Some
rhyme basics:
1) Rhyme
is a rhythmic
device. The two words share the same root and only gradually came to be
distinguished from each other, with the break not occurring until the 17th
century.
2) Rhyme is not a feature of
Classical Latin or Greek poetry, nor any other meter based on quantity
or duration. It
first appeared in Western poetry in a particular kind of verse in
Medieval
Latin. Its emergence in English poetry corresponds to the emergence of
stressed, vernacular verse.
3) The terms “masculine” and
“feminine” rhyme are were bequeathed to us by the poets of
Provençal, whose
gender-inflected Romance language included masculine nouns &
modifiers without vowel endings and feminine ones with vowel endings. Thus bel/bella,
fresc/fresca, blanc/blanca.
The terms are grammatical and have nothing to do with masculine or
feminine
characteristics, sexism, or gender roles.
4) Rhyme is predicated on
semantic difference and phonological identity. One of its functions is
to make
these two categories more permeable.
5) In prosody, we can think
of meter as a horizontal structuring device, rhyme as a vertical one.
Meter
tends to move the reading eye or voice forward; rhyme tends to arrest
it. How
to employ, balance, & manage these impulses is one of the metrical
poet’s principal
artistic skills.
5) Different
languages employ
different kinds of rhyme. The front-stressed Germanic languages,
including Old
English, used alliteration rather than end-rhyme. As English evolved
and became
mongrelized with Romance languages it gradually permitted more falling
rhythm
and more solicitude for word and line endings.
A short study in rhyme:
One classic 20th century statement on the semantics of rhyme is
William Wimsatt’s “One Relation of Rhyme to Reason” in his 1954 book The Verbal Icon. Wimsatt examines rhyme
in Pope and Dryden (18th c), both of whom used predominantly
full
rhymes and end-stopped lines. His chief argument demonstrates how these
poets
increased the semantic distance between their rhymed pairs as a way to
embody
wit and argument.
This way of managing rhyme’s reason can be contrasted with
that of Emily Dickinson, who wrote predominantly enjambed lines with a
large
proportion of partial rhymes. Judy Jo Small argues in her 1990 book, Positive as Sound: Emily Dickinson’s Rhymes,
that Dickinson’s technique was the opposite of that of Pope (18th c)
and Byron (late 18th c, Romantic). Dickinson used
words that are conceptually related, but she increased the phonetic
distance between
them in order to create and exploit a complex and ambiguous
relationship to
meaning.
Rhyme can be analyzed or
classified in several ways. What matters about
these different ways of categorizing rhyme is that each emphasizes a
different
aspect of rhyme’s formal and semantic action.
Analyzing
rhyme according to its sound we pay
attention to what part of each word is
included in the sound relationship. Here
is a graphic scheme for summarizing the possibilities. C=a consonant or
consonant cluster, V=a vowel
or diphthong. I’ve underlined the letter representing the part of the
word that
makes the pattern.
TYPE
|
EXAMPLES
|
COMMENTS
|
C V C = alliteration
See the
heavy alliteration of Hopkins, Loy, Moore, & Dylan Thomas
|
black/boat,
cross/cat, whack / William, riot/rich, shore / shallow, only/oral,
after/only
once/where
(would not qualify in old alliterative meter where vowels alliterate
with vowels only)
|
In Old
English alliterative meter any two vowels were considered to alliterate
with each other. This reflects the dominance of consonants in the
language. Alliterating vowels are only recognizable in an alliterative
meter or other context where alliteration establishes a pattern or
expectation.
|
C V C = assonance
|
black/cat,
boat/phone, green / dream
|
“Near
assonance” is not generally considered a rhyme: at that point reader
recognition begins to fail.
|
C V C = consonance
The
variety of consonantal rhyme again reflects the consonant’s importance
in English. Note that “zero consonance” is the end-rhyme equivalent of
the Old English practice of alliterating vowels together.
|
cat/boat,
phone/line, bliss / dress, flute/note, thought /out, call/fill,
pitch/church, what / bat, mind/ground, gibe/club, shrill/beautiful,
pause/decays
|
full consonance: cat/boat, phone/line, school/wheel, hymn/home
semi-consonance: rides/is, pact/back. Readers vary in the
degree of sound similarity they honor. Some group all similar
consonants, such as green/dream, tip/fib, far/wow.
zero consonance: way/sea, no/sue
rich consonance: dead/deed, back/buck (also called “frame
rhyme”)
|
C V C = full rhyme
|
black
shack, cross boss
|
Varieties
treated in tables below.
