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Rhyme. Ways of rhyming

The word "rhyme" has a complex etymology. It goes back to the Old French concept, which means "consistency". But, perhaps, the French word itself is a distorted borrowing from Latin, and the Latin lexeme, in its turn, goes back to the ancient Greek language.

Modern schoolchildren get acquainted with such concepts as rhyme, ways of rhyming, however this verse theme is much richer, and in general many of its questions are accessible and interesting for the pupil of the school.

From the history of rhyme

In any case, the original meaning of the term was not the same as now. It was not about the phonetic similarity of the end of the poetic lines, but about the rhythmic order. It could not be otherwise, since ancient poetry was not rhymed in principle, the methods of rhyming there appeared only spontaneously, for example, they often slipped in the poetry of Catullus.

But before the theoretical understanding and, accordingly, to the requirements of rhyme was still very far. Poetry, including Russian, came to rhyme gradually, gradually increasing the number of rhymed lines.

Rhyme in modern Russian poetry

Today, rhyme is an acknowledged attribute of poetic speech, although in poetry, especially in Western Europe, the reverse tendency is also clear: the rejection of a rhymed verse. It is difficult to predict how powerful it will be if we consider that today we are witnessing the struggle of supporters and opponents of the "classical" rhymed verse.

In modern Russian poetry, it still dominates, both classical and modified ways of rhyming are used, and in the literary heritage of past centuries in quantitative terms the advantage of verse with rhymes over white was overwhelming.

Criteria for the evaluation of rhyme

When talking about rhyme, you should avoid several common mistakes. First, it is necessary to abandon such a negative definition as "bad rhyme". By itself, it is neither good nor bad, it all depends on the tasks of the poem and the contexts of culture. For example, in the 18th century Trediakovsky demanded from the poets exclusively feminine rhymes (emphasis on the penultimate syllable in the line), and male rhymes (accent on the last syllable) considered a sign of bad taste.

Today this criterion does not work, to put it mildly, and the clause, as well as a formal assessment of which rhyming methods are used by the author, is not a determining parameter, the main attention is paid to the depth of the work.

At the end of the XVIII century "good" almost exclusively grammatical rhymes were considered, that is, only the same parts of speech and grammatical forms were used. And today many poets tend to avoid this as a sign of a poor poetic dictionary. This, by the way, is also a mistake, because in a number of cases it is the ordinariness of rhyme that is a necessary condition of the aesthetic effect. For example, in children's poetry unexpected and spectacular combinations are most often not needed, the child's consciousness to their perception is not ready, he feels easier standard and simple ways. And this applies not only to children's poetry.

In the famous ballad of A. Akhmatova "The Gray-Eyed King", the tragedy of losing a loved one is shaded by the everydayness of everything that is happening. And here it's not only the actions and reactions of others that are important, but also the standard grammatical rhymes (found - gone, wake up - I'll see, etc.) and ways of rhyming.

Mayakovsky, however, insisted that the rhyme should be unexpected, attract the attention of the reader, but this is not an absolute requirement. This is true of the poetry of Mayakovsky himself and his like-minded people, who have a very strong constructivist principle in verse, respectively, the role of deliberate reception increases.

But in relation to poetry as a whole, this thesis is erroneous. Everything depends on the artistic task. For example, the method of rhyming "Dissuaded the golden grove" of S. Yesenin is traditional, it is a classic cross rhyme, the first and third lines are female, and the second and fourth are male.

And in general the poem does not have any bright rhymes. But it is an undeniable poetic masterpiece.

The boundaries of the feeling of rhyme

In Russian cultural perception, rhyme is recognized, as a rule, when the last stressed vowel and the consonant standing next to it coincide. In the English and German tradition, there is enough of a stressed vowel. That is, we do not consider the words "window" and "bucket" to be rhyming, for example, but we perceive as a "window-stain" rhyme or "Okon-Vedrov" surnames. However, in real poetry there are also much more complicated cases of matching the endings of the lines. For example, a poet can use a dissonant rhyme when the coincidences of the endings of the lines are not accidental, but the last percussion vowel is just different. This, for example, is the ironic poem by A. Chebyshev with the characteristic title "Dissonance", which clearly indicates the nonrandomness of the reception:

Kohl will roll on you repentance,

Especially when the full moon -

There will be redemption for you,

And a great despondency will come.

The whole wife will immediately be petted,

Her breasts are tingled with tears.

From insomnia books are flooded ...

Even the seeds will be zazlzgany.

And then you will thaw out your soul,

Although, of course, pretty risky,

Because, perhaps, sweat,

And you will have an angina.

Is it possible to call this poem rhymed? From the point of view of the standard definition of rhyme - no, because the criteria for rhyme are violated. From the point of view of "kraesoglasiya", as it used to be called rhyme, - undoubtedly, because we have before us a clearly thought-out method of non-random uniformity of the endings of lines.

Clauses

In general, according to the accepted "standard" of classification, rhymes are usually described for different reasons. First, by the nature of the clause (the end of the line). In other words, by where the last stress is. If the last position, the rhyme is called the male (again - the blood), if on the penultimate - the female (the narratives are the swans), if on the third syllable from the end - dactylic (coldly - gently). Very rarely, but there are also so-called hyperdactylic rhymes, when the last stress is located on the fourth and later syllable from the end (fettering - fascinating).

Position in stanza

It is about the position in the stanza that the students are mainly told in class during the study of the theme "Rhyme. The methods of rhyme ". 5 grade of secondary school involves not only introductory, but also practical lessons.

By position in the stanza (most often we are talking about quatrains), the rhyme can be continuous (AAAA), cross (ABAW) - the cross mode of rhyme is the most visible from the point of view of practical exercises on rhyme analysis, steam (AABB) and annular (ABBA).

In more complex stanzas, other combinations of rhymes are possible, for example, the classical construction of the octave stanza will look like this: ABAVAVSS.

Other grounds for classification

Often rhymes are classified for other reasons (phonetically rich, that is sonorous, and phonetically poor, exact and approximate, monosyllabic and compound, that is, composed of a combination of two words, for example, "from age to hundred to grow without old age").

There is no single mandatory criterion for classifying rhymes, only the most popular grounds are described here.

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