It is necessary to differentiate the concepts of rhyme and rhyme. If the first is the consonance of the endings of two words, then the second represents the order of alternation of rhymes in the verse. Accordingly, rhyme is a broader concept than rhyme.
Types of rhymes
In versification they rely on several types of rhymes. Thus, according to the quality and quantity of matches of syllables, rhymes are usually divided into accurate and inaccurate. According to the specificity of the stress - masculine (stress on the last feminine sound (stress on the penultimate vowel sound), dactylic and hyperdactylic (stress on the 3rd and 4th vowel sound from the end). If the lines, in addition to the vowel, coincide in the pre-stress (support) then such a rhyme is defined as rich. If this is not the case, the rhyme is called poor.
Types of rhyme
There are three main types of rhyming in versification:
- adjacent (pair room),
- cross (alternating),
- ring (encircling, enveloping).
Also separate species represents free rhyme.
The adjacent (paired) type implies alternate consonance of adjacent lines - the first line rhymes with the second, the third, respectively, with the fourth, the fifth with the sixth, etc. All types of rhyme in a poem can be conventionally designated in the form of a diagram. Thus, an adjacent species is designated as “aabb”. Example:
“Only there is no rubbish these days (a) -
The light(s) are made differently.
And the harmonica sings (b),
That the freemen disappeared (b).”
(S. A. Yesenin).
A special case of adjacent rhyme is the alternation of rhymes according to the “aaaa” pattern.
Cross (alternating) rhyme is formed by alternating rhyming lines - the first rhymes with the third, the second with the fourth, the fifth with the seventh, etc. rhyming "abab":
"I remember wonderful moment(A):
You appeared before me (b),
Like a fleeting vision(s),
Like a genius pure beauty(b)"
(A.S. Pushkin).
The ring (encircling, enveloping) type of rhyme is built according to the “abba” scheme. Accordingly, the first and fourth lines, as well as the second and third, rhyme. This type of versification is less common than the previous two:
“We are not drunk, we seem to be sober (eh)
And, probably, we really are poets (b).
When, sprinkling strange sonnets (b),
We speak with time using “you” (a).
(I. A. Brodsky).
Free types of rhyme occur when there is no pattern in the alternation of rhymes:
“A horse thief was sneaking through the fence,
The grapes were covered in tan,
Sparrows pecked at the brushes (b),
They nodded the sleeveless stuffed animals (in),
But, interrupting the rustle of the grapes (b),
Some kind of rumble was tormenting” (c).
(B. L. Pasternak).
Accordingly, in in this example types of rhyme are combined: the first and second lines are adjacent, from the third to sixth - cross.
Rhyme and whole stanza
A complete stanza implies the presence of at least one pair for each rhyme. This ensures the indivisibility of the overall body of a given stanza - it cannot be divided into smaller integral stanzas that have their own completed rhyme.
Depending on the number of rhymes forming a verse, the forms of monostich, distich, terzetto, quatrain, pentet, etc. are distinguished. A monostich cannot be a whole stanza, since one line does not rhyme with anything (even if it contains an internal rhyme). The distich is built according to the “aa” pattern, having, accordingly, one rhyme for the whole stanza. Also, the terzetto has one rhyme scheme - the “aaa” scheme. In this case, the terzetto cannot be divided, since with any division we get at least one monostych, which is not a whole stanza.
The quatrain includes such types of rhyme as ring rhyme ("abba") and cross rhyme ("abab"). In the case of adjacent rhyme (“aabb”), the verse is divided into two independent distichs, each of which will be an entire stanza. The pentet, in turn, combines six rhymes of an entire stanza.
Free and free verse
It is necessary to distinguish between the free form of rhyme and the free form of verse, since they are not the same thing. Free types of rhyme in a poem are formed by the so-called. free verse is a form of versification with changing types of rhyme. That is, the lines rhyme in in different order. Free verse (aka white), in principle, does not use rhyme:
“Listen!
After all, if the stars light up (b) -
So does anyone need this?
So someone wants them to be (d)?”
(V.V. Mayakovsky).
At the same time, free verse cannot be equated to prose according to the principle: since there is no rhyme, then how does it differ from, for example, an ordinary newspaper advertisement? One of the differences from prose is the tendency towards recitation, which distinguishes a poetic text from a prose text. This tendency is created due to the specific emotionality, the special mood of the poetic text, which does not accept monotonous reading. The second significant difference between free verse is its rhythm, which is formed due to a certain alignment of the number of syllables and stresses.
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 my lap and cry. (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 exact rhyme the repeated sounds are the same (color - light), but in the inaccurate sounds they 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 in this way?
Swamps and swamps,
Blue circuit board 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 new spring. (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 can be heard.The schema-monk-wind steps cautiously
Crumples leaves along road ledgesAnd 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 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)
Or to the stanza. However, I believe that it is worth highlighting them separately so that novice poets do not have a mess in their heads. Still, they relate more to the interior than to the internal one. Moreover, it is rhyme systems form the basis of the strophic structure of poetry.
Graphically, rhyming systems are represented as follows: aabb, abab, ababvv etc. Letter symbols represent rhymes. This is very useful for understanding the rhyme scheme of a particular poem. For example, the rhyme scheme of I. Annensky’s “Autumn Romance” can be written as follows: abab:
I look at you indifferently, - and
But I can’t stop the longing in my heart... - b
Today it’s oppressively stuffy, and
But the sun is hidden in the smoke. – b
The most common rhyme schemes(there are three of them) have their own names:
– Adjacent (also called sequential or parallel) - rhyming, adjacent verses: the first with the second, the third with the quarter (aabb). This is the most obvious rhyming system and has been especially popular throughout time. Almost all rhymed epics are written using a contiguous rhyme system. The famous poem “Mtsyri” by M.Yu. was written in the same verses. Lermontov. An example from the work of Sergei Yesenin:
The scarlet light of dawn was woven on the lake,
On the forest, wood grouse are crying with ringing sounds.
