Monosyllabic rhymes (or masculine) rhymes from words in which the stressed syllable is the last.
Two-syllable rhymes (or feminine) rhymes from words with stress on the second syllable from the end.
Three-syllable rhymes (or dactyllic) - rhymes from words with stress on the third syllable from the end.
Four-syllable rhymes (or hyperdactylic) - rhymes from words with stress on the fourth syllable from the end.
Five-syllable rhymes (or hyperdactylic) - rhymes from words with stress on the fifth syllable from the end.
Six-syllable rhymes (or superhyperdactylic) - rhymes from words with an accent on the sixth syllable from the end.
Seven-syllable rhymes (or superhyperdactylic) - rhymes from words with an accent on the seventh syllable from the end.
Eight-syllable rhymes (or superhyperdactylic) - consisting of words with an accent on the eighth syllable from the end.
Nine-syllable rhymes (or superhyperdactylic) - consisting of words with an accent on the ninth syllable from the end.

Other types of rhymes:

Vowel rhymes are monosyllabic (masculine) rhymes with the stress on the last sound, where the last stressed vowel is preceded by a vowel sound, the "y" sound, or a soft sign.
Consonant rhymes - a kind of final rhymes, consisting of words with an accent on the last sound. In consonant rhymes, the last stressed vowel is preceded only by a consonant sound, which is the main one and carries the main load in the rhyme.
Women's rhymes - rhymes from words with stress on the second syllable from the end. Same as two-syllable rhymes.
Ring rhymes - rhyming according to the ABBA principle. The same as encircling rhymes.
Belted, Belted, Covering rhymes - rhyming according to the ABBA principle. Same as ring rhymes.
Closed rhymes are rhymes that end in a consonant.
Open rhymes - rhymes from words ending in vowels.
Male rhymes - rhymes from words in which the stressed syllable is the last. The same as Monosyllabic rhymes.
Cross rhymes - ABAB rhyming.
Mixed rhymes - a kind of rhyme according to the relative position in the verses.
It is formed with a mixed method of rhyming in complex stanzas.
Compound rhymes - rhymes involving conjunctions, particles, pronouns and service parts of speech:
ka, well, whether, le, then, I, you, he, after all, only, really, you, we, them, etc. Compound rhymes can be both exact and approximate.
Butt rhymes - a kind of rhyme according to the position in the verse; the end of one verse rhymed with the beginning of the next.
Superhyperdactylic rhymes - the second name for all six-, seven-, eight- and nine-syllable rhymes; rhymes from words with an accent on the sixth, seventh, eighth or ninth syllable from the end. Unlike hyperdactylic ones, they are not used in versification.
Tautological rhymes are epiphora; the word rhymes with itself.
Hard-soft rhymes are rhymes in which a soft consonant is opposed to a hard one.
Exact rhymes - the general name of rhymes with full correspondence of post-stress endings in words. Unlike graphic rhymes, both graphic and sound similarities are implied.
Triple rhymes - rhymes from three consonant words in complex stanzas.
Truncated rhymes are basic equally complex rhymes in which the passive word ends in a consonant (or two), and the active word ends in a vowel.
Settled rhymes are often used bundles of words that are not quite similar in sound.
Single rhymes - a kind of rhyme according to the relative position in the verse. It is formed with an idle rhyming method, in which some verses (most often the first and third in a quatrain. The rhyming scheme is ABCB) do not rhyme. Thus, the conditional concept of "idle rhyme" should be understood as its partial absence within the stanza.
Quarter rhymes - rhymes of four consonant words in a stanza.

Rhyme (ancient Greek υθμς “dimension, rhythm”) is a consonance at the end of two or more words, the ends of verses (or half-verses, the so-called internal rhyme), marking their boundaries and connecting them with each other. Rhyme helps the reader to feel the intonational articulation of speech and forces them to correlate the meaning of those verses that it unites.

Developed from the natural consonances of syntactic parallelism; in European poetry it has been common since the 10th-12th centuries.

It should be noted that rhyme is not the only sign of the completeness of the rhythm; due to the presence of a strong pause, final stress and clause, the end of the line (as a rhythmic unit) is determined even without rhyme, for example:

"Four unfaithful kings
Don Rodrigo won
And they called him Sid
Defeated Tsars" (Zhukovsky).

But the presence of rhyme emphasizes and enhances this completeness, and in verses of a freer rhythmic structure, where the commensurability of rhythmic units is expressed with less distinctness (the lines are different in the number of syllables, places of stress, etc.), the rhythmic meaning of R. appears with the greatest distinctness ( in free and free verse, in raeshnik, etc.)

It is most commonly used 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 rather, the character of consonance necessary for a pair of words or phrases to be read as rhyme—is different in different languages and at different times.

Types of rhymes

By syllable volume rhymes are divided into:

• masculine (stress on the last syllable),
• feminine (stress on the penultimate syllable from the end),
• dactylic (stress on the third syllable from the end),
• hyperdactylic (stress on the fourth syllable from the end).
• If a rhyme ends in a vowel, it is called open; if it ends in a consonant, it is called closed.

By the nature of the sound(accuracy of consonances) rhymes are distinguished:

• accurate and approximate
• rich and poor,
• assonances, dissonances,
• composite,
• tautological,
• unequal,
• multi-shock.

By position in verse rhymes are:

• final,
• initial,
• internal;

By position in the stanza:

• adjacent,
• cross
• covering (or belted)

With regard to the multiplicity of repetitions, rhymes are paired, triple, quadruple and multiple.

Poems without rhyme are called white, inexact rhymes - "rhymes".

There are also the following poetic devices and terms for them:

• Pantorhyme - all words in the line and in the next one rhyme with each other (for example, the 1st, 2nd and 3rd words of two lines rhyme, respectively)
• through rhyme - a rhyme that runs through the entire work (for example - one rhyme in each line)
• echo rhyme - the second line consists of one word or short phrase, rhymed with the first line.

Rhyme examples

Men's- rhyme with stress on the last syllable in the line:

Both the sea and the storm rocked our boat;
I, sleepy, was betrayed by every whim of the waves.
Two infinities were in me,
And they arbitrarily played with me.

Women's- with stress on the penultimate syllable in the line:

Quiet night, late summer
How the stars shine in the sky
As under their gloomy light
Dormant fields are ripening.