|
CVC =
frame rhyme
|
back/buck,
dead/deed, peer/pare
|
Whatever
you call it, it’s a combination of alliteration and consonance.
|
C V C = rich rhyme
|
bat/bat,
see/sea
|
Should
involve different meaning, e.g. baseball bat & flying rodent.
|
Conventional
rhyme: Some
partial rhymes are conventional. “Love” for example has few
full rhymes: above, shove, dove, glove, of, etc., so almost any
off-rhyme on
“love” has been honored by convention & some are so common as to be
almost
unheard. Poets have also needed rhymes for “heaven,” which has none, so
consonantal
rhymes, such as “proven”, “given”, or “even” have become conventional. Sight
rhyme (of words that look like they should rhyme, but don't) also
accounts for some conventionalized near-misses.
Historical rhymes are
partial rhymes that were once true
rhymes. Pronunciation of
consonants
is relatively stable, but pronunciation of vowels shifts rather freely
over
time and also from region to region. In fact, both rhyme and meter can
be used
to identify lost or uncertain pronunciations—in Chaucer, for example.
English
experienced a great “vowel shift” beginning in the late 16th
century,
before which “die” rhymed with “free”, “wind” (as in “south wind”)
rhymed with
“pined”, “none” rhymed with “alone,” and “foot” rhymed with “root.” We
not only
must recognize these rhymes as full rhymes in early poems, we must
recognize
that later poets occasionally used these rhymes as a matter of
tradition,
homage, or commentary—as when Dickinson rhymed “die” with “be” &
Auden
rhymed “lie” with “poetry.”
If you are not a close student of the history of
English you will not always know when a rhyme is historical and when
simply
conventional. Does Marvell rhyme “would” with “flood” because he
pronounced
them the same? or because it was conventional to take liberties with
those “oo”
rhymes? Note that in Donne’s poems we find “die” rhymed both
ways, e.g.
with “fly” or “high” in some poems, with “thee” and “me” in others –
most
famously, at the end of “Death Be Not Proud” he rhymes it with
“eternally.”
Watch for this and other historical rhymes as you read.
Rhymes are further
complicated in Scottish poetry where Scots and English dictions
mingle.
Some pronunciations that are archaic in English are current in Scots,
and words
that appear to be English may be given a Scots pronunciation if they
appear in
a Scots or mixed-diction context. Archaic pronunciations are especially
likely
to be preserved in traditional ballads – or imitated in genres that
descend
from them.
Anylzing rhyme as monosyllabic
vs. polysyllabic, masculine vs. feminine is a pretty simple system:
Masculine/single rhyme
|
Rhymes
one stressed syllable at the end of each word
|
cross
boss, phone/intone, rely/imply, endured/assured, trees/bleeze (Scots:
blaze)
|
Feminine/double rhyme
|
Rhymes
stressed syllable + the unstressed syllable that follows it
|
patter/chatter,
honey/funny, promoted/devoted, civility/humility, dominion/opinion,
college / knowledge, mother/another, take her/make her, dishonor/upon
her, continues/sinews. Mosaic rhyme: rhymes a
polysyllabic word with two or more monosyllabic words: poet/know it,
sinner/win her
|
Feminine/triple rhyme
|
Rhymes
stressed syllable + two unstressed syllables that follow it. Often
comic. Often mosaic. Often combines consonance &true rhyme.
|
apology/mythology,
eminent/firmament, bilious/Pompilius …& the most famous rhyme in
English: intellectual/hen-pecked you all
|
Polysyllabic
rhymes can also be categorized by the placement of stress and this is where it really starts
to get interesting. The rhyme types
listed below not only expand the range of rhyme available to a poet,
they can
greatly alter a poem’s tone, increasing its aural subtlety – or its
aural
comedy. The basic variables are: a stressed syllable, an unstressed
syllable, and a “promoted
stress” in which a secondary stress is aurally promoted by rhyming.
Here are
examples of the combinations. I’ll leave off rhymes of stressed
syllable with stressed
syllable, since that’s covered above. Some of the examples here are
full
rhymes, some consonance. Note that meter may influenced whether
a
rhyming syllable is heard as unstressed or a promoted secondary stress.
I’ve
assumed all the words below are occurring at line-ends where both
meter and
rhyme tend to promote a final secondary stress.
