A type of rhyme with stress on the last syllable. The concept of rhyme

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).

Free rhyming is also a separate type.

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 a wonderful moment:

You appeared before me (b),

Like a fleeting vision(s),

Like a genius of 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 this example, the types of rhyme are combined: the first and second lines are adjacent, and the third to sixth lines are 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. 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 different orders. 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 stress.

Rhyme as a regular consonance of the endings of a verse appeared relatively late. In European literature, this happened in the High Middle Ages (the German epic "Song of Ludwig", 9th century, poetry of the troubadours in France and the Minnesingers in Germany, 12th century), in Russia - at the beginning of the 17th century in pre-syllabic verses (see section " Tonic versification", paradise verse). In Latin and Romanesque medieval poetry, rhyme, as an additional rhythmic means of organizing verse, developed from ancient oratorical prose, where it was an important stylistic figure, expressed in the similarity of endings of commensurate segments of speech. Then rhyme spread to Germanic and Slavic literatures along with the syllabic system of versification.

Rhymes, like clauses, are divided into masculine, feminine, dactylic and hyperdactylic. Accordingly, in men's rhymes the stress falls on the first syllable from the end (dela - was, ran in - trembled). IN women's rhymes the stress falls on the second syllable from the end (right - glory, light - poet). IN dactylic rhymes to the third syllable from the end (free - folk, opportunity - caution). In very rare hyperdactylic rhymes the stress is on the fourth syllable from the end onwards (twisted - lost, fettered - enchanting).

Along with traditional rhyming, poets of the 20th century widely use rhyming of various types of clauses: masculine and dactylic (they hit their foreheads on the door - I wouldn’t believe it), dactylic and hyperdactylic (break up with them - inlays), feminine with dactylic (have fun - counterintelligence girl)."

The purpose of any rhyme is to combine verses in pairs or more. Sometimes a single rhyme unites all or several stanzas (monorhyme). Usually in poetry monorhyme was used for satirical purposes. An example is the ironic poems of A. Apukhtin “When, children, you become students...”. But S. Kulish in his poem “The Boy and the Mouse” uses monorhyme to create a tragic image of a German concentration camp:

Boy and mouse

The mouse is silence

Mouse is shhh

You're raving baby

The rustle of rooftops into the distance

Towers along the roofs

Gray mouse

Prison silence...sh...

Usually, when they talk about rhyme, they mean the end consonances of verses. But there can be a rhyme primary, And internal. As a rule, these consonances are irregular and arise unpredictably surrounded by other poems, as, for example, in the poem “Oza” by A. Voznesensky, an ironic paraphrase of the famous “The Raven” by E. Poe, where in one line of poetry there is an initial, internal and ending rhyme:

Oza. Rose, bitch -

How boring are metamorphoses,

Sooner or later...

However, there are poems in which initial and internal rhymes occur regularly in the same verse position. In such cases, the functions of these rhymes should be considered on a par with ordinary end rhymes. A similar technique was used by V. Benediktov in his translation of A. Mitskevich’s ballad “Ambush”:

From the garden gazebo the stern governor,

Gasping, he ran into his castle.

This is his wife's bed. He pulled the curtain: what?

The bed is empty - and the gentleman trembled.

Depending on the consonance of vowels and consonants, rhymes are divided into accurate And inaccurate(the criterion here is not letters, but sounds). If the vowels and consonants that form the rhyming endings basically coincide, then the rhyme will be accurate (vine - thunderstorm, miracle - happy). If consonant consonants are added to such an exact rhyme before the stressed syllable, then it will be called supporting or rich(frosts - roses, threads - sorry), and if one more syllable or more is consonant before the last stressed syllable, then such an exact rhyme will be called deep(swan - single, walking - bag).

There are many deviations from exact rhymes. We refer them to inaccurate rhymes. A special type of imprecise rhyme is truncated rhymes that could become accurate if one of the rhyming words removes part of the ending that is missing from the other (undressing - giving, Antibukashkin - blotters). V. Mayakovsky made extensive use of truncated rhymes: silishchi - textile worker, beehive - coolie, eagles - parliament, stage - appreciate. There were no “forbidden” truncations for him.

