Three types of rhyme. What rhymes are there?

Rhyme is consonance at the end of two or more words. It is most common 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, more correctly, the nature of the consonance necessary for a pair of words or phrases to be read as a rhyme - is different in different languages and at different times.

Depending on the position of stress in a rhymed word, three types of rhyme are distinguished:

masculine rhyme, where the stress is on the last syllable of the rhymed verse. For example, this is exactly the type used in M.Yu. Lermontov’s poem “Death”:
The chain of young life is broken,
The journey 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.

female rhyme, where it falls on the penultimate.

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.’s poem rhyme. Yesenin's "Rus", and 2 and 4 are another example of masculine rhyming:
The village drowned in potholes,
The huts of the forest were obscured,
Only visible on the bumps and depressions,
How blue the skies are all around.

hyperdactylic rhyme, in which the stress falls on the fourth syllable or further, is used much less frequently than others. An example is the line by V.Ya. Bryusova:
Rays stretch from the moon,
They touch the heart with needles...

For example, in a quatrain, the possible ring (encircling or enveloping) rhyme abba, adjacent rhyme aabb, cross rhyme abab and, less commonly, through rhyme aaaa.

Rhyme and its varieties

Rhyme systems

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

Adjacent- rhyme of adjacent verses: the first with the second, the third with the fourth ( aabb) (the same letters indicate the endings of verses that rhyme with each other).

This is the most common and obvious rhyming system. This method is possible even for children kindergarten and has an advantage in the selection of rhymes (the associative pair appears in the mind immediately, it is not clogged with intermediate lines). Such stanzas have greater dynamics and a faster reading pace.

The scarlet light of dawn is woven on the lake, and wood grouse are crying in the forest with ringing sounds. An oriole is crying somewhere, burying itself in a hollow. Only I don’t cry - my soul is light.

I also liked the next method - cross rhyme a large number writing public.

Cross- rhyme 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 rhythmically and allows you to better convey the necessary mood. Yes, and such poems 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 thunderstorm at the beginning of May, when the first thunder of spring, as if frolicking and playing, rumbles in the blue sky.

The third method - ring (in other sources - girded, enveloping) - already has less representation in the total mass of poems.

Ring(girdled, enveloping) - the first verse - with the fourth, and the second - with the third.( Abba)

This scheme can be somewhat more difficult for beginners (the first line is, as it were, erased by the subsequent pair of rhyming lines).

Standing above the Neva, I looked at how the golden dome glowed like Isaac the giant in the darkness of the frosty fog.

And finally, woven rhyme has many patterns. This is a common name complex species rhymes, for example: abwbw, abbbbba and etc.

Far from the sun and nature, Far from light and art, Far from life and love Your youth will flash by, Your living feelings will die, Your dreams will dispel.

In conclusion, it is useful to note that one should not always adhere so rigidly, strictly and dogmatically to certain canonical forms and templates, because, as in any form of art, there is always a place for the original in poetry. But, nevertheless, before rushing into the unbridled 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.

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Depending on the position of stress in a rhymed word, several types of rhyme are distinguished:

• masculine rhyme, where the stress is on the last syllable of the rhymed verse. For example, this is the type used in M. Yu. Lermontov’s poem “Death”:
  The chain of young life is broken,
  The journey 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.
• female rhyme, where it falls on the penultimate. For example, this is exactly the type used in an excerpt from the poem by A.S. Pushkin's "Groom": "
  Everywhere there is silver and gold,
  Everything is light 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 masculine rhyming:
  The village drowned in potholes,
  The huts of the forest were obscured,
  Only visible on the bumps and depressions,
  How blue the skies are all around.
• hyperdactylic rhyme, in which the stress falls on the fourth syllable or further, is used much less frequently than others. An example is the line by V. Ya. Bryusov:
  Rays stretch from the moon,
  They touch the heart with needles...

Rhymes also differ in the accuracy of consonances and methods of their creation:

• rich rhymes in which the supporting consonant sound coincides. An example is the lines from A. S. Pushkin’s poem “To Chaadaev”:
  Love, hope, quiet glory
  Deception did not last long for us,
  The youthful fun has disappeared
  Like a dream, like morning fog.
• poor rhymes, where the overstressed sounds and the stressed vowel partially coincide.

