic scales with a similar sound of words." (Valery Bryusov, “On Rhyme”, “Print and Revolution”, Book I, 1924) From here, rhyme should first of all be approached with ... ... Dictionary of literary terms

- (debatable origin: from Greek ruJmoV or Old German rim, number) consonance at the end of two or more verses. While in alliteration the main role belongs to consonants, and in assonance to vowels, the fullness of consonance. in R. requires identity ... Encyclopedia of Brockhaus and Efron

- (from the Greek. rhythmos folding proportionality), the consonance of the ends of verses (or half-verses, the so-called internal rhyme), marking their boundaries and linking them together. Developed from the natural consonances of syntactic parallelism; in European ... ... Big Encyclopedic Dictionary

Female, Greek monotony of final syllables, in verse, red warehouse. The Hellenes had no rhyme, but only rhythm, meter and stress, singing long and short syllables. But now, the frosts are already cracking .... the reader is already waiting for the rhyme: roses, here, take it! Pushkin ... Dahl's Explanatory Dictionary

Epiphora, assonance, consonance, consonance Dictionary of Russian synonyms. rhyme n., number of synonyms: 6 assonance (2) vi ... Synonym dictionary

Rhyme- (from the Greek rhythmos consistency, proportion), the consonance of the ends of verses (or half-verses, the so-called internal rhyme), marking their boundaries and linking them together. Rhymes are distinguished: by volume 1 complex, 2 complex, etc.; local… … Illustrated Encyclopedic Dictionary

Books

• Rhyme and Life, Henri the Swindler. Henri Meschonnic (1932-2009) - French linguist, author of a unique theory of rhythm, poet (winner of the Max-Jacob Prize and the Mallarme Prize), Bible translator, honorary professor ...

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 rhyming

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 times
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.

Rhyme and its varieties

Rhyme is the repetition of more or less similar combinations of sounds that connect the endings of two or more lines or symmetrically arranged parts of poetic lines. In classical Russian versification, the main feature of rhyme is the coincidence of stressed vowels. The rhyme marks the end of the verse (clause) with a sound repetition, emphasizing the pause between the lines, and thus the rhythm of the verse.

Depending on the location of stresses in rhyming words, rhyme can be: masculine, feminine, dactylic, hyperdactylic, exact and inexact.

Masculine rhyme

Masculine - 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.

Feminine rhyme

Feminine - 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 rhyme

Dactylic - with an accent 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,

weeping more and more bitterly and more and more inconsolably.

Hyperdactylic rhyme

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. The fourth syllable from the end of the verse is no joke! Well, an example of such a rhyme sounds like this:

Goblin scratches his beard,

The stick is hewn gloomily.

Depending on the coincidence of sounds, rhymes are distinguished exact and inexact.

Rhyme is exact and inexact

Rhyme - the repetition of more or less similar combinations of sounds at the endings of poetic lines or symmetrically located parts of poetic lines; in Russian classical versification, the main feature of rhyme is the coincidence of stressed vowels.

(O.S. Akhmanova, Dictionary of Linguistic Terms, 1969)

Why was Dunno wrong when he said that "a stick is a herring" is also a rhyme? Because he did not know that in fact it is not sounds that rhyme, but phonemes (sound is a particular realization of a phoneme) (R. Jacobson), which have a number of distinctive features. And the coincidence of some of these features is enough to make rhyming sound possible. The fewer coinciding features of the phoneme, the more distant, the "worse" the consonance.

Consonant phonemes are distinguished:

1) at the place of education

2) according to the method of education

4) by hardness and softness

5) by deafness and sonority

These signs are obviously unequal. So, the phoneme P coincides with the phoneme B in all respects, except for deafness-voicedness (P - deaf, B - voiced). Such a difference creates an "almost" exact rhyme: okoPs are individuals. Phonemes P and T differ in the place of formation (labial and anterior lingual). OkoPe - osoTe - is also perceived as a rhyming sound, although more distant.

The first three features create more significant phoneme differences than the last two. It is possible to designate the difference of phonemes according to the first three features as two conventional units (c.u.); on the last two - as one. Phonemes that differ by 1-2 c.u. are consonant. Differences of 3 or more units do not hold consonance to our ears. For example: P and G differ by three c.u. (place of formation - by 2, deafness-voicedness - by 1). And trenches - legs can hardly be considered a rhyme in our time. Even less - trenches - roses, where P and Z differ by 4 c.u. (place of education, method of education).