The group of imprecise rhymes also includes assonant and dissonant rhymes. Assonances(French) assonance- consonance, from lat. assono- I respond) - these are rhymes where the stressed vowels coincide and the consonants do not coincide: hand - back - order - sovereign. This type of rhyme was common in medieval Romano-Germanic poetry (“The Song of Roland”, Spanish romances). IN dissonant rhymes (French) dissonance- dissonance), on the contrary, the consonants coincide, but the stressed vowels do not coincide: mosques - mechite, saga - god, Martha - myrtle. Dissonant rhymes were sometimes used by I. Severyanin, A. Blok, V. Bryusov, but both dissonances and assonances did not become widespread in Russian poetry.

Functional parts of speech tend to form composite rhymes, adjacent to significant words: where - less often, give - estates, vanity - not those. A compound rhyme can also be composed only of significant parts of speech: a sycophant - not bad for them, it’s time for me - with axes, in a trap I am deserted.

The characteristics of different types of rhymes are related to the method of rhyming. The most common ways of rhyming are adjacent, cross And annular.

With adjacent rhyming, adjacent verses rhyme - the first with the second, the third with the fourth, etc.:

The mermaid swam along the blue river, (a)

Illuminated by the full moon; (A)

And she tried to splash to the moon (b)

Silvery foam waves. (b)

(M. Lermontov)

Adjacent rhyme scheme: aabb (rhyming word endings are indicated by the same letters).

Cross The rhyme assumes the end consonance of the first verse with the third, the second with the fourth:

The fields are compressed, the groves are bare, (a)

Water causes fog and dampness. (b)

Wheel behind the blue mountains (a)

The sun went down quietly. (b)

(S. Yesenin)

Annular called a rhyme in which the first verse rhymes with the fourth, and the second with the third:

As the ocean envelops the globe, (a)

Earthly life is surrounded by dreams; (b)

Night will come - and with sonorous waves (b)

The element hits its shore. (A)

(F. Tyutchev)

Poetry also uses three-fold and multiple-repeated rhymes in a wide variety of combinations and variations. From combinations of paired, cross and ring rhymes, more complex rhyme configurations are formed, but this already relates to the problems of stanza and is discussed in the next paragraph.

Having been mastered by Russian poetry at the beginning of the 17th century, rhyme became one of the main features of a poetic text. And meanwhile, already in the era of the dominance of rhymed verse, experiments were undertaken from time to time rhymeless verse(anacreontics by A. Kantemir, “Tilemakhida” by V. Trediakovsky, poetry by N. Karamzin). Since the 19th century, such experiments in the field of rhymeless verse have become quite regular, and Russian poetry has been enriched with such wonderful masterpieces as translations of the Homeric epic by N. Gnedich and V. Zhukovsky, “Boris Godunov” by A. Pushkin, “Song about ... the merchant Kalashnikov "M. Lermontov, "Who Lives Well in Rus'" by N. Nekrasov, etc. Rhymeless verse began to be combined with rhymed verse.

This form of interpenetration could be very different. For example, the poetic text included blank verse(i.e. a verse that does not have a rhyme pair). Take, for example, Nekrasov’s very famous poem “In Memory of Dobrolyubov,” where the final line does not have a rhyming pair, which creates the illusion of the poem’s incompleteness. Meanwhile, this is a conscious technique of the poet, emphasizing and emotionally strengthening the moment that Dobrolyubov’s life died out too early.

You never gave birth to such a son

And she didn’t take hers back into the depths;

Treasures of spiritual beauty

They were graciously combined...

Mother Nature! when would such people

Sometimes you didn't send to the world,

The field of life would die out...

Poets also used insertions into rhymed poetic texts in the form of extended passages of rhymeless verse (for example, the 18-line song of girls in Eugene Onegin). Poets also resorted to "semi-rhymes". An example here is the famous song based on the words of A. Merzlyakov “Among the flat valley...”, where the author rhymed only the second and fourth verses in each quatrain, and the first and third do not have a rhymed pair.