Also in versification there is a group of imprecise rhymes that are a conscious artistic device:

• assonant rhymes in which the vowel stress coincides, but the consonants do not coincide.
• dissonant (countersonant) rhymes, where, on the contrary, the stressed vowels do not coincide:

Was

Socialism -

enthusiastic word!

With a flag

With a song

stood on the left

And myself

On the heads

glory was descending

• 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 common examples of truncated rhyme; so in it, as the name suggests, the sound “th” becomes an additional consonant sound. This type of rhyme is used in this poem by A. S. Pushkin in lines 1 and 3:
  The clouds are rushing, the clouds are swirling;
  Invisible moon
  The flying snow illuminates;
  The sky is cloudy, the night is cloudy...
• compound rhyme, where the rhyming pair consists of three or more words, as in lines 2 and 4 of N. S. Gumilyov:
  Will you 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 - blood, roses - tears, joy - youth. A. S. Pushkin joked about the predictability of such rhymes, so common among different authors, in “Eugene Onegin”:
  And now the frost is crackling
  And they shine silver among the fields...
  The reader is already waiting for the “rose” rhyme,

Methods of rhyming

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

Adjacent- rhyme of adjacent verses: the first with the second, the third with the fourth ( aabb) (the same letters indicate the endings of verses that rhyme with each other).

This is the most common and obvious rhyming system. This method can be used even by children in kindergarten and has an advantage in the selection of rhymes (the associative pair appears in the mind immediately, it is not clogged with intermediate lines). Such stanzas have greater dynamics and a faster reading pace.

The scarlet light of dawn is woven on the lake, and wood grouse are crying in the forest with ringing sounds. An oriole is crying somewhere, burying itself in a hollow. Only I don’t cry - my soul is light.

The next method - cross rhyme - also appealed to a large number of the writing public.

Cross- rhyme 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 rhythmically and allows you to better convey the necessary mood. Yes, and such poems 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 thunderstorm at the beginning of May, when the first thunder of spring, as if frolicking and playing, rumbles in the blue sky.

The third method - ring (in other sources - girded, enveloping) - already has less representation in the total mass of poems.

Ring(girdled, enveloping) - the first verse - with the fourth, and the second - with the third.( Abba)

This scheme can be somewhat more difficult for beginners (the first line is, as it were, erased by the subsequent pair of rhyming lines).

Standing above the Neva, I looked at how the golden dome glowed like Isaac the giant in the darkness of the frosty fog.

And finally, woven rhyme has many patterns. This is the general name for complex types of rhyme, for example: abwbw, abbbbba and etc.

Far from the sun and nature, Far from light and art, Far from life and love Your youth will flash by, Your living feelings will die, Your dreams will dispel.

In conclusion, it is useful to note that one should not always adhere so rigidly, strictly and dogmatically to certain canonical forms and templates, because, as in any form of art, there is always a place for the original in poetry. But, nevertheless, before rushing into the unbridled 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.

Alliteration- repetition of identical or homogeneous consonants in a poem, giving it a special sound expressiveness (in versification).

This implies a higher frequency of these sounds in comparison with the Central Russian one in a certain segment of the text or throughout its entire length. It is not customary to talk about alliteration in cases where sound repetition is a consequence of repetition of morphemes. A verbal type of alliteration is a tautogram. (repetition of consonants).

In some sources, a type of assonance is considered to be assonant rhyme, in which only vowels are consonant, but not consonants. It was as a type 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 “Alarcos”. In the folk poetry of the Slavs, since the advent of rhyme, assonance is often found, but usually next to the consonance of consonants in two adjacent lines of verse, thus a complete, more or less developed rhyme, that is, consonance of vowels and consonants.

RHYME- consonance at the end of two or more words. Sound repetition at the end of a rhythmic unit:

My uncle made the most honest rules,
When, seriously, I couldn’t,
He forced himself to respect
And it’s better to invent | I couldn’t” (Pushkin).

In connection with the position of stress in a rhyming word, there are three kinds of rhyme:

Man's rhyme, where the stress is on the last syllable of the rhymed verse. These are the simplest rhymes: (I am mine, moYa is a pig, rAZ - kvass - bAS - us);
Women's rhyme, where the stress is on the penultimate syllable. They contain more sounds: VINA - PICTURE; PLANS - WOUNDS; STRANGE – hazy; flock - big, edge - playing;
Three syllable rhyme, dactylic, in which the stress is on the third syllable from the end. After the stressed vowel, two syllables follow (WORN - SEADS, STOCCHKA - BONE, TRAINS - DRUNKER).

