Depending on the position of the stress in a rhyming word, there are several types of rhyme:
- masculine rhyme, where the stress is on the last syllable of the rhyming verse. For example, this type is used in M. Yu. Lermontov's poem "Death":
The chain of a young life is broken,
The road is over, the hour has struck, it's time to go home,
It's time to go where there is no future,
No past, no eternity, no years. - feminine rhyme where it falls on penultimate. For example, it is this type that is used in an excerpt from A.S. Pushkin "Groom": "
Silver and gold everywhere
Everything is bright and rich." - dactylic rhyme, in which the stress is on the third syllable from the end of the line. This is how lines 1 and 3 of S. A. Yesenin’s poem “Rus” rhyme, and lines 2 and 4 are another example of male rhyme:
The village drowned in potholes,
Covered the huts of the forest,
Only visible, on the bumps and hollows,
How blue are the skies. - hyperdactylic rhyme, in which the stress falls on the fourth syllable or beyond, is used much less frequently than the others. An example is the line of V. Ya. Bryusov:
From the moon the rays are stretched,
They touch the heart with needles ...
Rhymes also differ in the accuracy of consonances and how they are created:
- rich rhymes in which the reference consonant 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. - poor rhymes, where stressed sounds and a stressed vowel partially coincide.
Also in versification, a group of inaccurate rhymes is distinguished, which are a conscious artistic device:
- 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
- a truncated rhyme in which there is an extra consonant sound in one of the rhyming words.
- iotated rhyme, which is one of the most widespread examples of 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 ... - compound rhyme, where a 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. - banal rhymes, for example: love is blood, roses are tears, joy is youth. Over the predictability of such rhymes, so often found among different authors, A. S. Pushkin made fun of in “Eugene Onegin”:
And now the frosts are cracking
And silver among the fields ...
The reader is already waiting for the rhyme of "roses",
Ways to rhyme
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 (and more) of words, which should be of help to anyone who writes poetry at least once in their 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 same letters denote the endings of poems that rhyme with each other).
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 out on the lake the scarlet light of dawn, Capercaillie are crying on the forest with ringing. 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 a thunderstorm 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 darkness of the frosty fog The golden dome shone.
And finally woven rhyme has many patterns. This is a common name for complex types of rhyme, for example: abvabv, abvvba and etc.
Far from the sun and nature, Far from light and art, Far from life and love Your young years will flash, Your feelings will die alive, Your dreams will vanish.
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, there is always a place for the original in poetry. But, nevertheless, before you rush 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.
Sound repetitions are the main element of the phonics of a verse, the essence of which is the repetition within a verse and in adjacent verses of a group of identical or similar sounds. The main function of Z. p. is to ensure the phonetic expressiveness of the verse. It is noteworthy that in the Russian system of versification, sound repetitions are not a canonized device, as, for example, in Finnish, Estonian, Yakut and some other languages.According to the place in the verse, the ring is distinguished when the sounds are repeated at the end and beginning of the verse (“The flying ridge is thinning clouds”, A. S. Pushkin; symbol AB ... AB), anaphora, epiphora, junction (... AB - AB ...), there are also sound repetitions decomposed (AB ... A ... B ...) and summing (A ... B ... AB), metathetic (AB ... BA), exact and inaccurate , double and triple. Sound repetitions include alliteration, assonance, rhyme.
Alliteration- the repetition of identical or homogeneous consonants in a poem, giving it a special sound expressiveness (in versification).
It implies a greater frequency of these sounds in comparison with the Central Russian frequency in a certain segment of the text or throughout its entire length. It is not customary to talk about alliteration in cases where the sound repetition is a consequence of the repetition of morphemes. The word type of alliteration is tautogram. (repeating consonants).
A variety of assonance in some sources is considered assonant rhyme, in which only vowels are consonant, but not consonants. It was precisely as a kind of rhyme that assonance was defined, in particular, by the Brockhaus and Efron Encyclopedic Dictionary, which noted at the end of the 19th century that
Spanish and Portuguese poets especially often resort to assonance. German - only in translations and imitations of these poets, and only a few in original works, for example Schlegel in his Alarkos. In the folk poetry of the Slavs, from the appearance of rhyme, assonance is often found, but usually already next to the consonance of consonants in two adjacent lines of the verse, thus a complete more or less developed rhyme is, that is, the consonance of vowels and consonants.
Poetry occupies an important place in the self-consciousness of any ethnic group or cultural group. Many well-known poems from generation to generation are studied at school, written in love letters and simply read for the soul. In this article we will talk about an important component of almost any poem - rhyme.
