The concepts of rhyme and rhyme should be differentiated. If the first is the consonance of the endings of two words, then the second is the order of alternating rhymes in the verse. Accordingly, rhyme is a broader concept than rhyme.
Types of Rhymes
The rhyming methods in versification are based on several types of rhymes. So, in terms of quality and number of matches, syllables of rhyme are usually divided into exact and inaccurate. According to the specifics of stress, it’s male (accent on the last vowel), female (accent on the penultimate vowel), dactyl and hyperdactyl (emphasis on the 3rd and 4th vowel from the end). If the strings, in addition to the vowel, match the pre-stressed (reference) consonant sound, then such a rhyme is defined as rich. If not, the rhyme is called poor.
Types of rhyme
There are three main types of rhyme in versification:
- adjacent (steam room),
- cross (alternating),
- ring (encircling, covering).
Also a separate view is a free rhyme.
An adjacent (paired) view implies the successive harmony of adjacent lines - the first line rhymes with the second, third, respectively, fourth, fifth and sixth, etc. All types of rhyme in a poem can be arbitrarily designated as a diagram. So, an adjoining view is referred to as aabb. Example:
“Only now there is no tear (a) -
Light is made differently (a).
And the harmonica sings (b)
That the freemen (b) disappeared. ”
(S. A. Yesenin).
A special case of adjacent rhyming is the alternation of rhymes according to the "aaaa" scheme.
Cross (alternate) rhyme is formed by alternating rhyming strings - the first rhymes with the third, the second with the fourth, the fifth with the seventh, etc. This is a type of rhyme "abab":
“I remember a wonderful moment (s):
Before you appeared (b)
Like fleeting vision (a)
Like a genius of pure beauty (b) "
(A.S. Pushkin).
The ring (encircling, covering) type of rhyme is constructed 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 two previous ones:
“We are not drunk, we seem sober (a)
And, probably, we are truly poets (b).
When, sprinkling strange sonnets (b),
We speak over time with “You” (a).
(I.A. Brodsky).
Free types of rhyming occur when there is no pattern in the alternation of rhymes:
"The fence was stolen
Taned grapes (a)
Sparrows pecked (b),
Nodding sleeveless effigies (in),
But, the rustling of bunches interrupting (b),
Some rumble of measures also tormented ”(c).
(B.L. Pasternak).
Accordingly, in this example, the types of rhyme are combined: the first and second lines are the adjacent form, from the third to the sixth are cross.
Rhyme and one-piece stanza
An integral stanza implies the presence of at least one pair for each rhyme. This ensures the indivisibility of the general body of a given stanza - it cannot be divided into smaller whole stanzas that have their own complete rhyme.
Depending on the number of rhymes that make up the verse, monostic, distich, tercet, quatrain, pentet, etc. forms are distinguished. A monostich cannot be an integral stanza, since one line does not rhyme with anything (even if it contains an inner rhyme). Distich is built according to the scheme "aa", having, respectively, one rhyme for an entire stanza. Also, one rhyme has a tercet - scheme "aaa". At the same time, the tercet cannot be divided, since with any division we get at least one monostix, which is not an integral stanza.
The quatrain includes rhyming such as ring ("abba") and cross ("abab"). In the case of adjacent rhyme ("aabb"), the verse is divided into two independent distichs, each of which will be an integral stanza. Pentet, in turn, combines six rhymes of a single stanza.
Free and free verse
One should distinguish between the free form of rhyme and the free form of a verse, since these are not the same thing. Free forms of rhyme in the poem forms the so-called. free verse - a form of versification with changing types of rhyme. That is, the strings rhyme in a different order. The free verse (it's white), in principle, does not use rhyme:
“Listen (a)!
After all, if the stars light (b) -
So does anyone need this (in)?
So someone wants them to be (g)? ”
(V.V. Mayakovsky).
Moreover, a free verse cannot be equated with prose on the principle: since there is no rhyme, then how does this differ from, for example, a regular newspaper ad? One of the differences between white verse and prose is the tendency to recite, which distinguishes a poetic text from a prosaic one. This tendency is created due to specific emotionality, special mood of the poetic text, which does not accept monotonous reading. The second significant difference of a free verse is its rhythm, which is formed due to a certain equalization of the number of syllables and stresses.