So, we note the rows of consonant consonants. These are, first of all, pairs of hard and soft: T - T", K - K", C - C ", etc., but such substitutions are rarely resorted to, so out of three pairs of rhymes "otkoS" e - poCy ", "slopes - dews" and "slopes - roses" are more preferable the second and third options.

Replacing the deaf-voiced is perhaps the most common: P-B, T-D, K-G, S-Z, W-F, F-V (God - deep, bends - limes, dragonflies - braids, people - plaque ).

The stop (method of formation) P-T-K (deaf) and B-D-G (voiced) respond well to each other. The corresponding two rows of fricatives are Ф-С-Ш-Х (voiceless) and В-З-Ж (voiced). X has no voiced counterpart, but goes well and often with K. B-V and B-M are equivalent. Very productive M-N-L-R in various combinations. Soft variants of the latter are often combined with J and B (Russians [Russians] - blue - strength - beautiful).

So, completing our conversation about exact and inexact rhyme, we repeat that exact rhyme is when the vowels and consonants included in the consonant endings of the verses basically coincide. The accuracy of the rhyme also increases from the consonance of consonants immediately preceding the last stressed vowels in rhyming verses. Inaccurate rhyme is based on the consonance of one, less often two sounds.

Rhyming systems

Previously, in the school literature course, they necessarily studied the basic methods of rhyming in order to give knowledge about the diversity of the position in the stanza of rhyming pairs (or more) of words, which should be of help to anyone who writes poetry at least once in his life. But everything is forgotten, and the bulk of the authors are somehow in no hurry to diversify their stanzas.

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 method - 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 method - 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, the 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.

In conclusion, it is useful to note that it is not always necessary to adhere so rigidly, strictly and dogmatically to certain canonical forms and patterns, because, as in any kind of art, in poetry there is always a place for the original. But, nevertheless, before rushing into the unrestrained inventing of something new and not entirely known, it always does not hurt to make sure that you are still familiar with the basic canons.

stanzas

Stropha - from the Greek. strophe - turnover, whirling. Such a complex rhythmic unit of poetic works as a stanza is based on the order of arrangement of rhymes in verse.

A stanza is a group of verses with a specific arrangement of rhymes, usually repeated in other equal groups. In most cases, a stanza is a complete syntactic whole.

The most common types of stanzas in classical poetry of the past were: quatrains, octaves, terts. The smallest of the stanzas is a couplet.

There are also stanzas:

Onegin

ballad

odic

limericks

quatrains

The quatrain (quatrain) is the most common type of stanza, familiar to everyone from early childhood. Popular because of the abundance of rhyming systems.

Octaves

An octave is an eight-line stanza in which the first verse rhymes with the third and fifth, the second verse with the fourth and sixth, and the seventh verse with the eighth.

Octave pattern: abababww

At six years old he was a very cute child

And even, childishly, he was naughty;

At twelve he looked despondent

And although he was good, he was somehow frail.

Inessa said proudly

That the method in it changed nature:

The young philosopher, despite the years,

He was quiet and modest, as if by nature.

I confess to you, hitherto I am inclined

Do not trust Inessa's theories.

We were friends with her husband;

I know very complex excesses

Gives birth to an unsuccessful family,

When the father is the character of a rake,

And mother is a hypocrite. Not without reason

A son turns into a father with inclinations!

Tercynes

Tertsy (tertsy) - three-line stanzas with a very original way of rhyming. In them, the first verse of the first stanza rhymes with the third, the second verse of the first stanza - with the first and third of the second stanza, the second verse of the second stanza - with the first and third of the third stanza, etc. The tercina ended with an additional verse that rhymed with the second verse of the last three-line.

Tercea scheme:

Black magician

When the darkness surrounds

You are like a slave to destiny

Draw an even circle with blood

Cast aside your miserable doubts.

You will enter it, forgetting about fear.

You will be caught by the darkness currents.

Throw away the body - mortal dust.

You are with those who stepped into the darkness!

