- This article is about the poetic technique. For the form of ice, see rime ice. For
linguistic rime (or rhyme) see syllable rime.
A rhyme is a repetition of identical or similar sounds in two or more different words and is most often used in
poetry. The word "rhyme" may also refer to a short poem, such as a rhyming couplet or other brief rhyming poem such as nursery rhymes.
Etymology
The word comes from the Old French rime, derived from Old Frankish language *ri:m, a Germanic term meaning "series, sequence" attested in Old English and
Old High German, ultimately cognate to Old Irish rím, Greek ἀριθμός arithmos "number".
The spelling rhyme (for original rime) was introduced at the beginning of the Modern English period, due to a
learnèd (but incorrect) association with Greek ῥυθμός
(rhythmos)
The older spelling rime survives in Modern English as a rare alternative spelling. A distinction between the spellings
is also sometimes made in the study of linguistics and phonology, where rime/rhyme is used to refer to the nucleus
and coda of a syllable. In this context, some prefer to
spell this rime to separate it from the poetic rhyme covered by this article (see syllable
rime).
History
The earliest surviving evidence of rhyming is the Chinese Shi Jing (ca. 10th century BC). In
Europe, the practice arose only with Late Antiquity, continuing the homoioteleuton of rhetorics. Irish literature introduced
the rhyme to Early Medieval Europe;[citation needed] in the 7th century we find the Irish had brought the art of rhyming verses
to a high pitch of perfection. The leonine verse is notable for introducing rhyme into
High Medieval literature in the 12th century. From the 12th to the 20th centuries, European poetry is dominated by rhyme.
Types of rhyme
The word "rhyme" can be used in a specific and a general sense. In the specific sense, two words rhyme if their final stressed
vowel and all following sounds are identical; two lines of poetry rhyme if their final strong positions are filled with rhyming
words. A rhyme in the strict sense is also called a "perfect rhyme". Examples are sight and flight, deign
and gain, madness and sadness.
Perfect rhymes can be classified according to the number of syllables included in the rhyme
- masculine: a rhyme in which the stress is on the final syllable of the words.
(rhyme, sublime, crime)
- feminine: a rhyme in which the stress is on the penultimate (second from last)
syllable of the words. (picky, tricky, sticky)
- dactylic: a rhyme in which the stress is on the antepenultimate (third from last) syllable ('cacophonies",
"Aristophanes")
In the general sense, "rhyme" can refer to various kinds of phonetic similarity between words, and to the use of such
similar-sounding words in organizing verse. Rhymes in this general sense are classified according to the degree and manner of the
phonetic similarity:
- imperfect: a rhyme between a stressed and an unstressed syllable. (wing, caring)
- semirhyme: a rhyme with an extra syllable on one word. (bend, ending)
- oblique (or slant): a rhyme with an imperfect match in sound. (green, fiend)
- consonance: matching consonants. (her,
dark)
- half rhyme (or sprung rhyme) is consonance on the final consonants of the
words involved
- assonance: matching vowels. (shake, hate)
- alliteration: matching sounds at the beginnings of words
(short,ship)
It has already been remarked that in a perfect rhyme the last stressed vowel and all following sounds are identical in both
words. If this identity of sound extends further to the left, the rhyme becomes more than perfect. An example of such a
"super-rhyme" is the "identical rhyme", in which not only the vowels but also the onsets of the rhyming syllables are identical,
as in gun and begun. Punning rhymes such are "bare" and "bear" are also identical rhymes. The rhyme may of course
extend even further to the left than the last stressed vowel. If it extends all the way to the beginning of the line, so that we
have two lines that sound identical, then it is called "holorhyme" ("For I scream/For ice cream").
The last type of rhyme is the sight (or eye), or similarity in spelling but not in
sound, as with cough, bough, or love, move. These are not rhymes in the strict sense, but often were
formerly. For example, "sea" and "grey" rhymed in the early eighteenth century, though now they would make at best an eye
rhyme.