Stressed w/ unstressed
|
sing/loving,
quintessence/sense, poet/content, awful/myself, sun/heaven,
surrender/war, dead/repeated, under/stir, sun/legion, befall/medicinal
<> |
Both unstressed
|
honey/motley,
loving/flying, hallowed/tiptoed, quiver/soever, leisure/treasure,
creator/rather, daughter/porter,
<> |
Stressed w/ promoted secondary
This is
the most common type in this set. In this type and the first, where
rhymed syllables are unequal in stress, consider the changing effects
depending on which word comes last.
<> |
sees/mysteries,
eye/harmony, note/petticoat, joy/poverty, chance/maintenance,
hear/Mariner, spheres/barriers, glance / countenance, gyre/falconer,
house/ceremonious, this/edifice, fall/equivocal, news/hypotenuse,
innocent/meant. These can include historical rhymes, such as
dies/mysteries.
|
Both promoted secondary
|
malignity/obliquity,
extremity/certainty, identified/mollified,
rigamaroles/footsoles,
surrendering/continuing, prentices/offices, Miniver/heavier,
wretchedness/featureless, historical/ mathematical. Note some
double rhymes.
|
Unstressed w/ promoted
|
honey/variety,
serpent/diffident
|
Rhyme
is also categorized by its position in the line and in the stanza.
Position in
the line is the simplest, consisting of:
- End rhyme: both words fall at the ends of lines. These
can be further divided into:
- rhymes
on end-stopped lines
- rhymes
on enjambed lines
- The
differences can be studied by comparing closed couplets to open
couplets and contrasting Pope’s couplets to Robert Browning’s. Compare
the placement of caesurae, the pace of the lines, and the relative
aural weight of the rhymes.
- Internal rhyme: one word falls mid-line, the other at the
end; the first word most often precedes a medial caesura.
- Cross rhyme: This term is used for other purposes, but we
will take it to mean a pattern in which a word in the middle of line 1
rhymes with the last word in line 2, while the last word in line 1 rhymes with a word in the middle of
line 2.
- Broken rhyme: a 20th
century innovation in which a word is hyphenated over a line-end to
create a rhyme. See Moore & Cummings, e.g.
Position in the stanza involves effects of both pattern/scheme and
interval.
- Rhyme schemes are one of the defining features of stanzas
– the other being meter. Certain patterns of position recur in
different stanzaic contexts. These patterns may constitute stanzas of
their own, or they may form the building blocks from which more complex
stanzas are made. The most common are:
- the
couplet (rhymed aa)
- alternating
rhyme (abab)
- triplets
(aaa)
- envelope
(abba)
Rime
royal, ottava rima, & the various sonnet forms are all made by
combining
these fundamental parts. Irregular odes, in which long stanzas are
composed
with irregular rhyme schemes and (occasionally) unrhymed lines, also
use these
parts to generate passages of aural and semantic unity. See the “Quick
Reference” page on the course web site and entries in the Princeton
re: individual stanza forms.
- Interval or delay between rhymes is an important aspect of
rhyme’s effect. For example:
- couplets
give immediate aural satisfaction
- alternating
rhyme provides slight delay but a relatively quick predictability
- the
ballad stanza (xaxa) runs its entire length before its singe rhyme
completes itself , creating a queasy relationship between feelings of
freedom and of fatedness; this may be why common measure substitutes an
alternating rhyme
- the
envelope stanza combines effects of immediacy and delay
- terza
rima also combines effects of immediacy and extension
- the
differing sonnet structures provide very different experiences of
immediacy & delay
- couplets,
triplets, and any highly repetitive scheme (such as the two envelope
quatrains of a Petrarchan sonnet) run the danger of saturation,
particularly if handled mechanically
- very
distant or irregular rhymes provide less rhythmic satisfaction than
near or predictable rhymes and may in fact be unsettling rather than
reassuring; they will at some point of attenuation cease to be
perceived by most readers
- Counterpoint rhyme: end rhyme in which the lines are of unequal
metrical length. In other words, the rhyme scheme does not match the
metrical scheme (as it does in common measure or the Burns stanza, for
example) but is in counterpoint to it. This creates a particular
tension in the dance of expectation and satisfaction, and thus it
should not be surprising to find that it was prevalent among the
so-called Metaphysical poets. See Donne:
The Sun Rising, Woman’s Constancy, Love’s Growth, etc. Herbert:
The Temper (I), Denial, etc. Contrast his “Man” where rhyme & meter
match. M. Moore adapted this type of rhyme for her
syllabic stanzas, e.g. “The Fish”.