Gradually, blank verse (as unrhymed verse is usually called) is gaining its own space in poetry, and in a number of lyrical samples it is already presented in a completely pure form. Blank verse penetrates into the elegy (“Once again I visited...” by A. Pushkin), then it is consolidated in lyrical free verse free verse(French) vers libre) - verse that does not have meter and rhyme and differs from prose only by the presence of a given division into verse segments. We find classic examples of free verse in A. Blok ("She came from the cold..."), M. Kuzmin (cycle "Alexandrian Songs"), free verse was developed by V. Soloukhin, E. Vinokurov. Here is an example from “Alexandrian Songs” by M. Kuzmin:

When they say to me: "Alexandria",

I see the white walls of the house,

a small garden with a bed of gillyflowers,

pale sun of an autumn evening

and I hear the sounds of distant flutes.

Poetic lines can be either rhymed or unrhymed. Unrhymed poetry that follows the rules of a particular meter is called in blank verse .

There was tram number ten
Along the boulevard ring.
It sat and stood
One hundred and fifteen people.
(S.V. Mikhalkov)

Blank verse should be distinguished from free verse (free verse) , which has neither rhyme nor meter and differs from prose only by the presence of division into verse segments. A striking example of free verse in Russian poetry is the poem by A.A. Blok “She came from the cold...”.

Rhyme(from the Greek “proportionality”) is a sound repetition in the final syllables of a line. When talking about rhymes, you should keep in mind their sound, pronunciation, and not spelling. Depending on how similar the sounds in rhyming words are, rhymes are divided into accurate and inaccurate.
Exact rhyme - a rhyme in which all sounds (vowels and consonants) coincide (the bush is empty, the waves are full).

And chained by a strange intimacy,
I look behind the dark veil
And I see the enchanted shore
And the enchanted distance
(A. Blok)

Inaccurate - a rhyme in which not all sounds match.

My trusty desk!
Thanks for coming
With me on all paths.
He protected me - like a scar
(M. Tsvetaeva)

Based on the location of stress in rhyming words or combinations of words, rhymes are masculine, feminine and dactylic. IN male rhyme the emphasis falls on last syllable lines.

Wait for me and I will come back.
Just wait a lot.
Wait when they make you sad
Yellow rains...
(K. Simonov)

IN feminine rhyme the emphasis falls on second syllable from end of line.

Their words are stingy and random,
But the eyes are clear and stubborn,
The ancient secrets are revealed to them,
How to build stone temples.
(N. Gumilev)

However, most often in Russian poetry it occurs alternation of female and male rhymes.

Night, street, lantern, pharmacy,
Pointless and dim light.
Live for at least another quarter of a century -
Everything will be like this. There is no outcome.
(A. Blok)

Much less common dactylic rhyme (with emphasis on third syllable from the end of the line).

Crazy nights, sleepless nights,
Speeches are incoherent, eyes are tired...
Nights illuminated by the last fire,
Autumn's dead flowers are belated!
(A. Apukhtin)

If a rhyme ends in a vowel sound, it is called open , and if it’s a consonant – closed .

According to the arrangement of rhymes in the lines of a poem, several types are distinguished rhymes:
1. adjacent , or steam room – adjacent lines rhyme (aabb),

Apparently I can’t wait for freedom,
And prison days are like years;
And the window is high above the ground,
And there is a sentry at the door!
(M. Lermontov)

2. cross – the first and third, second and fourth lines rhyme (abab),

I don't like myself when I'm afraid
It annoys me when innocent people are beaten.
I don't like it when they get into my soul,
Especially when they spit on her
(V. Vysotsky)

3. ring – the first and fourth, second and third lines rhyme (abba)

When sometimes I look at you,
Looking into your eyes with a long gaze:
I'm busy talking mysteriously
But I'm not talking to you with my heart
(M. Lermontov)

If more than two lines rhyme in an adjacent rhyme, then such rhymes are called triple, quadruple And multiple .

It’s night in my huge city.
I’m leaving the sleepy house - away.
And people think: wife, daughter, -
But I remember one thing: night
(M. Tsvetaeva)

If a poem uses only one rhyme throughout, it is called monorim (from the French “one rhyme”).