Dactylic- with stress on the third syllable from the end of the line, which repeats the dactyl pattern - -_ _ (stressed, unstressed, unstressed), which, in fact, is the reason for the name of this rhyme:

A girl in a field with a willow pipe,
Why did you hurt the spring branch?
She cries at her lips like a morning oriole,
Crying more bitterly and more and more inconsolably.

Hyperdactylic- with stress on the fourth and subsequent syllables from the end of the line. This rhyme is very rare in practice. It appeared in the works of oral folklore, where the size as such is not always visible. An example of such a rhyme sounds like this:

Goblin scratches his beard,
The stick is hewn gloomily.

Exact and approximate rhymes

AT exact sufficient rhyme match:

• a) last stressed vowel
• b) sounds starting from the last stressed vowel.

In exact rhyme a rhyme like "writes - hears - breathes" (Okudzhava) is also considered. The so-called. iotized rhymes: "Tani - spells" (ASP), "again - a handle" (Firnven).

An example of a stanza with exact rhymes (it is the sounds that match, not the letters):

It's nice, squeezing a katana,
Turn the enemy into a vinaigrette.
Katana - the dream of a samurai
But better than her - a gun. (Gareth)

AT inaccurate rhyme not all sounds coincide, starting from the last stressed vowel: "towards - cutting", or "book - King" by Medvedev. There can be much more imprecise rhymes than precise ones, and they can greatly decorate and diversify a verse.

Rich and poor rhymes

rich rhymes, in which the reference consonant sound coincides. An example is the lines from A. S. Pushkin's poem "To Chaadaev":

Love, hope, quiet glory
The deceit did not live long for us,
Gone are the funs of youth
Like a dream, like a morning mist.

In poor rhymes, stressed sounds and a stressed vowel partially coincide.

Assonances, dissonances

• assonant rhymes in which the vowel stressed sound coincides, but the consonants do not.
• dissonant (consonant) rhymes, where, on the contrary, stressed vowels do not match:

It was

Socialism -

awesome word!

With a flag

With a song

stood on the left

And herself

On the heads

glory descended

• Compound rhymes, where the rhyming pair consists of three or more words, as in lines 2 and 4 of N. S. Gumilyov:

You will take me in your arms
And you, I will hug you
I love you prince of fire
I want and wait for a kiss.

tautological rhyme - repetition of the same words: "curtained the window - look in the window again" - Blok).

truncated rhyme- a rhyming technique, when one of the words rhyming at the end of the verse does not completely cover the consonances of another word. In Russian classical verse U. r. a rhyme with a truncation of the sound “th” (short “and”) is considered:

So what? The sad God believed.
Cupid jumped for joy
And in front of his eyes with all his strength
I tightened the new one for my brother.

Poetry of the 20th century truncated rhyme is sometimes called uneven rhyming:

Whistle in an undertone aria,
Drunk with brilliance and noise, -
Here on the night sidewalk
She is a free bird!
Childishly playing with a curl,
Curly boldly to the eyes,
Then he suddenly leans towards the windows,
Looks at the rainbow junk.

(V. Bryusov)

In nonequisyllabic rhymes, the stressed part has a different number of syllables (externally - pearls).

AT multi-stressed rhymes the sounds of rhymed words coincide, but the stressed vowels occupy different positions in them (about glasses - butterflies).

• Ioted rhyme is one of the widespread examples of a truncated rhyme; so in it, as the name implies, the sound "y" becomes an additional consonant sound. This type of rhyme is used in this poem by A. S. Pushkin in lines 1 and 3:

Clouds are rushing, clouds are winding;
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy ...

Types of rhyming

ring(girdle or enveloping) rhyme abba,

adjacent(pair) rhyme aabb,

cross rhyme abab and, more rarely, through rhyme aaaa.

Adjacent- rhyming of adjacent verses: the first with the second, the third with the fourth (aabb) (the endings of the verses that rhyme with each other are indicated by the same letters).

This is the most common and obvious rhyming system. This method is subject even to children in kindergarten and has an advantage in the selection of rhymes (an associative pair appears in the mind immediately, it is not clogged with intermediate lines). Such stanzas have greater dynamics, the fastest pace of reading.

Weaved on the lake the scarlet light of dawn,
Capercaillie are crying in the forest with bells.
An oriole is crying somewhere, hiding in a hollow.
Only I don’t cry - my heart is light.

The next way is cross rhyming- also appealed to a large number of the writing public.

Cross - rhyming of the first verse with the third, the second - with the fourth (abab).

Although the scheme of such a rhyme seems to be a little more complicated, it is more flexible in terms of rhythm and allows you to better convey the necessary mood. Yes, and such verses are easier to learn - the first pair of lines, as it were, pulls out of memory the second pair that rhymes with it (while with the previous method everything breaks up into separate couplets).

I love the storm in early May,
When the first spring thunder
As if frolicking and playing,
Rumbles in the blue sky.

The third way - ring(in other sources - belted, embracing) - already has a smaller representation in the total mass of poems.

Ring (belted, embracing) - the first verse - with the fourth, and the second - with the third. (abba)

Such a scheme can be given to beginners a little more difficult (the first line is, as it were, overwritten by the next pair of rhyming lines).

I looked, standing over the Neva,
Like Isaac the giant
In the frosty haze
The golden dome shone.

And finally woven rhyme has many patterns. This is a common name complex types rhymes, for example: abvabv, abvvba, etc.

Far from the sun and nature
Far from light and art
Far away from life and love
Your younger years will flash,
Feelings that are alive will die,
Your dreams will shatter.

Inner rhyme- consonance of half-lines:

"Children's shoulders of your trembling,
Children's eyes bewilderment
Meeting moments, goodbye hours,
A long hour, like a century of languor"

The semantic role of rhyme

Along with the rhythmic rhyme, there is also a large meaning. The word at the end of the line, underlined by the pause following it and highlighted with the help of sound repetition, naturally attracts the most attention to itself, occupies the most advantageous place in the line. With inexperienced poets, the desire for rhyme leads to the pursuit of sound repetition and to the detriment of meaning; rhyme, as Byron said, turns into "a mighty steamer that makes poetry swim even against the current of common sense."