There is also a division:

Pantorhythm- all words in a 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- runs through the entire work (for example - one rhyme in each line)
Echo rhyme- the second line consists of one word or short phrase, rhymed with the first line.

Rhymes there are accurate and inaccurate.

IN precise enough rhyme match up:
a) last stressed vowel,
b) sounds starting from the last stressed vowel.

Exact rhyme A rhyme like “writes – hears – breathes” (Okudzhava) is also considered. Also classified as accurate are the so-called. iotized rhymes: “Tani – spells” (ASP), “again – the hilt” (Firnven).

An example of a stanza with exact rhymes (it’s the sounds that match, not the letters):

It's nice, squeezing the katana,
Turn the enemy into a vinaigrette.
Katana is a samurai's dream
But better than that is a pistol. (Gareth)

IN imprecise rhyme Not all sounds are the same, starting from the last stressed vowel: “towards - cutting”, or “book - King” in Medvedev. There can be much more imprecise rhymes than exact ones, and they can greatly decorate and diversify a verse.

Rhymes parts of speech

Verb - noun:

So many of them fell into this abyss,
I'll open up in the distance!
The day will come when I too will disappear
From the surface of the earth. (M. Tsvetaeva).

Verb - adverb:

You were everything. But because you
Now dead, my Bobo, you have become
Nothing - more precisely, a clot of emptiness.
Which is also, as you might think, a lot. (I. Brodsky)

Noun, adjective:

Like a conquistador in an iron shell,
I'm on the road and walking happily
Then resting in a joyful garden,
Then leaning toward abysses and abysses. (N. Gumilev)

Noun - adverb:

What are my friends, poets, making noise about?
In a restless house until late?
I hear an argument. And I see silhouettes
Against the dim background of a late window. (N. Rubtsov)

Noun - numeral:

You can't see the birds, but you can hear them.
The sniper, languishing with spiritual thirst,
Either an order, or a letter from his wife,
Sitting on a branch, reads twice... (I. Brodsky)

Noun - preposition:

Blue Saxon Forest.
Dreams of basalt relatives,
A world without a future, without -
Easier - tomorrow. (I. Brodsky)

Noun - conjunction:

There will be no other us! Neither
Here, not there, where everyone is equal.
That's why our days
In this place they are numbered.

Adjective - adverb:

You won't take my soul as I live,
Not falling like feathers.
Life, you often rhyme with: falsely, -
The singing ear is unmistakable!

Adjective - pronoun:

Adjective - numeral:

He is silent and unsociable,
Always alone, always alone...

Goals: introduce students to the concepts of rhyme and stanza; learn to distinguish between paired, cross and ring rhymes; develop the skill of analyzing a poem; cultivate love for native nature through working with poetic text.

Equipment: cards with excerpts of poems (Appendix 1 from the author), presentation (Appendix 2 from the author).

During the classes

I. Organizational moment.

II. Setting a learning task.

Set goals based on the topic of today's lesson.

III. Updating knowledge.

– Let’s remember how poetic speech differs from prose speech? ( Poetic speech is rhythmic, melodious, rhymed.)

– What is rhythm? ( Rhythm is a uniform alternation of repeating units. In a poem these are stressed and unstressed syllables.)

– How is rhyme created? ( Rhyme - consonance of the endings of poetic lines.)

– Come up with your own or select examples of rhyming lines.

IV. Work on the topic

1. Introduction to the concept of rhyme and its types.

Rhyme - consonances at the end of poetic lines.

Rhyme can be cross, paired and ring (or encircling).

Cross rhyme pattern:

Bird cherry branches are bent with fragrant branches,
All the wild apple trees are in bloom;
Inhaling their scent, Canute thinks:
“It’s a pleasure to live in God’s light!” (A.K. Tolstoy)

Scheme: a b a b

I came to you with greetings,
Tell me that the sun has risen
What is it with hot light
The sheets began to flutter... (A.A. Fet)

Sample paired (adjacent) rhyme:

To me, my baby; in my oak grove
You will recognize my beautiful daughters:
When it's month they will play and fly,
Playing, flying, putting you to sleep. (V.A. Zhukovsky)

Scheme: a a b b

Sample of a ring (encircling, enveloping) rhyme:

Mother Nature! I'm coming to you
With my deep melancholy;
To you with a tired head
I’ll fall on the womb crying. (A. Pleshcheev)

Scheme: a b b a

2. Development of the ability to identify types of rhyme.

Cross

Now the dew has fallen invisibly,
And the east is preparing to burn;


(Konstantin Sluchevsky)

Ring

Have you ever been to Wonderland?