When, children, are you students,
Don't rack your brains over the moments
Over the Hamlets, Lyres, Kents,
Over kings and over presidents,
Over seas and continents,
Don't mingle with your opponents there,
Be smart with your competitors.
How will you finish the course with issuers?
And you will go into service with patents -
Don't look at the service of assistant professors
And don’t disdain, children, gifts!
Surround yourself with counterparties
Always give compliments
Be clients of the bosses
Comfort their wives with compliments,
Treat old women with peppermints -
They will repay you for this with interest:
They will trim your uniform with braids,
The chest will be decorated with stars and ribbons!..
(A. Apukhtin)

Rhyming is like a game of cubes: you can put two yellow ones next to each other, then two red ones, or alternate them... There are many combinations.

But there are “classical” ways of rhyming that modern poets(with or without quotes) are sometimes forgotten, and some beginning piits may have a very vague idea about these ready-made forms.

So, RHYME- This is the order of alternation of rhymes in a verse.

Since we are talking about rhyming, we cannot do without the concept of “stanza”.

STANZA- a group of poems with a given number of lines and arrangement of rhymes, usually repeated in other similar groups. In most cases, a stanza is a complete syntactic whole.

Types of stanzas: couplet (distich), three-line (terzetto), quatrain (quatrain), five-line, six-line (sextine), seven-line (septima), eight-line (octave). In addition, there are stable forms of stanzas traditionally associated with a certain genre: ballad stanzas, odic stanzas, limericks, etc. A special place is occupied by the one invented by A.S. Pushkin’s Onegin stanza, which, in addition to “Eugene Onegin,” was used, for example, to write the poem by M.Yu. Lermontov "Tambov Treasurer". In the poetry of different peoples there are other types of stable stanzas.

One of the most popular stanzas in Russian poetry is the quatrain. The following rhyme schemes can be used in a quatrain.

1.Adjacent rhyme “AABB”.

So that a comrade carries friendship across the waves, - (A)

We eat a crust of bread - and that in half! (A)

If the wind is an avalanche, and the song is an avalanche, (B)

Half for you and half for me! (IN)

(A. Prokofiev)

2. Cross rhyme "ABAB".

Oh, there are unique words, (A)

Whoever said them - spent too much, (B)

Only blue is inexhaustible (A)

Heavenly and mercy of God. (IN)

(A. Akhmatova)

3. Ring rhyme (covering, encircling) “ABBA”

The hops are already drying up on the mew. (A)

Behind the farmsteads, on the melon fields, (B)

In cool sunlight (B)

Bronze melons are turning red... (A)

(A. Bunin)

4. Idle rhyme- in the stanza, in addition to rhymed lines, there are non-rhymed lines.

Most often, the first and third verses do not rhyme - “АВСВ”. Or, on the contrary, you can leave the second and fourth verses without rhyme - “AVAS”.

N.B. Russian poets borrowed idle rhyme from German poetry in the 19th century. It is known that G. Heine often used just this method of rhyming (his poems were translated into Russian in large quantities at that time). For example:

Curls are raging over her shoulders, (A)

Like rivers of resin. (IN)

From these huge clear eyes (C)

The spirit in man will be occupied. (IN)

So idle rhyme is not at all a drawback of the poem. Read the classics, gentlemen!

In poetry of the 20th century and modern times, such schemes are also not uncommon.

5. Mixed rhyme (free)- a method of alternation and mutual arrangement of rhymes in complex stanzas.

Example of mixed rhyme (AAABAB):

Does the beast roar in the deep forest, (A)

Does the horn blow, does the thunder roar, (A)

Is the maiden behind the hill singing - (A)

For every sound (B)

Your response in empty air (A)

You will give birth suddenly. (IN)

(A.S. Pushkin)

Historically, a number of “solid strophic forms” have developed - stable strophic schemes of poetic texts.