The emergence and development of rhyme

The rhymed half-lines, on which the theory sometimes stops, are, in essence, ordinary verses, rhymed according to the scheme and printed in pairs in a line. - The appearance of rhyme in the poetry of European peoples has not been fully elucidated; it was supposed to have passed here from Semitic poetry, where it is very common, through the Spanish Arabs, in the 8th century; but it is hardly possible to insist on this after acquaintance with the Latin poetry of the first centuries before Christ. Already in Ovid, Virgil, Horace there are rhymes that cannot be considered accidental. It is highly probable that rhyme, known to the Roman classics and neglected by them like an unnecessary toy, gained importance among the minor poets of decadence, who paid exclusive attention to the game of formal contrivances. In addition, the displacement of strictly metrical versification by elements of tonic versification required a more distinct distinction between individual verses, which was achieved by rhyme.

In the verses of Christian poets of the IV century. Ambrose of Milan and Prudentius, assonances sometimes turn into full-sounding rhymes. However, rhymes were fully introduced into Latin verses in the 5th century. the poet Sedulius, who was that “deaf child” and “crazy black man” whom Paul Verlaine considered the inventor of rhyme.

The first entirely rhyming work is Commodian's Latin "Instructiones" (270 AD); there is one rhyme throughout the poem. Rhyme varied and changing with each couplet appears in the so-called Leonine hexameter, where the first half-line rhymes with the end; then from 600 we find it in ecclesiastical Latin poetry, where from 800 it becomes obligatory and from where it passes into the secular poetry of the Romanesque, and then the Germanic peoples.

Rhyme is already characteristic of the oldest Welsh texts, but their dating presents significant difficulties. Thus, the surviving copies of the poem "Gododdin" on the basis of paleographic data date back to the 9th century, however, after the works of the classic of Welsh philology Ivor Williams, it is generally accepted to attribute almost all of its text, as well as some works attributed to Taliesin, to the 6th century. In this case, the Welsh rhyme - due to a fixed stress on the last (since the 9th or 11th century - on the penultimate) syllable - is the earliest systematically used rhyme in Europe.

In Irish poetry, rhyme begins to be used systematically in poetic genealogies dated on the basis of linguistic data of the 7th century, which also indicates the "outrunning" of continental trends.

The "Celtic rhyme", characteristic of both Irish and Welsh poetry (in the latter, however, the name odl Wyddeleg, "Irish rhyme" is adopted for it), was very free: all vowels, deaf and voiced consonant variants rhymed among themselves ( k / g, t / d, p / b), smooth and nasal (r / l, m / n), and even consonants, subjected and not subjected to various mutations characteristic of the Celtic languages ​​(b / bh [v] / mb [m], t/th[θ], d/dh[ð], m/mh[v], c[k]/ch[x], etc.). Alliteration was arranged in a similar way.

Rhyme was introduced into German poetry under the influence of Romanesque forms. “Insinuating Italian or French melodies found their way to Germany, and German poets substituted German texts for them, as the minnesingers and poets of the Renaissance did later; with such melodies, songs and dances came rhyme. We first meet it on the upper Rhine, from where it probably originally spread.

The fate of rhyme in French poetry was associated with literary movements that emphasized form. Already Ronsard and Du Bellay, without being carried away by the unusual French metrical verse, avoided non-rhyming verses, demanding accurate, rich, but by no means refined rhyme, and forbidding it to sacrifice a happy turnover or precision of expression. Malherbe made rhyme even more stringent requirements: he forbade light and banal rhymes - a prohibition that found such brilliant application in the verses of his contemporaries and even more so in the poetry of romanticism. The importance of rhyme in French - syllabic - versification is due to the severity in its application, unknown to other languages: here - despite complete consonance - it is forbidden to rhyme plural with singular, a word ending in a vowel, with a word ending in a consonant (canot and domino, connus and parvenu), etc.

The very emergence of rhyme in European literature, as one might think, is connected with the sound organization of the verse. Sound repetitions that were initially unorganized, if they coincided with the words most clearly distinguished at the end of the rhythmic unit, sounded most sharp and noticeable; thanks to this, a certain attraction was created for them to the ends of lines or half-verses. This attraction was reinforced by syntactic parallelism, i.e., the repetition of homogeneous parts of speech with similar endings. At the same time, the transition from oral poetic systems with a musical-rhythmic organization to written verse, weakening the clarity of the rhythmic organization of the verse, caused a search for new rhythm-forming elements, which, in particular, was a rhyme that was essentially unknown to either ancient or folk versification (although sporadically she appeared in them). The complex of these conditions, in each given case, is historically unique, and underlies the appearance of rhyme in the new poetry.

In Russia, rhyme occasionally appeared in epics, as well as in written monuments of the 17th century. as a result of the coincidence (with parallelism of verses) of grammatical endings:

“We offer an end to this scripture.
We do not forget things for ever.
Looking for the real
We will write this long story in this long story" etc.

But basically, rhyme develops in syllabic verses, starting with Simeon of Polotsk (1629-1680) and other poets, in whom it developed under the influence of Western poetry and, above all, Polish poets. This influence itself was based on the process of creating written verse instead of oral, which took place in the 17th century. in Russia and was caused by sharp social and cultural shifts.

Blank verse

White verse is a verse that does not have a rhyme, but, unlike free verse, has a certain size: white iambic, white anapaest, white dolnik. Refers to liroaeropic.

The term white verse passed into Russian poetics from French - vers blanc, which, in turn, was taken from English poetics, where unrhymed verses are called blank verse (blank - to smooth, erase, destroy), i.e. verses with an erased, destroyed rhyme . Ancient poets wrote poetry without rhymes.

White verse (more precisely, without rhyme) is most commonly used in Russian folk poetry; the structural role of rhymes here is played by a certain clause. In bookish Russian poetry, blank verse, on the contrary, is less common.

The use of this term is possible only for those national poetry for which both meter and rhyme are characteristic, system-forming features: for example, in relation to ancient Greek poetry, in which something similar to rhyme arose only as an exception, it is not customary to speak of blank verse.

In Russian poetry, white verse was used in certain periods (mainly in late XVIII — early XIX centuries) considerable popularity; this is especially true of white iambic, which was widely used in poems and poetic dramas.

The presyllabic and syllabic period of Russian poetry is characterized by the special attention of poets to rhyme. But already V. Trediakovsky, having seen the basis of the verse not in rhyme, but in rhythm, meter, dismissively called rhyme "a child's nozzle." He was the first to write hexameters in blank verse, without rhyme.