The lights in his eyes went out.

Where is your spirit, if not in hell?

(Ganger Scowger Alkariot)

Onegin stanza

The Onegin stanza is a fourteen-line stanza created by A.S. Pushkin in the lyric-epic poem "Eugene Onegin".

This stanza consists of three quatrains and a final couplet. In the first quatrain there is a cross rhyme (abab), in the second - adjacent (aabb), in the third - ring (abba), the last two verses rhyme with each other. The whole novel is written with such stanzas (with the exception of the letters of Tatyana and Onegin).

The theater is already full; lodges shine;

Parterre and chairs - everything is in full swing;

In heaven they splash impatiently,

And, having risen, the curtain rustles.

Brilliant, half-air,

obedient to the magic bow,

Surrounded by a crowd of nymphs

Worth Istomin; she is,

One foot touching the floor

Another slowly circles

And suddenly a jump, and suddenly it flies,

It flies like fluff from the mouth of Eol;

Now the camp will soviet, then it will develop

And he beats his leg with a quick leg.

Ballad stanza

Ballad stanza - a stanza in which even and odd verses consist of a different number of feet. Used in ballads.

The most common are stanzas of four even anapestic feet, and three odd ones.

The Queen of Britain is gravely ill

Her days and nights are numbered.

And she asks to call the confessors

From my native, French country.

But while you bring priests from Paris,

The queen will end...

And the king sends twelve nobles

Call the Lord Marshal to the palace.

odic stanza

Odic stanza - a stanza of ten verses rhyming according to the ababvvgdg scheme, used in the genre of a solemn ode.

Oh you who are waiting

Fatherland from its bowels

And wants to see them

Which calls from foreign countries,

Oh, your days are blessed!

Be emboldened now

Show with your care

What can own Platos

And quick-witted Newtons

Russian land to give birth.

Sonnets

The sonnet is Italian and English.

The Italian sonnet is a fourteen-line poem divided into two quatrains and two final three-line verses. In quatrains, either cross or ring rhyme is used, and it is the same for both quatrains. The order of alternation of rhymes in three lines is different.

The rhyming scheme in Italian sonnets might be, for example:

gbg or abba

The example uses the third scheme - try to define it yourself:

Poet! do not value the love of the people,

Enthusiastic praise will pass a moment's noise;

Hear the judgment of a fool and the laughter of the cold crowd,

But you remain firm, calm and gloomy.

You are the king: live alone. By the road of the free

Go where your free mind takes you,

Improving the fruits of your favorite thoughts,

Not demanding rewards for a noble feat.

They are in you. You are your own highest court;

You know how to appreciate your work more strictly.

Are you satisfied with it, demanding artist?

Satisfied? So let the crowd scold him

And spits on the altar, where your fire burns,

And in childish playfulness your tripod shakes.

English sonnet - fourteen lines divided into three quatrains and one couplet.

My mistress" eyes are nothing like the sun;

Coral is far more red than her lips" red,

If snow be white, why then her breasts are dun;

If hairs be wires, black wires grow on her head.

I have seen roses damask "d red and white

But no such roses see I in her cheeks;

And in some perfumes is there more delight

Than in that from my mistress reeks.

I love to hear her speak, yet well I know,

That music has a far more pleasing sound;

I grant I never saw a goddess go;

My mistress, when she walks; threads on the ground.

And yet, by heaven, I think my love as rare

As any she belied with false compare.

Limericks

Limeriki (limriks) are five-line verses written in anapaest. The rhyming scheme is aabba, the first and last rhymes are usually repeated. The third and fourth rows consist of fewer stops.

Limericks became widely known thanks to Edward Lear (1812-1888), who published several books of nonsense poetry. Puns and neologisms were widely used in the poems.

The example contains limericks translated by M. Freidkin.

The naughty granddaughter from Jena

Grandma was going to burn like a log.

But she remarked subtly:

"Why don't you burn the kitten?"

The impossible granddaughter from Jena.

To a daring flutist from the Congo

Once an anaconda crawled into the boot.

But so disgusting

He played that back

An hour later, the anaconda crawled away.

Warm-blooded old man from under Kobo

Extremely suffering from chills

And down the drain

And a fur coat

He wore it to save himself from the chills.