What is a rhyme?
The first poems appeared a very long time ago. The history of rhyme goes far into the past, but its essence remains unchanged to this day - it is the link in the poem. The value of rhyme cannot be underestimated: it represents the consonance of lines in a poem, which is important for observing the norms of phonetic sound, metrics and building the composition of a work.
Why is it important to know about rhyme?
Many who have tried it on their own at least once know firsthand how much time you need to spend searching for the right words and arranging a piece. Of course, in order to create a poem, it is not necessary to understand all the intricacies of versification. But knowledge of that will help the novice poet understand the logic of creating a poem and its patterns. The typology of rhyme is quite wide, but the main division is based on the position of stress in words.
Rhyme types
The main difference in rhyme is that the stress in words may fall on the last syllable, on the first, or may be in the middle of the word. From this point of view, there are:
- Male rhyme - the stress falls on the last syllable: "wave - she";
- Feminine - the stress falls on the penultimate syllable: "in summer - with light";
- Dactylic - the stress falls on the third syllable from the end: "potholes - hollows";
- Hyperdactylic - the stress falls on the fourth syllable from the end and further: "scratching - hewing".
Also, in addition to the above classification, rhyme can be exact and inaccurate. Exact rhyme can be rich when the reference consonant sounds (those sounds that precede the stressed) coincide, for example: "deception - fog", and poor when stressed vowels partially coincide, for example, "I - me", "my - love" .
Inaccurate rhymes also have their own classification. They are divided into assonance and dissonance. An assonant rhyme is one in which stressed vowels coincide, but consonants do not, for example: "the sea is a lot." A dissonant rhyme is such a rhyme in which all the consonants in the word coincide, but at the same time the rhyming words have different stresses and a set of vowels, for example: "cherries are superfluous."
rare rhymes
Many authors depart from the generally accepted laws of versification and give preference to the search or creation of new unusual rhymes. Thus, a special section was singled out in the typology of rhyme, which was called "rare rhymes". This type includes:
- Compound rhyme - when a rhyme in one line consists of one word, and in another line - of two or more words, for example: "mayor - don't buy anything";
- Tautological rhyme - repetition of the same word, for example:
- Everything is mine, said the gold;
- All mine, said damask steel.
- I will buy everything, said the gold;
- I'll take everything, said damask steel.
- (A. Pushkin)
- Homonymous rhyme is the repetition of words that sound the same but have different meanings, such as:
- You fed the white swans
- Throwing back the weight of black braids,
- I swam nearby, the helms came together,
- The sunset beam was strangely slanting.
- (V. Bryusov)
- A punning rhyme is a rhyme based on a play on words.
- "You puppies! Follow me!
- You will be on the kalach
- Look, don't talk
- Otherwise, I'll beat you."
- (A. Pushkin)
- Pantorhyme is a rhyme in which the entire poem rhymes:
- Lask al-incense cherish. lily fetters
- Ate roses wreaths of the best Traviat.
- Lel caressed her hand, and the midgets
- They sang: a pink ray of poison to the grass.
- (G. Zolotukhin)
On the effect of rhyme on the listener
Rhyme plays an important role in influencing the listener. Its role in the work is similar to the role of rhythm. The periodic repetition of sounds, pauses and stresses in a work is called rhythm.
It is the rhythmic pattern of the poem that creates the basis for artistic impact: broken rhythm and inaccurate rhyme create a feeling of anxiety, anxiety - poems on social topics, about the war. And vice versa, exact rhyme with a smooth melodic rhythm creates a feeling of peace, tenderness - poems about love, about nature.
Rhyme(from Greek rhythmos - proportionality, consistency) - a consonant, consonant ending of two or more poetic lines, emphasizing the rhythm of the verse.
Full consonance or exact rhyme is determined by the coincidence of the last vowel in the word (starting with the syllable on which the last stress falls in the verse) and the consonants following it.
The absence of consonance of stressed vowels, their mismatch, although the consonants following them coincide, gives dissonance or consonance.
An incomplete rhyme is given by a mismatch of consonants following the consonance of stressed vowels - such an incomplete rhyme is called assonance.
A rhyme in which the sounds preceding the final stressed vowel are consonant is called a support rhyme.
Depending on the location of the stress at the end of the word, rhymes are: male - with stress on the last syllable in the line; female - with stress on the second syllable from the end of the line; dactylic - with stress on the third syllable from the end and hyperdactylic - with stress on the fourth and further from the end of the syllable. For example: experiencing - counting, constricting - charming.