Following him, A. Cantemir translated Anacreon's Songs and Letters by Quintus Horace Flaccus in blank verse - a fact of great importance, indicating that the syllabist poets considered the main thing in verse not rhyme, but, as Cantemir wrote, "a certain dimensional agreement and some pleasant ringing”, i.e. metric rhythm, foot size.

If white verse in hexameter and other ancient meters were accepted in Russian book poetry without dispute, then blank verse in other meters did not immediately take root in the practice of poets.

The most resolute defender of white verse in the early 19th century. was V. Zhukovsky. He was supported by A. Pushkin, A. Koltsov, and partly by M. Lermontov; and further blank verse ceases to be a rare phenomenon in Russian poetry.

For B. s. astrophicity or poor strophicity is characteristic, since the strophic variety in foot verse is determined by a diverse system of rhyming. However, the absence of rhyme does not deprive white verse of poetic merit; the main components of verse—rhythm, imagery of language, clause, etc.—are preserved in it. In particular, blank verse remains the most accepted in dramatic works—usually iambic pentameter. Here are some examples:

iambic tetrameter:

Lampada in a Jewish hut
In one corner it burns pale,
An old man in front of the lamp
Reads the bible. gray-haired
Hair falling on the book...
(A. Pushkin)

iambic pentameter:

Everyone says: there is no truth on earth.
But there is no higher truth. For me
So it is clear, like a simple gamma.
I was born with a love for art...
(A. Pushkin)

Four foot trochee:

It is difficult for the bird-catcher:
Learn bird habits
Remember flight times
Whistle with different whistles.
(E. Bagritsky)

In the 20th century, the use of white verse in Russian poetry is declining, and its appearance usually indicates a deliberate stylization.

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 is 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. So, according to the quality and quantity of coincidences of syllables, rhymes are usually divided into exact and inexact ones. According to the specifics of stress - on masculine (emphasis on the last feminine (emphasis 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 pre-stressed (reference) then such a rhyme is defined as rich.If this is not the case, the rhyme is called poor.

Types of rhyming

There are three main types of rhyme in versification:

• adjacent (steam room),
• cross (alternate),
• ring (girdle, enveloping).

Also separate view represents free rhyme.

Adjacent (pair) 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 rhyming in the poem can be conventionally designated as a diagram. So, the adjacent species is designated as "aabb". Example:

“Only there is no tear now (a) -

Light (a) is made differently.

And the accordion 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 (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. rhymes "abab":

"I remember wonderful moment(a):

You appeared before me (b),

Like a fleeting vision (a)

like a genius pure beauty(b)"

(A. S. Pushkin).

The ring (girdle, enveloping) type of rhyme is built according to the "abba" scheme. Accordingly, the first and fourth lines rhyme, as well as the second and third. This type in versification is less common than the previous two:

"We are not drunk, we seem to be sober (a)

And, probably, we are indeed poets (b).

When, sprinkling strange sonnets (b),

We speak with time on "You" (a).

(I. A. Brodsky).

Free types of rhyme take place when there is no pattern in the alternation of rhymes:

“A horse thief (a) crept along the fence,

The grapes were sunburnt (a),

Sparrows pecked brushes (b),

Nodding sleeveless stuffed (in),

But, interrupting the rustle of clusters (b),

Some kind of roar of measures and tormented "(c).

(B. L. Pasternak).

Accordingly, in this example, the types of rhyme are combined: the first and second lines are an adjacent type, from the third to the sixth - a cross.

Rhyme and whole stanza

A whole stanza implies the presence of at least one pair for each rhyme. This ensures the indivisibility of the general body of this stanza - it cannot be divided into smaller integral stanzas that have their own complete rhyme.

Depending on the number of rhymes that form a verse, the forms of monostich, distich, tercet, quatrain, pentet, etc. are distinguished. A monostich cannot be an integral stanza, since one line does not rhyme with anything (even if it contains rhyme). The distich is built according to the "aa" scheme, having, accordingly, one rhyme for an entire stanza. Tercet also has one rhyme - the "aaa" scheme. At the same time, the tercet cannot be divided, since with any division we get at least one monostych, which is not an integral stanza.

Quatrain includes such types of rhyme as circular ("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. The pentet, in turn, combines six rhymes of a single stanza.

Free and free verse

It is necessary to distinguish between the free form of rhyme and the free form of verse, since these are not the same thing. Free types of rhyme in a poem are formed by the so-called. free verse - a form of versification with changing types of rhyme. That is, the lines rhyme in a different order. Free verse (aka white verse), in principle, does not use rhyme:

"Listen (a)!

After all, if the stars light up (b) -

does anyone need this?

So someone wants them to be (d)?”

(V. V. Mayakovsky).

At the same time, free verse cannot be equated with prose according to the principle: if there is no rhyme, then how does this differ from, for example, an ordinary newspaper advertisement? One of the differences from prose is the tendency to recite, which distinguishes a poetic text from a prose one. This trend 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 and its varieties

Rhyme is the repetition of more or less similar combinations of sounds that connect the endings of two or more lines or symmetrically arranged parts of poetic lines. In classical Russian versification, the main feature of rhyme is the coincidence of stressed vowels. The rhyme marks the end of the verse (clause) with a sound repetition, emphasizing the pause between the lines, and thus the rhythm of the verse.

Depending on the location of stresses in rhyming words, rhyme can be: masculine, feminine, dactylic, hyperdactylic, exact and inexact.

Masculine rhyme

Masculine - rhyme with stress on the last syllable in the line.

Both the sea and the storm rocked our boat;

I, sleepy, was betrayed by every whim of the waves.

Two infinities were in me,

And they arbitrarily played with me.

Feminine rhyme

Feminine - with stress on the penultimate syllable in the line.

Quiet night, late summer

How the stars shine in the sky

As under their gloomy light

Dormant fields are ripening.

Dactylic rhyme

Dactylic - with an accent on the third syllable from the end of the line, which repeats the dactyl scheme - -_ _ (stressed, unstressed, unstressed), which, in fact, is the reason for the name of this rhyme.

A girl in a field with a willow pipe,

Why did you hurt the spring branch?

She cries at her lips like a morning oriole,

weeping more and more bitterly and more and more inconsolably.