Varieties of poems

Acrostic

Behind the term acrostic lies a rather rare, but very interesting and beloved type of poem by many. The first letters of all lines in it form some kind of word or phrase, thus allowing you to encrypt the message or give a new meaning. Writing such poems requires a fair amount of skill and not everyone succeeds. It is somewhat reminiscent of burime and can be used as an excellent game or poetic practice.

Azure Day

Gone, gone.

Night Shadow

Oh! Hid us.

Two more varieties of such poetic creativity should be separately specified: these are mesostych (the word is formed by letters in the middle of each line) and telestic (where final letters are used).

As an example of one of the varieties of acrostic - the so-called alphabetic acrostic - where the first letters of the lines make up the entire alphabet (without d, b, b, s), and a telestic, we will cite two works by one of our authors.

Completely deserted area

Nameless dark rocks...

The neighborhood is covered with eternal shadow,

Where the moss-covered passes

Yes, the valleys have breath,

Its sound is slightly in the air...

Life is empty suffering without death,

Behind suffering - immortality beckons ...

And not a line, not a word is heard,

The beauty of emptiness lures

Only attract - discard, and again

He quietly calls me to him.

But in the desert I feel movement

Lonely but difficult

Silent whirling through the valley,

The joy of growing something else.

The sun shines especially brightly

So solemn, so inspiring...

Violet grows near the mountain -

Purple queen.

Cold or warm - no difference,

Color is not important, the joy of growth is more important,

What happens in millions of forms...

It is very difficult to take a step forward:

An invisible shield is like a stone in a fence.

Oh, maybe all this is in vain?

A brisk wind stroked the violet -

I saw her so beautiful...

(Clear Dawn)

Oh people! This is not trifling at all:

Slow, even majestic,

Ships paper caravan

Carries, though not water in it, but poison,

Natural laws correct everything,

Ordinary smelly ditch

(Clear Dawn)

free verse

How to answer the question: how does poetic speech differ from prose speech? Most sources agree that poetic speech is dimensional speech, which has a special rhythmic organization that makes it possible to distinguish it from any other. As you can see, nothing is said here about rhyme as an obligatory element. That is why we find many examples of verses that do not seem to fully comply with the systems and rules that are discussed in this guide. These are the ones that will be discussed in the next sections.

For all its flexibility, poetic meters cannot always satisfy the author who is trying to convey some specific features of simple colloquial speech - he is constrained by the need to alternate stressed and unstressed syllables, to withstand the number of stops. But probably, it was necessary to say "fettered", because there is such a thing as free verse. A feature of such a verse is that stanzas, as such, may be absent, all lines consist of an arbitrary number of feet. Consider an example:

Let me... you see... first

flowery meadow; and i was looking for

Some, I do not remember in reality

In this example, the first two lines are four-, the third is one-foot, and the last has five feet. It was this structure that helped the author to express: 1, 2 - reflection, 3 - recollection, 4 - explanation. And this is all in four lines and, mind you, in rhyme. Rhyme, by the way, is obligatory in free verse (to know, he is not so free). And in perception, such a verse can often win, if compared with the usual one. Another example is Boris Zakhoder, an excerpt from "The Song of Toys" ("Funny Pictures", N5 1986):

Children love toys.

That's what everyone says!

But what about toys?

Don't like guys?

They love it very much!

Souls in them do not tea!

What NOT EVERYONE notices! ..

Also very often free verse is found in fables ("God somehow sent a piece of cheese to a crow, etc.")

mixed verse

Free verse has one special variety - mixed verse, which differs in that it alternates lines of various sizes:

For a long time in love there is little consolation:

Sighs without recall, tears without joy;

What was sweet became bitter

Roses fell, dreams dissipated ...

In this example, iambic four-foot lines alternate with four-foot amphibrachic stops. But since one size is two-syllable, and the second is three-syllable, the total number of feet varies.