The
most complex aspect of rhyme is its relationship to grammar and syntax.
This is where rhyme as semantic configuration becomes most
apparent. No
scheme of classification exists –thank God– but here are some ways to
slice the
view.
Consider whether
rhymed words are substantive, auxiliary, or function words, and how
these are paired or mixed.
Watch for noun/noun, verb/verb,
noun/modifier, etc. Rhymes of nouns with verbs have a particular effect
of alternately stopping and pushing momentum, for example, as in the
opening of R. Browning’s “My Last Duchess”, for example.
Rhyming on function words is mostly a modern phenomenon, but Donne
rhymed on auxiliary verbs, leaving the main verb dangling out there in
imagination until the eye completed the line turn and found it; Robert
Browning did the same and added prepositions. His management of
enjambed rhyme is prefigured in some of Shelley—the stanzas of
“Adonais” e.g.
Consider the differences between end-stopped
lines rhyming and enjambed lines rhyming, and how the effect interacts with the
question of substantive vs. other kinds of words.
Consider
the rhetorical effects of pairing the rhymed words. Most of these effects will be
context-specific, but here are a few examples.
- Antithetical meanings:
night/light, love/shove, forget/fret, death/breath, assay/decay,
- Conceptual reinforcement:
light/sight/white, near/dear, God/rod, presage/age, love/dove,
love/prove, love/above, shame/blame, just/trust, rare/compare, wit/fit,
age/heritage, fruitfulness/bless, earth/dearth,
- Comedy or surprise:
cheeks/reeks, trust/lust, gout/flout, I/alchemy, spies/epitomize,
mother/smother, grace/loneliness, hearse/verse
When considering these
relationships, distinguish between those that are conventional
(including most of those I just listed) and those with no perceived
relation other than their occurrence as rhymes in a single poem. It is in these cases that one sees most
clearly the semantic power of rhyme, its ability to encode meaning in
an instant of sound. In these moments we can see the aural
dimension cross over into the conceptual dimension.
Poets
whose rhymes make particular rich study include Pope, Blake, Byron, Dickinson, Hopkins,
Yeats,
Wilfred Owen, Randall Jarrell. Hopkins
believed that the pleasure and power of rhyme was reduced if the rhymed
words
had any expected relationship to each other other than sound: the
spark, for
him, was in that flash of discovery of meaning via
sound. Owen, a poet of WWI, who died in the trenches, wrote
formally conservative verse in the Modernist era. Rhyme was one of the
means by
which he expressed his “modern” disillusion and bitterness. See “Anthem
for
Doomed Youth” and “Dulce et Decorum Est”. Sigfried Sassoon (Owen’s
friend and
poetic mentor, who survived the war) sometimes used rhyme in the same
way—see
“The Glory of Women” e.g.
Consider whether rhyme is
(always or in a unique instance) a device of expectation or a device of
surprise. The range of
possibility can be examined by comparing the semantically active rhyme
of the poets I’ve listed above to the largely conventional rhymes in,
say, Elizabethan lyrics or traditional ballads. Do the rhymes reduce
the amount or density of information in the poem, or increase it? And
what about poets who use surprising diction elsewhere in their lines
but maintain their rhymes as momentary islands of grace and rest, or
perhaps of tradition and predictability? There is no one simple answer
to this question, though, not even within the work of a single poet.
The tension between these two functions is one of rhyme’s mysteries and
one of its powers.
Lastly, rhyme
can also be examined by the degree of complication involved in the
poem’s
entire sound patterning. This is less a matter of categorizing than
of
simply listening.
One shining example: Milton’s
sonnets, in which patterns of assonance are laid over the rhyme scheme.
(See
“When I consider how my light is spent,” “On the Late Massacre in Piedmont, & “Methought I Saw My Late
Espousèd
Saint”.)
The sound patterning in most poems (beyond rhyme scheme) is less
systematic, though it may be both aurally and semantically
powerful. See, for example, Blake's “The Divine Image,” Hopkins’ heavy
use of alliteration in rhymed
poems, or Yeats’ “Among School Children.”
Compare
these poems to those in which rhyme is scarce, or where most rhymes are
partial
and only a few strike full clear notes. Shakespeare’s couplets rounding
off
blank-verse speeches in his plays are a famous example. Rhyme at the
end of a
free verse poem might be comparable. A modern example is Marianne
Moore’s “The
Steeple-Jack,” where each sestet is anchored by only a single pair of
end-rhymes.
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