The preceding classification has been based on the nature of the rhyme; but we may also classify rhymes according to their
position in the verse:
- tail rhyme (also called end rhyme or rime couée): a rhyme in the final syllable(s) of a verse (the most
common kind)
- When a word at the end of the line rhymes within a word in the interior of the line, it is called an internal rhyme.
- Holorhyme has already been mentioned, by which not just two individual words, but two entire lines rhyme.
A rhyme scheme is the pattern of rhyming lines in a poem.
Rhyme in English
- See English poetry
Old English poetry is mostly alliterative
verse. One of the earliest rhyming poems in English is The Rhyming Poem.
Some words in English, such as "orange" or "pint" or "iron", are commonly regarded as having no rhyme. Although a clever poet
can get around this (for example, by rhyming "orange" with combinations of words like "door hinge" or with far-fetched words like
"Blorenge", a hill in Wales), it is generally easier to move the word out of rhyming position
or replace it with a synonym ("orange" could become "amber").
The most famous brief remarks in English on rhyme are John Milton's preface to
Paradise Lost, which begins
- The Measure is English Heroic Verse without Rime, as that of Homer in Greek, and of Virgil in
Latin; Rime being no necessary Adjunct or true Ornament of Poem or good Verse, in longer Works especially, but the
Invention of a barbarous Age, to set off wretched matter and lame Meeter; grac't indeed since by the use of some famous modern
Poets, carried away by Custom...
Rhymes can also be used in puzzle games. A clue could be given (e.g. plump feline) and one must find a rhyming answer to it
(in this case, fat cat).
Rhyme in French
In French poetry, unlike in English, it is common to have "identical rhymes", in which
not only the vowels of the final syllables of the lines rhyme, but their onset consonants ("consonnes d'appui") as well. To the
ear of someone accustomed to English verse, this often sounds like a very weak rhyme. For example, an English perfect rhyme of
homophones, flour and flower, would seem weak, whereas a French rhyme of homophones doigt and doit is
not only common but quite acceptable.
Rhymes are sometimes classified into the categories "rime pauvre" ("poor rhyme"), "rime suffisante" ("sufficient rhyme"),
"rime riche" ("rich rhyme") and "rime richissime" ("very rich rhyme"), according to the number of rhyming sounds in the two
words. For example to rhyme "parla" with "sauta" would be a poor rhyme (the words have only the vowel in common), to rhyme "pas"
with "bras" a sufficient rhyme (with the vowel and the silent consonant in common), and "tante" with "attente" a rich rhyme (with
the vowel, the onset consonant, and the coda consonant with its mute "e" in common). Authorities disagree, however, on exactly
where to place the boundaries between the categories.
Holorime is an extreme example of rime richissime spanning an entire verse.
Alphonse Allais was a notable exponent of holorime. Here is an example of a holorime
couplet:
- Gall, amant de la Reine, alla (tour magnanime)
- Gallamment de l'Arène à la Tour Magne, à Nîmes.
- Gallus, the Queen's lover, went (a magnanimous gesture)
- Gallantly from the Arena to the Great Tower, at Nîmes.
Classical French rhyme does not differ from English rhyme only in its different treatment of onset consonants. It also treats
coda consonants in a peculiarly French way.
French spelling includes a lot of final letters that are no longer pronounced. Such final sounds, which were once pronounced,
continue to live a shadowy existence in Classical French versification. They are in almost all of the pre-20th century French
verse texts, but these rhyming rules are almost never taken into account from the 20th century on.
The most important "silent" letter is the "mute e". In spoken French today, this silent "e" leads a kind of half-life after
consonants; but in Classical French prosody, it was considered an integral part of the rhyme even when following the vowel.
"Joue" could rhyme with "boue", but not with "trou". Rhyming words ending with this silent "e" were said to make up a "feminine
rhyme", while words not ending with this silent "e" made up a "masculine rhyme". It was a principle of stanza-formation that
masculine and feminine rhymes had to alternate in the stanza. All 17th century French plays in verse alternate masculine and
feminine alexandrine couplets.