The solid form is an intermediate link between the standard stanza and the genre. This is a special stanza or set of stanzas of a certain size, sometimes with a rhyme order or verse order established by tradition. It is often associated with a specific topic and then approaches a genre. For example, a sonnet can be called both a special type of complex stanza (consisting of simple stanzas) and a genre. Such strophic schemes include: terza, octave, triolet, classical ballad, various types of rondo, limerick (in Europe), rubai, tanka and haiku (in Asia), etc. In Russian poetry, these include the Onegin stanza.

TERZA RIMA- a series of tercets with rhyme ABA BCB CDC...(Dante’s “The Divine Comedy”).

Having completed half of my earthly life, (A)

I found myself in a dark forest, (B)

Having lost the right path in the darkness of the valley. (A)

What was he like, oh, how will I pronounce it, (B)

That wild forest, dense and threatening, (C)

Whose old horror I carry in my memory! (IN)

He is so bitter that death is almost sweeter. (WITH)

But, having found the good in it forever, (D)

I’ll tell you about everything I saw in this thicket... (C)

(A. Dante)

RUBAI- quatrain with rhyme scheme AABA:

There is a baby in the cradle, a dead man in a coffin: (A)

That's all that is known about our fate. (A)

Drink the cup to the bottom and don't ask too much: (B)

The master will not reveal the secret to the slave. (A)

(Omar Khayyam)

LIMERICK-pentament, most often written in anapest (less often - amphibrachium or dactyl), with the rhyme AABBA. In limericks 3 and 4, verses have fewer feet than verses 1, 2, and 5.

Once upon a time there lived an old man at the pier,

Whose life was depressing.

They gave him some salad

And they played a sonata,

And he felt a little better.

OCTAVE- stanza of 8 lines with rhyme ABABABCC:

Obol to Charon: I immediately pay tribute to tears (A)

To my enemies. - In reckless courage (B)

I want to write a novel in octaves. (A)

From their harmony, from their wonderful music (B)

I'm crazy; I will conclude the poem (A)

Measures are difficult within the cramped boundaries. (IN)

Let's try, at least our language is free (C)

I'm not used to triple octave chains. (WITH)

(D.S. Merezhkovsky)

TRIOLET-octet with the rhyme ABAA ABAB, where verses A and B are repeated as refrains.

Oh, my quick youth, (B)

One complete misconception! (A)

You flashed by like a vision (A)

And I am left with regret, (A)

And the late wisdom of the serpent. (IN)

You flashed by like a vision,— (A)

Oh, my quick youth! (IN)

(K. Balmont)

SONNET- a poem of 14 lines in the form of a complex stanza, consisting of two quatrains (quatrains) with 2 rhymes and two tercets (tercets) with 3, less often - 2 rhymes. Rhyme schemes: in the "French" sequence - ABBA ABBA CCD EED (or CCD EDE) or in the "Italian" - ABAB ABAB CDC DCD (or CDE CDE). A “Shakespearean sonnet,” or a sonnet with an “English” rhyme, is constructed according to the following scheme: ABAB CDCD EFEF GG (three quatrains and a final couplet).

For example: “You see a beautiful face in the mirror...” (W. Shakespeare).

ONEGIN STROPHA- a solid form in Russian lyric-epic poetry, first introduced into it by A.S. Pushkin in the novel “Eugene Onegin”. The stanza consists of 14 verses, united by a constant rhyme AB AB CCDD EFF EGG.

A few more common types of rhyme.

MONORIM- a verse built on one rhyme - monorhyme (AAAA, AA-BB-SS...), rare in European poetry, but widespread in classical poetry of the Near and Middle East. Monorhymes include: ghazal, qasida, mesnevi, fard... Example of fard:

Then just put your word into action,

When you are sure that it will be useful.

PANTORHYMMA (pantorim)- a verse in which all the words rhyme with each other.

The bold run is intoxicating,

White snow is blowing,

They cut the noise and silence,

Nice thoughts about spring.

(V. Bryusov)

RHYME 4+4 ("square rhyme")-rhyming of two quatrains according to the scheme: ABCD ABCD

And then summer said goodbye

With a stop. Taking off my hat,

One hundred blinding photographs -