In the wilderness of earthly imprisonment
Lives the exile of heaven?
(D.V. Davydov)

Steam room

In front of your menagerie,

King Francis was seated;


Behind the king, enchanting
Blooming beauty look,

(F. Schiller)

3. Male, female and other rhymes.

Masculine - with emphasis on the last syllable (window - long ago).

Feminine rhymes - with stress on the second syllable from the end of the line (da "rum - fire" rum).

Dactylic - with stress on the third syllable from the end of the line (spreads - spreads).

Hyperdactylic - with stress on the fourth and subsequent syllables from the end (hanging - mixing).

Find examples of masculine, feminine, dactylic rhymes in the texts.

4. Rhymes are accurate and inaccurate.

In an exact rhyme, the repeated sounds are the same (color - light), but in an inaccurate rhyme the sounds do not match (story - melancholy).

5. Determine the meaning of the rhyme.

Re-read the fourth stanza in the ballad “The Glove” and determine its type of rhyme. Do rhymes help convey the climax of events?

6. Analysis of the structure of poems.

– Why do you think these poems are divided into parts this way?

Swamps and swamps,
Blue board of heaven.
Coniferous gilding
The forest rings.

Tit shading
Between the forest curls,
Dark spruce trees dream
The hubbub of mowers.

Through the meadow with a creak
The convoy is stretching -
Dry linden
The wheels smell.

The willows are listening
Wind whistle...
You are my forgotten land,
You are my native land!..
(S.A. Yesenin) (Quatrain)

Quiet in the juniper grove along the cliff

Above the river bank cover





(S.A. Yesenin) (couple)

• Octave - octave
• Terzina - tercet with the obligatory rhyme aba bvb vgv
• Quatrain - quatrain
• Couplet –

7. Introduction to the concept of stanza.

Stanza- a group of poetic lines united by content and interconnected by a certain rhyme, rhythm, and intonation.

V. Summing up the lesson.

“Everything is dying, everything is dying!
You are black and naked

He was swaddled by mighty dreams,
And the strength for a new spring matures in him. (A. Maikov)

– Determine the type of rhyme in poetic passages.

Now the dew has fallen invisibly,
And the east is preparing to burn;
All the greenery seemed to have risen
See how the night goes by.
(Konstantin Sluchevsky)

* * *
Have you ever been to Wonderland?
Where, a victim of a terrible command,
In the wilderness of earthly imprisonment
Lives the exile of heaven?
(D.V. Davydov)

* * *
In front of your menagerie,
With the barons, with the crown prince,
King Francis was seated;
From a high balcony he looked
In the field, awaiting battle;
Behind the king, enchanting
Blooming beauty look,
There was a magnificent row of court ladies.
(F. Schiller)

– Read the poems expressively.

– How many parts is each of them divided into?

– Why do you think these poems are divided into parts this way?

Quiet in the juniper grove along the cliff
Autumn - a red mare - scratches her mane.

Above the river bank cover
The blue clang of her horseshoes is heard.

The schema-monk-wind steps cautiously
Crumples leaves along road ledges

And kisses on the rowan bush.
Red ulcers for the invisible Christ.
(S.A. Yesenin)

Swamps and swamps,
Blue board of heaven.
Coniferous gilding
The forest rings.
Tit shading
Between the forest curls,
Dark spruce trees dream
The hubbub of mowers.
Through the meadow with a creak
The convoy is stretching -
Dry linden
The wheels smell.
The willows are listening
Wind whistle...
You are my forgotten land,
You are my native land!..
(S.A. Yesenin)

– Analyze the poem in terms of rhyme and stanza.

Autumn leaves are circling in the wind,
Autumn leaves cry out in alarm:
“Everything is dying, everything is dying!
You are black and naked
O our dear forest, your end has come!

Their royal forest does not hear the alarm.
Under the dark azure of harsh skies
He was swaddled by mighty dreams,
And the strength for a new spring matures in him.
(A. Maikov)