Hyperdactylic rhyme

Hyperdactylic - with stress on the fourth and subsequent syllables from the end of the line. This rhyme is very rare in practice. It appeared in the works of oral folklore, where the size as such is not always visible. The fourth syllable from the end of the verse is no joke! Well, an example of such a rhyme sounds like this:

Goblin scratches his beard,

The stick is hewn gloomily.

Depending on the coincidence of sounds, rhymes are distinguished exact and inexact.

Rhyme is exact and inexact

Rhyme - the repetition of more or less similar combinations of sounds at the endings of poetic lines or symmetrically located parts of poetic lines; in Russian classical versification, the main feature of rhyme is the coincidence of stressed vowels.

(O.S. Akhmanova, Dictionary linguistic terms, 1969)

Why was Dunno wrong when he said that "a stick is a herring" is also a rhyme? Because he did not know that in fact it is not sounds that rhyme, but phonemes (sound is a particular realization of a phoneme) (R. Jacobson), which have a number of distinctive features. And the coincidence of some of these features is enough to make rhyming sound possible. The fewer coinciding features of the phoneme, the more distant, the "worse" the consonance.

Consonant phonemes are distinguished:

1) at the place of education

2) according to the method of education

4) by hardness and softness

5) by deafness and sonority

These signs are obviously unequal. So, the phoneme P coincides with the phoneme B in all respects, except for deafness-voicedness (P - deaf, B - voiced). Such a difference creates an "almost" exact rhyme: okoPs are individuals. Phonemes P and T differ in the place of formation (labial and anterior lingual). OkoPe - osoTe - is also perceived as a rhyming sound, although more distant.

The first three features create more significant phoneme differences than the last two. It is possible to designate the difference of phonemes according to the first three features as two conventional units (c.u.); on the last two - as one. Phonemes that differ by 1-2 c.u. are consonant. Differences of 3 or more units do not hold consonance to our ears. For example: P and G differ by three c.u. (place of formation - by 2, deafness-voicedness - by 1). And trenches - legs can hardly be considered a rhyme in our time. Even less - trenches - roses, where P and Z differ by 4 c.u. (place of education, method of education).

So, we note the rows of consonant consonants. These are, first of all, pairs of hard and soft: T - T", K - K", C - C ", etc., but such substitutions are rarely resorted to, so out of three pairs of rhymes "otkoS" e - poCy ", "slopes - dews" and "slopes - roses" are more preferable the second and third options.

Replacing the deaf-voiced is perhaps the most common: P-B, T-D, K-G, S-Z, W-F, F-V (God - deep, bends - limes, dragonflies - braids, people - plaque ).

The stop (method of formation) P-T-K (deaf) and B-D-G (voiced) respond well to each other. The corresponding two rows of fricatives are Ф-С-Ш-Х (voiceless) and В-З-Ж (voiced). X has no voiced counterpart, but goes well and often with K. B-V and B-M are equivalent. Very productive M-N-L-R in various combinations. Soft variants of the latter are often combined with J and B (Russians [Russians] - blue - strength - beautiful).

So, completing our conversation about exact and inexact rhyme, we repeat that exact rhyme is when the vowels and consonants included in the consonant endings of the verses basically coincide. The accuracy of the rhyme also increases from the consonance of consonants immediately preceding the last stressed vowels in rhyming verses. Inaccurate rhyme is based on the consonance of one, less often two sounds.

Rhyming systems

Previously, in the school literature course, they necessarily studied the basic methods of rhyming in order to give knowledge about the diversity of the position in the stanza of rhyming pairs (and more) of words, which should be of help to anyone who writes poetry at least once in their life. But everything is forgotten, and the bulk of the authors are somehow in no hurry to diversify their stanzas.

Adjacent - rhyming of adjacent verses: the first with the second, the third with the fourth (aabb) (the same letters indicate the endings of the verses that rhyme with each other).

This is the most common and obvious rhyming system. This method is subject even to children in kindergarten and has an advantage in the selection of rhymes (an associative pair appears in the mind immediately, it is not clogged with intermediate lines). Such stanzas have greater dynamics, the fastest pace of reading.

Weaved on the lake the scarlet light of dawn,

Capercaillie are crying in the forest with bells.

An oriole is crying somewhere, hiding in a hollow.

Only I don’t cry - my heart is light.

The next method - cross-rhyming - also appealed to a large number of the writing public.

Cross - rhyming of the first verse with the third, the second - with the fourth (abab)

Although the scheme of such a rhyme seems to be a little more complicated, it is more flexible in terms of rhythm and allows you to better convey the necessary mood. Yes, and such verses are easier to learn - the first pair of lines, as it were, pulls out of memory the second pair that rhymes with it (while with the previous method everything breaks up into separate couplets).

I love the storm in early May,

When the first spring thunder

As if frolicking and playing,

Rumbles in the blue sky.

The third method - ring (in other sources - belted, embracing) - already has a smaller representation in the total mass of poems.

Ring (belted, embracing) - the first verse - with the fourth, and the second - with the third. (abba)

Such a scheme can be given to beginners a little more difficult (the first line is, as it were, overwritten by the next pair of rhyming lines).

I looked, standing over the Neva,

Like Isaac the giant

In the frosty haze

The golden dome shone.

And finally, the woven rhyme has many patterns. This is a common name for complex types of rhyming, for example: abvabv, abvvba, etc.

Far from the sun and nature

Far from light and art

Far away from life and love

Your younger years will flash,

Feelings that are alive will die,

Your dreams will shatter.

In conclusion, it is useful to note that it is not always necessary to adhere so rigidly, strictly and dogmatically to certain canonical forms and patterns, because, as in any kind of art, there is always a place for the original in poetry. But, nevertheless, before you rush into the unrestrained inventing of something new and not entirely known, it always does not hurt to make sure that you are still familiar with the basic canons.

stanzas

Stropha - from the Greek. strophe - turnover, whirling. Such a complex rhythmic unit of poetic works as a stanza is based on the order of arrangement of rhymes in verse.

A stanza is a group of verses with a specific arrangement of rhymes, usually repeated in other equal groups. In most cases, a stanza is a complete syntactic whole.

The most common types of stanzas in classical poetry of the past were: quatrains, octaves, terts. The smallest of the stanzas is a couplet.