Vers libre

When free verse was no longer enough for the master to fully express himself in the word, it turned out that there are still unused degrees of freedom - after all, you can completely break with all the rules of traditional systems of versification. And the verse broke free. He rejected the size, ordered pauses, rhyme, refused to divide into stanzas - he became truly free (French vers libre) - vers libre. In such a verse, the rhythm (which is created by the repetition of some homogeneous elements) is sometimes very difficult to catch. And how could it be otherwise, if the only rhythm-forming element in it is the division of speech into verses and the interline pauses separating them. That is, it is based on a homogeneous syntactic organization with which each of the poetic lines-phrases of free verse is pronounced. Only this repetitive intonation determines the peculiar rhythm of the poem. As an example, Russian translations of modern Anglo-American (and other foreign) authors can be cited.

I dreamed of a city that cannot be overcome, at least

all the countries of the universe attacked him,

It seemed to me that this was the city of Friends, such as never before

did not happen.

And above all in this city, strong love was valued,

And every hour it affected every action of the inhabitants

this city.

In their every word and look.

(Walt Whitman, translated by K. Chukovsky)

In foreign poetry, in general, there are somewhat different criteria for approaching the creation of a work, which may depend on each specific language (if this does not apply to solid forms: sonnets, etc.), because any language has a unique intonation structure, the repetition of which in another will not be successful . By the way, in English literature there can be an ancient kind of poems, quite exotic for us, although somewhat similar to vers libre (which gave it a second life). The rhythm-forming element in it is the threefold repetition in each line of one consonant sound, and if the first line was: sound-median caesura-sound-sound, then it will be so in each subsequent one, without permutations (although the sounds may be different). Such a verse was written in the ancient Irish epic "Beowulf" and a number of written monuments.

Blank verse

Another variety of verse that departed (albeit to a lesser extent) from the canons of versification was blank verse. It is more pleasant to the ear than vers libre, because the mere trifle - rhyme - is discarded in it. The metrical organization has remained unchanged - when reading one-dimensional verses with and without rhyme, there is no discomfort from the transition. Many legends and author's stylizations for them are written in blank verse. For illustration, a short excerpt from the fairy tale of Gennady Apanovich is given:

It's a red morning

Somewhere in the middle of March

And along the path in the middle of the forest

The good fellow is coming.

He traveled to distant lands

Seen a lot of divas

And now he's rushing home

Ten whole years later.

The nightingale brings out a song,

The cuckoo keeps count of the years,

Well, thoughts are all Yerema

They fly to their native upper room ...

Poems in prose

In the end, let's consider an intermediate art form between free verse and prose - poetry in prose. This work is poetic in content and prosaic in form (at the beginning of the 20th century it was unambiguously attributed to poetry). As a rule, prose poetry has a meter. Now such verses are somewhat forgotten, but even M.Yu. Lermontov wrote:

"Blue mountains of the Caucasus, I greet you! You cherished my childhood; you carried me on your wild ridges, dressed me with clouds, you taught me to the sky, and since then I have been dreaming of you and of the sky. The thrones of nature, from which both smoke clouds fly away, who once only prayed to the creator on your peaks, he despises life, although at that moment he was proud of it! .. "

Requirements for the writer's style

This section is constructed on the basis of quotations and excerpts from the book: A Study Course on the Theory of Literature for Secondary Educational Institutions, comp. N. Livanov: ed. eighth, St. Petersburg, 1910

Our readers will be able to determine for themselves how far views and views on the elements of belles-lettres have stepped in the past 90 years.

The style of each writer, regardless of the form of speech (prose or poetic) and the talent of the writer, should be different:

1) correctness; 2) clarity; 3) accuracy; and 4) purity.

Correctness of speech

Correct is called speech, consistent with the laws of the native language and the rules of grammar. Frequent violation of the rules of grammar in speech is called illiteracy. Syntactic errors (in a combination of words) in the style adopted the name of solecisms. Solecisms are allowed mainly due to ignorance of the laws of the native language. Quite often, for example, errors are made against the rules for reducing subordinate clauses (for example: when I entered the room, I wanted to sit down).

Even though I'm not a prophet

But seeing a moth that it curls around a candle,

I almost always succeed in prophecy,

That the wings will burn my moth.

Often, solecisms creep into speech when translating from foreign languages. In these cases, special names are assigned to solecisms, depending on the language from which the turn is taken: gallicism - the turn of the French language (make your fortune); Germanism - German (it looks good); Latinism - Latin (state, glorified by great historians), etc.