An oriole is crying somewhere, burying itself in a hollow.
Only I don’t cry – my soul is light.
It seems to be enjoyed adjacent rhymes– as simple as shelling pears, but this feeling is deceptive. A short line, which is most often used in adjacent rhyming, the proximity of rhyming lines requires the poet to master the technique. He needs not only to select the rhyme as accurately as possible (imprecise rhymes, as a rule, do not sound), but also to formulate his thought in the small space of the line so that it does not sound artificial.
– Ring (encircling or enveloping) - rhyme the first verse with the fourth, the second with the third (abba):
There are subtle power connections
Between the contour and the smell of a flower.
So the diamond is invisible to us until
Under the edges it will not come to life in a diamond.
V. Bryusov. Sonnet to Form
Somewhat more a complex system rhyming rather than adjacent. The second and third rhyming lines slightly obscure the rhyme of the first and fourth lines, “smearing” it. But such a rhyming system is very convenient to use, for example, when describing conflicting feelings, since the second and third lines seem to be spoken quickly and have more pronounced dynamics than the first and fourth encircling rhymes.
– Cross - rhyme the first verse with the third, the second with the fourth (abab). The most popular and most rhythmically flexible rhyming system. It is somewhat more complex than poems with adjacent rhymes, but simpler than those with a ring rhyme. There are many examples of such a rhyme system. One of them is the textbook Tyutchev quatrain:
I love the storm in early May,
When the first thunder of spring
As if frolicking and playing,
Rumbling in the blue sky.
– Some literary scholars also highlight interlaced (or mixed) rhyme system. This is the general name for all other rhyme systems (for example, the Onegin stanza) and their modifications, as well as sonnets and other solid forms. For example, the scheme of the English sonnet is as follows: abab vgvg dede zhzh, a variant of the French sonnet: abba abba vvg ddg, the scheme of rubai - aaba, etc.
Violanta for my misfortune
The sonnet was ordered, and with it there was trouble:
there are fourteen lines in it, according to the docs
(of which, it’s true, three are already in a row).
What if I can’t find the exact rhyme,
composing the lines in the second quatrain!
And yet, no matter how cruel the quatrains are,
Lord knows I get along with them!
And here comes the first terzetto!
A wire is inappropriate in a terzetto,
wait, where is he? The cold is gone!
Second terzetto, twelfth line.
And thirteen times were born into the world -
then there are now fourteen of them all, period!
Lope de Vega. Sonnet about a sonnet
Rhyme scheme of this sonnet is: Abba Abba VGV GVG.
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, the through rhyme aaaa.
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 examines in detail the question of what rhymes exist and how they are used.
Types of rhyme
The word "rhyme" translated from Greek means "proportionality." Rhyme is a compositional and sound repetition that sounds at the end of several verses. Rhymes can be divided into various groups by their forms and position in the poem.
Depending on the position, in a rhyming word there are the following types rhymes:
- Masculine - in them the emphasis is on the last syllable, this is the simplest type of rhyme (for example: “my-family”, “pineapple-bass-face”, “board-longing”).
- Feminine rhymes - 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 syllable third from the end (for example: “asking-rushing”, “bone-cane”, “drunkard-stretching”).
If the rhyme ends with a vowel sound, it will be open, if it ends with 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-towards”, “Kinga-book”.
- Accurate. They coincide with the last stressed vowel and the sounds that follow it, for example, “breathes-hears-writes”, “handle again”.
- Poor;
- Rich;
- Dissonances;
- Assonances;
- Tautological;
- Composite;
- Multi-impact;
- Unequally complex.
According to their position in the poem there are following types rhymes:
- Primary;
- Final;
- Internal.
According to the position of the rhymes in the stanza:
- Adjacent. Adjacent verses rhyme, the first with the second, the third with the fourth. If you designate lines with letters, then the same lines will be designated as rhyming lines. You can write adjacent ones like this: AABB.
- Cross. The first verse rhymes with the third, the second with the fourth. ABAB.
- Girded or enveloping. The first verse rhymes with the fourth, and the second with the third. ABBA.
- Woven. She has a lot different schemes. So, in general, they are called complex species rhymes, for example, ABBABV or ABVVBA and so on.
Rhyming Techniques
There are rhymes of parts of speech, for example:
- noun-verb: "the abyss-disappears";
- verb-adverb: “has become a lot”;
- noun-adjective: "iron abyss";
- noun-adverb: "window-late";
- noun-numeral: "twice-thirsty";
- noun-preposition: "forest-without";
- conjunction-noun: "nor-days";
- pronoun-adjective: "them-earthly";
- numeral-adjective: “one-unsociable.”
One more thing needs to be said about such a rhyming technique as truncated rhyme. This is when, when two words rhyme at the end of verses, one of them does not completely cover the consonances of the other. For example, “dull-strength”, “beautiful-clear”.
Poems that have no rhyme at all are called white, and imprecise rhymes are called rhymes.
Mayakovsky's rhyme
It occupies a special place in Russian language technology. Mayakovsky discovered new methods of rhyming that 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 the rhyme should return to the previous line, force it to be remembered. 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, at all costs, came up with a rhyme for it. That is why his rhyming was almost always unusual, in any case, it had not been used anywhere before.
Now you know what rhymes are in poetry, and you can try to write them yourself. We wish you good luck in your creativity!