There are also stanzas:

Onegin

ballad

odic

limericks

quatrains

The quatrain (quatrain) is the most common type of stanza, familiar to everyone from early childhood. Popular because of the abundance of rhyming systems.

Octaves

An octave is an eight-line stanza in which the first verse rhymes with the third and fifth, the second verse with the fourth and sixth, and the seventh verse with the eighth.

Octave pattern: abababww

At six years old he was a very cute child

And even, childishly, he was naughty;

At twelve he looked despondent

And although he was good, he was somehow frail.

Inessa said proudly

That the method in it changed nature:

The young philosopher, despite the years,

He was quiet and modest, as if by nature.

I confess to you, hitherto I am inclined

Do not trust Inessa's theories.

We were friends with her husband;

I know very complex excesses

Gives birth to an unsuccessful family,

When the father is the character of a rake,

And mother is a hypocrite. Not without reason

A son turns into a father with inclinations!

Tercynes

Tertsy (tertsy) - three-line stanzas with a very original way of rhyming. In them, the first verse of the first stanza rhymes with the third, the second verse of the first stanza - with the first and third of the second stanza, the second verse of the second stanza - with the first and third of the third stanza, etc. The tercina ended with an additional verse that rhymed with the second verse of the last three-line.

Tercea scheme:

Black magician

When the darkness surrounds

You are like a slave to destiny

Draw an even circle with blood

Cast aside your miserable doubts.

You will enter it, forgetting about fear.

You will be caught by the darkness currents.

Throw away the body - mortal dust.

You are with those who stepped into the darkness!

The lights in his eyes went out.

Where is your spirit, if not in hell?

(Ganger Scowger Alkariot)

Onegin stanza

The Onegin stanza is a fourteen-line stanza created by A.S. Pushkin in the lyric-epic poem "Eugene Onegin".

This stanza consists of three quatrains and a final couplet. In the first quatrain there is a cross rhyme (abab), in the second - adjacent (aabb), in the third - ring (abba), the last two verses rhyme with each other. The whole novel is written with such stanzas (with the exception of the letters of Tatyana and Onegin).

The theater is already full; lodges shine;

Parterre and chairs - everything is in full swing;

In heaven they splash impatiently,

And, having risen, the curtain rustles.

Brilliant, half-air,

obedient to the magic bow,

Surrounded by a crowd of nymphs

Worth Istomin; she is,

One foot touching the floor

Another slowly circles

And suddenly a jump, and suddenly it flies,

It flies like fluff from the mouth of Eol;

Now the camp will soviet, then it will develop

And he beats his leg with a quick leg.

Ballad stanza

Ballad stanza - a stanza in which even and odd verses consist of a different number of feet. Used in ballads.

The most common are stanzas of four even anapestic feet, and three odd ones.

The Queen of Britain is gravely ill

Her days and nights are numbered.

And she asks to call the confessors

From my native, French country.

But while you bring priests from Paris,

The queen will end...

And the king sends twelve nobles

Call the Lord Marshal to the palace.

odic stanza

Odic stanza - a stanza of ten verses rhyming according to the ababvvgdg scheme, used in the genre of a solemn ode.

Oh you who are waiting

Fatherland from its bowels

And wants to see them

Which calls from foreign countries,

Oh, your days are blessed!

Be emboldened now

Show with your care

What can own Platos

And quick-witted Newtons

Russian land to give birth.

Sonnets

The sonnet is Italian and English.

The Italian sonnet is a fourteen-line poem divided into two quatrains and two final three-line verses. In quatrains, either cross or ring rhyme is used, and it is the same for both quatrains. The order of alternation of rhymes in three lines is different.

The rhyming scheme in Italian sonnets might be, for example:

gbg or abba

The example uses the third scheme - try to define it yourself:

Poet! do not value the love of the people,

Enthusiastic praise will pass a moment's noise;

Hear the judgment of a fool and the laughter of the cold crowd,

But you remain firm, calm and gloomy.

You are the king: live alone. By the road of the free

Go where your free mind takes you,

Improving the fruits of your favorite thoughts,

Not demanding rewards for a noble feat.

They are in you. You are your own highest court;

You know how to appreciate your work more strictly.

Are you satisfied with it, demanding artist?

Satisfied? So let the crowd scold him

And spits on the altar, where your fire burns,

And in childish playfulness your tripod shakes.

English sonnet - fourteen lines divided into three quatrains and one couplet.

My mistress" eyes are nothing like the sun;

Coral is far more red than her lips" red,

If snow be white, why then her breasts are dun;

If hairs be wires, black wires grow on her head.

I have seen roses damask "d red and white

But no such roses see I in her cheeks;

And in some perfumes is there more delight

Than in that from my mistress reeks.

I love to hear her speak, yet well I know,

That music has a far more pleasing sound;

I grant I never saw a goddess go;

My mistress, when she walks; threads on the ground.

And yet, by heaven, I think my love as rare

As any she belied with false compare.

Limericks

Limeriki (limriks) are five-line verses written in anapaest. The rhyming scheme is aabba, the first and last rhymes are usually repeated. The third and fourth rows consist of fewer stops.

Limericks became widely known thanks to Edward Lear (1812-1888), who published several books of nonsense poetry. Puns and neologisms were widely used in the poems.

The example contains limericks translated by M. Freidkin.

The naughty granddaughter from Jena

Grandma was going to burn like a log.

But she remarked subtly:

"Why don't you burn the kitten?"

The impossible granddaughter from Jena.

To a daring flutist from the Congo

Once an anaconda crawled into the boot.

But so disgusting

He played that back

An hour later, the anaconda crawled away.

Warm-blooded old man from under Kobo

Extremely suffering from chills

And down the drain

And a fur coat

He wore it to save himself from the chills.

Varieties of poems

Acrostic

Behind the term acrostic lies a rather rare, but very interesting and beloved type of poem by many. The first letters of all lines in it form some kind of word or phrase, thus allowing you to encrypt the message or give a new meaning. Writing such poems requires a fair amount of skill and not everyone succeeds. It is somewhat reminiscent of burime and can be used as an excellent game or poetic practice.

Azure Day

Gone, gone.

Night Shadow

Oh! Hid us.

Two more varieties of such poetic creativity should be separately specified: these are mesostych (the word is formed by letters in the middle of each line) and telestic (where final letters are used).