According to the location in the lines, rhymes are distinguished: paired, or adjacent, connecting adjacent lines (according to the scheme - ah, bb); cross - rhyming the first and third, second and fourth lines (according to the scheme - ab, ab); covering, or belted, - rhyming in the quatrain the first and fourth, second and third lines (according to the scheme - ab, ba).
Rhymes are, in addition, double, triple, quadruple (two, three, four lines rhyming with the same rhyme), etc. Sometimes the same rhyme is repeated in all lines of a poem. Such a poem with one repeated rhyme is called a monorhyme.
Distinguish simple rhymes (Spring - red, wanderers - exiles) and compound, consisting of two or three words. Such a compound rhyme is often found in the verses of V. V. Mayakovsky: penny - have a drink, on the verge of me - playing, from god i - mythology, little sorrow for them - categories.
The repetition of similar combinations of sounds that connect the endings of lines or symmetrically located parts of poetic lines is called rhyme. For Russian classical versification, the main feature of rhyme is the coincidence of stressed vowels. This article discusses in detail the question of what rhymes are and how they are applied.
Varieties of rhyme
The word "rhyme" in Greek means "proportion". A rhyme is a compositional-sound repetition that sounds at the end of several verses. Rhymes can be divided into various groups according to their forms and position in the poem.
Depending on the position, there are the following types of rhymes in a rhyming word:
- Male - in them the stress is placed on the last syllable, this is the simplest type of rhyme (for example: "my-family", "pineapple-bass-face", "board-longing").
- Rhymes are female - the stress is placed on the penultimate syllable from the end, more sounds will coincide in them (for example: "clay-picture", "wounds-plans", "foggy-strange").
- Dactylic - the stress is placed on the third syllable from the end (for example: "asks-is worn", "bone-cane", "drunkard-stretches").
If the rhyme ends in a vowel, it will be open; if it ends in a consonant, it will be closed.
Rhymes also differ in the nature of their sound. They are:
- Approximate. Not all sounds starting from the last stressed vowel will coincide in them, for example, "cut-toward", "King-book".
- Accurate. The last stressed vowel and the sounds following it coincide in them, for example, “breathes-hears-writes”, “again-handle”.
- Poor;
- Rich;
- dissonances;
- Assonances;
- tautological;
- Composite;
- multi-impact;
- Uneven.
According to the position in the poem, there are the following types of rhymes:
- Initial;
- End;
- Internal.
According to the position of rhymes in the stanza:
- Related. Adjacent verses rhyme, the first with the second, the third with the fourth. If letters designate lines, then rhyming lines will be designated the same. You can write adjacent as follows: AABB.
- Cross. The first verse rhymes with the third, the second with the fourth. ABAB.
- Belted or embracing. The first verse rhymes with the fourth, and the second with the third. ABBA.
- Woven. It has many different designs. So, in general, complex types of rhyme are called, for example, ABVABB or ABVVBA and so on.
Rhyming techniques
There are rhyming parts of speech, for example:
- noun-verb: "the abyss-disappear";
- verb-adverb: "became-many";
- noun-adjective: "to the iron abyss";
- noun-adverb: "windows-late";
- noun-numeral: "twice-thirst";
- noun-preposition: "forest-without";
- conjunction-noun: "no-days";
- pronoun-adjective: "them-earthly";
- numeral-adjective: "one-unsociable".
It is necessary to say more about such a rhyming technique as a truncated rhyme. This is when, when rhyming two words at the end of the verses, one of them does not completely cover the consonances of the other. For example, "dull-strength", "beautiful-clear".
White verses are called verses that do not have a rhyme at all, rhymes are inaccurate rhymes.
Mayakovsky's rhyme
It occupies a special place in the technique of the Russian language. Mayakovsky discovered new ways of rhyming, which corresponded to the structure of his special oratorical verse. In an article on how to make poetry, Mayakovsky wrote about rhyme. It was about the fact that rhyme should return to the previous line, force you to remember it. According to Mayakovsky, rhyme should force all the lines that form one thought to be together. He put the most characteristic word at the end of the line and by all means came up with a rhyme for it. Therefore, his rhyming was almost always unusual, in any case, it was not used anywhere before him.
Now you know what rhymes are in poetry, and you can try to write them yourself. We wish you good luck in your work!
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're a factory stockade chimney
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 from poets rhymes accurate 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, OUT OF IT - 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-line or six-line form.