Note. Solecism is a random name: the Greeks who lived in the city of Salt, an Athenian colony, due to constant communication with the natives, used turns of different languages.

Clarity of speech

Clear speech is a speech that the reader easily understands, and which does not arouse any perplexity in him. To clearly express thoughts, you need to have a completely clear idea of ​​​​the subject. In particular, the use of so-called ambiguous expressions harms the clarity of speech. The ambiguity of expressions can depend on:

a) from the same endings of the subject and direct object. For example: the cargo sank the ship (how to understand: the cargo sank the ship, or the ship sank the cargo for other reasons? Or: the mother loves her daughter. Who loves whom?)

b) The ambiguity of the expression may be due to the omission of the punctuation mark: "it was bequeathed to one heir to put a statue of a golden lance holding." Without a comma, the expression is ambiguous; by placing a sign before the word golden or pike - the meaning of the expression is determined.

c) The ambiguity of the expression is easily communicated by the use of homonyms, i.e. words denoting several completely different concepts. For example: "to heat" means both to heat and heat the stove in water; conduct - show the way and deceive. There are many such words in the language (scythe, nose, key, pen and friend). The expressions, taken separately: he deftly tricked me, ordered to sink the ship, are ambiguous and unclear.

d) The ambiguity of speech often depends on the incorrect arrangement of words in sentences. For example:

And he bequeathed, dying,

To move south

His longing bones

And the death of this alien land

Restless guests.

They fed him the meat of their dogs (whether they fed him the meat of dogs, or the dogs fed him meat). The position of the leader of the army, who has lost his vigor, is difficult (who lost his vigor: the leader or the army?).

e) Finally, the expression of thoughts for long periods with many subordinate explanatory sentences harms clarity.

Synonyms

Synonyms. There are many words in the language that express similar, but not the same concepts. Such words are called synonymous. There are many synonymous words in the language. For example: old and dilapidated, joy and delight, fear and horror, path and road, look and see, and so on. and so on. To avoid inaccuracy when using synonymous words, it is necessary to think about the meaning of each word.

Rhyme it the consonance of the ends of verses or half-verses, marking their boundaries and linking them together. Developed from the natural consonances of syntactic parallelism; in European literature, it originated not in poetry, but in ancient oratorical prose (homeoteleuton, "likeness of endings", see Figures).

An example of a rich rhyme in rhetorical prose:

2nd century AD (description of the theater at Apuleius, Florida,
“Here, it is not the multi-patterned floor, not the multi-stage platform, not the multi-column stage that is worthy of a look; not a roof elevation, not a speckled ceiling, not a row of seats; not like on some days here the mime plays the fool, the comedian chats, the tragedian howls, the tightrope runner runs up and runs away ”(Compare“ weaving words ”in Russian prose of the style of Epiphanius the Wise).

Such rhymed prose was cultivated during the early Middle Ages, and by the 10th century the fashion for it became almost dominant for some time and penetrated medieval "rhythmic" (i.e. syllabic and syllabic-tonic) and "metrical" (i.e. written according to ancient samples) prose. Here the rhyme connected mainly the ends of the half-verses and was called "Leonin" (the origin of the name is unknown; an example from Marbod of Rennes, translated by F. Petrovsky):

Spring softens my temper:
she is nice and wonderful to me.
Not letting your mind
plunge into dark thoughts.
I follow nature
and I'm glad to go to her bright ...

In this evolutionary development, the early long anthem of Augustine against the Donatists, in which all lines uniformly end in e, remains a mystery, the influence of Semitic (Syrian, Arabic) rhymes on it, and even more so Celtic (Irish) verse, is very doubtful.

From medieval Latin poetry, rhyme passes into medieval Greek(late Greek novels), into Germanic languages ​​(displacing from them the more ancient alliterative verse) and Slavic (where the spoken verse of the lower folklore genres was usually rhymed, and the recitative and song of the higher genres was not rhymed). Gradually, Latin poetry returns to ancient non-rhyming patterns, while the new-language medieval European poetry remains entirely rhymed; unrhymed white verse has been included in it as an exception (imitation of antiquity) since the 16th century, more broadly - in the era of romanticism, and becomes widespread only in free verse in the 20th century.