As an example of one of the varieties of acrostic - the so-called alphabetic acrostic - where the first letters of the lines make up the entire alphabet (without d, b, b, s), and a telestic, we will cite two works by one of our authors.

Completely deserted area

Nameless dark rocks...

The neighborhood is covered with eternal shadow,

Where the moss-covered passes

Yes, the valleys have breath,

Its sound is slightly in the air...

Life is empty suffering without death,

Behind suffering - immortality beckons ...

And not a line, not a word is heard,

The beauty of emptiness lures

Only attract - discard, and again

He quietly calls me to him.

But in the desert I feel movement

Lonely but difficult

Silent whirling through the valley,

The joy of growing something else.

The sun shines especially brightly

So solemn, so inspiring...

Violet grows near the mountain -

Purple queen.

Cold or warm - no difference,

Color is not important, the joy of growth is more important,

What happens in millions of forms...

It is very difficult to take a step forward:

An invisible shield is like a stone in a fence.

Oh, maybe all this is in vain?

A brisk wind stroked the violet -

I saw her so beautiful...

(Clear Dawn)

Oh people! This is not trifling at all:

Slow, even majestic,

Ships paper caravan

Carries, though not water in it, but poison,

Natural laws correct everything,

Ordinary smelly ditch

(Clear Dawn)

free verse

How to answer the question: how does poetic speech differ from prose speech? Most sources agree that poetic speech is dimensional speech, which has a special rhythmic organization that makes it possible to distinguish it from any other. As you can see, nothing is said here about rhyme as an obligatory element. That is why we find many examples of verses that do not seem to fully comply with the systems and rules that are discussed in this manual. These are the ones that will be discussed in the next sections.

For all its flexibility, poetic meters cannot always satisfy the author who is trying to convey some specific features of simple colloquial speech - he is constrained by the need to alternate stressed and unstressed syllables, to withstand the number of stops. But probably, it was necessary to say "fettered", because there is such a thing as free verse. A feature of such a verse is that stanzas, as such, may be absent, all lines consist of an arbitrary number of feet. Consider an example:

Let me... you see... first

flowery meadow; and i was looking for

Some, I do not remember in reality

In this example, the first two lines are four-, the third is one-foot, and the last has five feet. It was this structure that helped the author to express: 1, 2 - reflection, 3 - recollection, 4 - explanation. And this is all in four lines and, mind you, in rhyme. Rhyme, by the way, is obligatory in free verse (to know, he is not so free). And in perception, such a verse can often win, if compared with the usual one. Another example is Boris Zakhoder, an excerpt from "The Song of Toys" ("Funny Pictures", N5 1986):

Children love toys.

That's what everyone says!

But what about toys?

Don't like guys?

They love it very much!

Souls in them do not tea!

What NOT EVERYONE notices! ..

Also very often free verse is found in fables ("God somehow sent a piece of cheese to a crow, etc.")

mixed verse

Free verse has one special variety - mixed verse, which differs in that it alternates lines of various sizes:

For a long time in love there is little consolation:

Sighs without recall, tears without joy;

What was sweet became bitter

Roses fell, dreams dissipated ...

In this example, iambic four-foot lines alternate with four-foot amphibrachic stops. But since one size is two-syllable, and the second is three-syllable, then total stop is different.

Vers libre

When free verse was no longer enough for the master to fully express himself in the word, it turned out that there are still unused degrees of freedom - after all, you can completely break with all the rules of traditional systems of versification. And the verse broke free. He rejected the size, ordered pauses, rhyme, refused to divide into stanzas - he became truly free (French vers libre) - vers libre. In such a verse, the rhythm (which is created by the repetition of some homogeneous elements) is sometimes very difficult to catch. And how could it be otherwise, if the only rhythm-forming element in it is the division of speech into verses and the interline pauses separating them. That is, it is based on a homogeneous syntactic organization with which each of the poetic lines-phrases of free verse is pronounced. Only this repetitive intonation determines the peculiar rhythm of the poem. As an example, Russian translations of modern Anglo-American (and other foreign) authors can be cited.

I dreamed of a city that cannot be overcome, at least

all the countries of the universe attacked him,

It seemed to me that this was the city of Friends, such as never before

did not happen.

And above all in this city, strong love was valued,

And every hour it affected every action of the inhabitants

this city.

In their every word and look.

(Walt Whitman, translated by K. Chukovsky)

In foreign poetry, in general, there are somewhat different criteria for approaching the creation of a work, which may depend on each specific language(if this does not apply to solid forms: sonnets, etc.), because any language has a unique intonation structure, the repetition of which in another will not be successful. By the way, in English literature there can be an ancient kind of poems, quite exotic for us, although somewhat similar to vers libre (which gave it a second life). The rhythm-forming element in it is the threefold repetition in each line of one consonant sound, and if the first line was: sound-median caesura-sound-sound, then it will be so in each subsequent one, without permutations (although the sounds may be different). Such a verse was written in the ancient Irish epic "Beowulf" and a number of written monuments.

Blank verse

Another variety of verse that departed (albeit to a lesser extent) from the canons of versification was blank verse. It is more pleasant to the ear than vers libre, because the mere trifle - rhyme - is discarded in it. The metrical organization has remained unchanged - when reading one-dimensional verses with and without rhyme, there is no discomfort from the transition. Many legends and author's stylizations for them are written in blank verse. For illustration, a short excerpt from the fairy tale of Gennady Apanovich is given:

It's a red morning

Somewhere in the middle of March

And along the path in the middle of the forest

The good fellow is coming.

He traveled to distant lands

Seen a lot of divas

And now he's rushing home

Ten whole years later.

The nightingale brings out a song,

The cuckoo keeps count of the years,

Well, thoughts are all Yerema

They fly to their native upper room ...

Poems in prose

In the end, let's consider an intermediate art form between free verse and prose - poetry in prose. This work is poetic in content and prosaic in form (at the beginning of the 20th century it was unambiguously attributed to poetry). As a rule, prose poetry has a meter. Now such verses are somewhat forgotten, but even M.Yu. Lermontov wrote:

"Blue mountains of the Caucasus, I greet you! You cherished my childhood; you carried me on your wild ridges, clothed me with clouds, you taught me to the sky, and since then I have been dreaming of you and of the sky. Thrones of nature, from which both smoke clouds fly away, who once only prayed to the creator on your peaks, he despises life, although at that moment he was proud of it! .. "

Requirements for the writer's style

This section is constructed on the basis of quotations and excerpts from the book: A Study Course on the Theory of Literature for Secondary Educational Institutions, comp. N. Livanov: ed. eighth, St. Petersburg, 1910

Our readers will be able to determine for themselves how far views and views on the elements of belles-lettres have stepped in the past 90 years.