The "silent" final consonants present a more complex case. They, too, were considered an integral part of the rhyme, so that
"pont" could rhyme only with "vont" not with "long"; but this cannot be reduced to a simple rule about the spelling, since "pont"
would also rhyme with "rond" even though one word ends in "t" and the other in "d". This is because the correctness of the rhyme
depends not on the spelling on the final consonant, but on how it would have been pronounced. There are a few simple rules that
govern word-final consonants in French prosody:
- The consonants must "rhyme" give or take their voicing. So "d" and "t" rhyme because they differ only in voicing. So
too with "g" and "c", and "p" and "b", and also "s" and "z" (and "x"). (Rhyming words ending with a silent "s" "x" or "z" are
called "plural rhymes".)
- Nasal vowels rhyme no matter what their spelling. ("Essaim" can rhyme with "sain", but not with "saint" because the final "t"
counts in "saint".)
- If the word ends in a consonant cluster, only the final consonant counts. ("Temps" rhymes with "lents" because both end in
"s".)
Rhyme in Hebrew
Ancient Hebrew verse generally did not employ rhyme. However, many Jewish liturgical poems rhyme today, because they were written in
medieval Europe, where rhymes were in vogue.
Rhyme in Portuguese
Portuguese classifies rhymes in the following manner:
- rima pobre (poor rhyme): rhyme between words of the same grammatical
category (e.g. noun with noun) or between very common endings (-ão, -ar);
- rima rica (rich rhyme): rhyme between words of different grammatical classes or with uncommon endings;
- rima preciosa (precious rhyme): rhyme between words with a different morphology, for example estrela (star) with vê-la (to see her);
- rima esdrúxula (odd rhyme): rhyme between proparoxitonic words (example:
última, "last", and vítima, "victim").
Rhyme in Greek
- See Homoioteleuton rhyme
Rhyme in Latin
Rhyme was not used in Latin poetry until it was introduced under the influence of local
vernacular traditions in the early Middle Ages. This is the Latin hymn Dies Irae:
- Dies irae, dies illa
- Solvet saeclum in favilla
- Teste David cum Sybilla
Medieval poetry may mix Latin and vernacular
languages. Mixing languages in verse or rhyming words in different languages is termed macaronic.
Rhyme in Sanskrit
Patterns of rich rhyme (prāsa) play a role in modern Sanskrit poetry, but only to a
minor extent in historical Sanskrit texts; they are classified according to their position within the pada, AdiprAsa (first syllable), Dwitiyakshara prasa (the second syllable),
antyaprAsa (final syllable) etc.
Rhyme in Celtic Languages
- For Welsh See cynghanedd
Rhyming in the Celtic Languages takes a drastically different course from most other
Western rhyming schemes as these languages had only minimal contact with the Romance and Greek patterns. Gaelic languages
(especially Irish Gaelic) do not use rhyming but rather assonance or the rhyming of vowel sounds within non-rhyming words. Often, pieces with true rhyming are
considered awkward to Gaelic speakers, much in the same way many English speakers find the Irish rhyming pattern. Example of
Irish Gaelic rhyme:
Is a Bhríd Óg Ní Mhaille, 's tú d'fhág mo chroí cráite (is a vreej ohg nee wahllya 's two dawg mow xree crawtchah)
Rhyme in Tamil
There are some unique rhyming schemes in Dravidian languages like Tamil. Specifically, the rhyme called
'edukai'(anaphora) rhymes on the beginning of subsequent line of a poem. The effect of
'edukai', though a little strange at first, rapidly becomes pleasant to the reader, and to the Tamil it is as enjoyable as the
end rhyme.
The other rhyme and related patterns are called 'mOnai' (alliteration), 'thodai'
(epiphora) and 'irattai kilavi' (parallelism).
Some classical Tamil poetry forms, such as Venpa, have rigid grammars for rhyme to the point that they could be expressed as a
context-free grammar.
See also
External links
zh-yue:韻文
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