The unit of rhyming consonance in syllabic versification is the syllable(1-complex rhymes: existing - living - doing - serpent ...; 2-complex: existing - giving - doing - knowing ...; for Simeon Polotsky "to you - in heaven" or "to someone else" were correct 2-complex rhymes, although they confuse the current versifiers with their diversity of impact). The unit of consonance in syllabic-tonic versification is a group of syllables united by stress (like a foot), according to the position of stress, male rhymes are distinguished here (stress on the first syllable from the end, “fiery-fatal”), female (stress on the second syllable from the end, “ fiery-fatal"), dactylic (stress on the third syllable from the end, "fiery-breathing"), hyperdactylic (emphasis on the fourth and further syllables distant from the end, "fiery-breathing"). The unit of rhyming consonance in purely tonic versification should be the whole (“fiery - from it - magnesium - with anger”, the classification of such consonances has not yet been worked out). Under the influence of tradition and under the influence of a foreign language, mixed cases are often encountered: for example, modern Russian tonic verse traditionally avoids multi-stressed rhymes. (A. Mariengof's experiments with multi-stressed rhymes were not continued in the 20th century).

The accuracy of the consonance required for a rhyme is determined by a historically changing convention ( in syllabic rhyme, at first 1 complex rhymes were considered sufficient, then 2-complex rhymes became necessary). The setting “Rhyme is not for the eye, but for the ear” dominates, however, in some cases it is violated (usually words that formed consonances in the past, like the English “love - move”, Russian “her - family”) continue to be considered rhymes. Russian rhyme in the 18th century required the identity of all sounds and, if possible, all letters (exact rhyme; however, “to be - beat”, “genus - beats” were also considered exact rhymes); but even at the end of the 18th century, iotated rhyme was allowed (“strength-dear”; the rhyme “with an internal iot”, such as “I - me” is close to it); from the 1830s-50s - approximate rhyme, with mismatched stressed vowels ("many - to God"); in the 20th century - the rhyme is inaccurate, with a mismatch of consonants. Among the latter, truncated (“flame - memory”, “shoulder - about what”), substituted (“wind - evening”) and unequal (“unknown-trace”); sometimes they also distinguish permutable ("branch - someone") rhyme. In some poetic cultures, conventions of this kind are canonized (in Irish poetry, all stops or all sonorous sounds were considered to rhyme with each other). In the limit, inaccurate rhyme is reduced either to assonance (only the stressed vowel remains identical, “hand - mosquito” - Old French and Old Spanish poetry was built on such assonances), or to dissonance (consonants remain identical, the stressed vowel changes, “stan - groan” - such dissonances are common in modern Anglo-American poetry).

By the presence of pre-impact reference sounds stand out rhymes rich("fence - grapes"): they are valued in the French tradition and considered comic in the English and German traditions; in Russian poetry, they were valued by Sumarokov and his school, went out of use by the beginning of the 19th century and became fashionable again at the beginning of the 20th century (“left rhymes”), as if compensating for the loosening of the accuracy of post-impact consonance. If, in the order of verse focus, a string of reference sounds is extended to the beginning of the line, then this technique is called pantorhyme (“all-rhyme”). According to lexical and grammatical features, homogeneous rhymes are distinguished (a verb with a verb, an adjective with an adjective, etc., considered “light”) and heterogeneous, homonymous (“Defender of liberty and rights In this case, not at all right”), tautological (“Flower”, 1821, E.A. Baratynsky - usually with the expectation of revealing subtle semantic differences between repetitions of the same word), compound (“where you are virgins”).

By position in the line rhyme in European poetry canonized at the end of the verse; if the end of a verse rhymes with the end of a half-line, such a rhyme is called internal. Theoretically, initial rhymes are possible (“Like a dolphin of tropical seas, I know the Silence of the depths, but I love ...” - V.Ya. Bryusov), middle rhymes and various interweaving of internal rhymes, but they take time for the reader to create an unusual rhyming expectation . If this is not created, the consonances will be felt not as rhyme, but as a disordered phonetic ornament of the verse.