The style of each writer, regardless of the form of speech (prose or poetic) and the talent of the writer, should be different:

1) correctness; 2) clarity; 3) accuracy; and 4) purity.

Correctness of speech

Right speech is that which agrees with the laws mother tongue and grammar rules. Frequent violation of the rules of grammar in speech is called illiteracy. Syntactic errors (in a combination of words) in the style adopted the name of solecisms. Solecisms are allowed mainly due to ignorance of the laws of the native language. Quite often, for example, errors are made against the rules for reducing subordinate clauses (for example: when I entered the room, I wanted to sit down).

Even though I'm not a prophet

But seeing a moth that it curls around a candle,

I almost always succeed in prophecy,

That the wings will burn my moth.

Often, solecisms creep into speech when translating from foreign languages. In these cases, special names are assigned to solecisms, depending on the language from which the turn is taken: gallicism - the turn of the French language (make your fortune); Germanism - German (it looks good); Latinism - Latin (state, glorified by great historians), etc.

Note. Solecism is a random name: the Greeks who lived in the city of Salt, an Athenian colony, due to constant communication with the natives, used turns of different languages.

Clarity of speech

Clear speech is a speech that the reader easily understands, and which does not arouse any perplexity in him. To clearly express thoughts, you need to have a completely clear idea of ​​​​the subject. In particular, the use of so-called ambiguous expressions harms the clarity of speech. The ambiguity of expressions can depend on:

a) from the same endings of the subject and direct object. For example: the cargo sank the ship (how to understand: the cargo sank the ship, or the ship sank the cargo for other reasons? Or: the mother loves her daughter. Who loves whom?)

b) The ambiguity of the expression may be due to the omission of the punctuation mark: "it was bequeathed to one heir to put a statue of a golden lance holding." Without a comma, the expression is ambiguous; by placing a sign before the word golden or pike - the meaning of the expression is determined.

c) The ambiguity of the expression is easily communicated by the use of homonyms, i.e. words denoting several completely different concepts. For example: "to heat" means both to heat and heat the stove in water; conduct - show the way and deceive. There are many such words in the language (scythe, nose, key, pen and friend). The expressions, taken separately: he deftly tricked me, ordered to sink the ship, are ambiguous and unclear.

d) The ambiguity of speech often depends on the incorrect arrangement of words in sentences. For example:

And he bequeathed, dying,

To move south

His longing bones

And the death of this alien land

Restless guests.

They fed him the meat of their dogs (whether they fed him the meat of dogs, or the dogs fed him meat). The position of the leader of the army, who has lost his vigor, is difficult (who lost his vigor: the leader or the army?).

e) Finally, the expression of thoughts for long periods with many subordinate explanatory sentences harms clarity.

Synonyms

Synonyms. There are many words in the language that express similar, but not the same concepts. Such words are called synonymous. There are many synonymous words in the language. For example: old and dilapidated, joy and delight, fear and horror, path and road, look and see, and so on. and so on. To avoid inaccuracy when using synonymous words, it is necessary to think about the meaning of each word.

Or to the stanza. However, I believe that it is worth highlighting them separately so that novice poets do not have mess in their heads. Still, they are more related, and not to the internal. Besides, exactly rhyming systems underlie the strophic structure of poetry.

Graphically, rhyme systems are presented in the following form: aabb, abab, ababww etc. Letters represent rhymes. This is very convenient to understand the rhyme scheme of a single poem. For example, the rhyming scheme of "Autumn Romance" by I. Annensky can be written as follows: abab:

I look at you indifferently, - and

And I don’t have a lot of longing in my heart ... - b

Today is languidly stuffy, - and

But the sun is hidden in the smoke. – b

The most common rhyming schemes(three of them) have their own names:

– Adjacent (also called serial or parallel) - rhyming, adjacent verses: the first with the second, the third with a quarter (aabb). This is the most obvious rhyming system and has been especially popular at all times. Almost all rhyming epics are written using a related rhyming system. The famous poem "Mtsyri" by M.Yu. was written in the same verses. Lermontov. An example from the work of Sergei Yesenin:

Weaved on the lake the scarlet light of dawn,

Capercaillie are crying in the forest with bells.

An oriole is crying somewhere, hiding in a hollow.

Only I don’t cry - my heart is light.

Seems to enjoy related rhymes It's simple, but that 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 choose a rhyme as accurately as possible (inaccurate rhymes, as a rule, do not sound), but also to formulate his idea in a small space of a line so that it does not sound artificial.

– Ring (encircling or enveloping) - rhyming the first verse with the fourth, the second - with the third (abba):

There are subtle power ties

Between the contour and the scent of a flower.

So the diamond is invisible to us until

Under the edges will not come to life in a diamond.

V. Bryusov. Sonnet to form

A few more a complex system rhymes than adjoining. The second and third rhyming lines slightly obscure the rhyme of the first and fourth lines, “lubricate” 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, 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 complicated than poems with adjacent rhymes, but easier than with a ring. There are many examples of such a rhyming system. One of them is Tyutchev's textbook quatrain:

I love the storm in early May,

When the first spring thunder

As if frolicking and playing,

Rumbles in the blue sky.

- Some literary scholars highlight more intertwined (or mixed) rhyming system. This is the common name for all other rhyming systems (for example, the Onegin stanza) and their modifications, as well as sonnet 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 rubaiyat scheme is aaba, etc.

Me Violanta for my misfortune

the sonnet was ordered, and with it trouble:

fourteen lines in it, the docks count

(of which, however, three are already in a row).

What if I can't find the exact rhyme,

adding lines in the second quatrain!

And yet, no matter how cruel the quatrains are,

God be my witness, I'm on good terms with them!

And here comes the first tercet!

The wire is out of place in the tercet,

wait, where is he? Caught a trace!

Second tercet, twelfth line.

And thirteen times was born into the world -

there are now fourteen of them, period!

Lope de Vega. Sonnet about a sonnet

rhyming scheme this sonnet is: abba abba vgv gvg.