According to the position of the rhyme chains in the stanza, rhymes are distinguished adjacent (aabb), cross (abab), encompassing (abba), mixed (including ternary, aabccb), double, triple; repeating, this arrangement of rhymes serves as the most important element of stanza - both closed (in the examples given) and chain. In verse, rhyme performs a threefold function.:

1. Verse-forming - as a means of separating and grouping verses (underlining the verse section, correlation of rhyming lines);
2. Phonic - as a reference position for the sound writing of a whole verse ("sprayed rhyme": "what am I, better or something ... out of my skin, out of the galleries" by V. Mayakovsky) - or, conversely, in poems saturated with alliterations, where they have the tendency to concentrate at the beginning of the line, and the end of the line to provide rhymes (Bryusov);
3. Semantic - as a means of creating a "rhymic expectation" of the appearance of certain words, with subsequent confirmation or violation of this expectation ("The reader is already waiting for rhymes: roses ..." - hence the importance of the appropriate use of banal rhymes, such as "joy - youth - sweetness" etc., and original, exotic). In all these functions, rhyme is subordinated to the general stylistic whole of the verse and, depending on its correspondence to this whole, is felt as "good" or "bad."

The word rhyme comes from Greek rhythmos, which in translation means - smoothness, proportionality.

Many people write poetry and still cannot explain what rhyme is. Its presence does not always decorate the work, for example, because of its primitiveness. Sometimes this concept is confused with the definition of “consonance”, which includes, for example, the combinations “you - me”. So, rhyme is a sonorous combination of similar parts of a word, which are arranged symmetrically in the lines of a poem. In classical versification, its main feature is the coincidence of stressed vowels. It highlights the end of the lines of the work with a sound repetition, emphasizes the interline pause, thereby setting the rhythm of the poetic form. Therefore, the most important unit of rhythm is the line, which is drawn up in the correct typographic way. Sometimes it can be very difficult to come up with a rhyme, because, if chosen incorrectly, it takes the author in a completely different direction from the intended meaning of the work.

Types and forms of rhymes

It is possible to understand what rhyme is by determining the location of stresses in words and taking into account the type of this form. It comes in several variants:

• masculine (in this case, the stress always falls on the last syllable in the line);
• feminine (here the stress falls on the penultimate syllable);
• dactylic (stress falls on the third syllable from the end, according to the scheme "stressed - unstressed - unstressed");
• exact / inexact (exact - coincidence of vowels and consonants, inaccurate - coincidence in one or two sounds).

In addition to these types, the following forms are distinguished, which reveal what rhyme is. First, square rhymes - they are the simplest options. The main load in this case falls on one ending, for example: "we are in the forest - there is a demon." Secondly, verbs are also a fairly simple form, but it sounds much better than the previous one, for example: “buy - plant”. Thirdly, consonances are a set of words that set a certain rhythm; the main load in them is best done on stressed vowels. Fourth, splitting - in this case, the word is divided into several syllables and a pair with similar syllables is selected, for example: "one hundred fields - from poplars." Fifth, three-dimensional rhyme - it is considered the height of skill, and almost every word in the poem rhymes. Having studied the main types of rhyme, you can begin to write a poetic form. To do this, you need to understand some rules.

Rhyming Rules

1. The easiest way to rhyme is verb forms. However, this method is more suitable for beginners; among professional poets, it is considered banal and rather rude.

2. To create a beautiful shape, it is best to select the exact shape. Do not take the first word that comes to mind. First, you should write out all the rhyme options found, and then choose the most suitable one from them. There is no need to be afraid to pronounce the words aloud, since in live speech it is easier to identify the shortcomings of rhyming.

3. It is worth using inaccurate forms only if the meaning of the text allows it. This makes the verse more charismatic and takes away the smoothness and melodiousness from it.

4. Do not abuse banal rhymes, which have long turned into clichés, because the uniqueness and originality of the work is lost. An example of such cliches can be “roses - frosts”, “love - carrots”, etc. At the same time, it is worth remembering that the rhyme should be selected in the theme of the work and correspond to its general mood.

5. In the event that you cannot find a rhyme, you can use the rhyming dictionary, which can be found on the Internet.

Thus, in order for the poem to turn out to be correctly rhymed, the lines must rhyme. For the perception of a work, not only sound, but also meaning plays an important role. There are many more secrets, having mastered which, you can understand what rhyme is and learn how to create amazing