Pararhyme

3 Key excerpts on "Pararhyme"

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  eBook - PDF

  Poetry of Grammar and Grammar of Poetry

  • (Author)
  • 2010(Publication Date)
  • De Gruyter Mouton

    (Publisher)

  If a poet tends to avoid grammatical rhymes, for him, as Hopkins said, There are two elements in the beauty rhyme has to the mind, the likeness or sameness of sound and the unlikeness or difference of meaning. 39 Whatever the relation between sound and meaning in different rhyme techniques, both spheres are necessarily involved. After Wimsatt's illuminating observations about the meaningfulness of rhyme 40 and the shrewd modern studies of Slavic rhyme patterns, a student in poetics can hardly maintain that rhymes signify merely in a very vague way. Rhyme is only a particular, condensed case of a much more general, we may even say the fundamental, problem of poetry, namely parallelism. Here again Hopkins, in his student papers of 1865, displayed a prodigious insight into the structure of poetry: The artificial part of poetry, perhaps we shall be right to say all artifice, reduces itself to the principle of parallelism. The structure of poetry is that of continuous parallelism, ranging from the technical so-called Parallelisms of Hebrew poetry and the antiphons of Church music up to the intricacy of Greek or Italian or English verse. But parallelism is of two kinds necessarily — where the opposition is clearly marked, and where it is transitional rather or chromatic. Only the first kind, that of marked parallelism, is concerned with the structure of verse — in rhythm, the recurrence of a certain sequence of syllables, in metre, the recurrence of a certain sequence of rhythm, in alliteration, in assonance and in rhyme. Now the force of this recurrence is to beget a recurrence or parallelism answering to it in the words or thought and, speaking roughly and rather for the tendency than the invariable result, the more marked parallelism in structure whether of elaboration or of emphasis begets more marked parallelism in the words and sense.

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  Early Tahitian Poetics

  • David Meyer(Author)
  • 2013(Publication Date)
  • De Gruyter Mouton

    (Publisher)

  Simple assonance, of which assonant end-rhyme was somewhat rare. 2. Simple consonance, of which consonant end-rhyme was very rare. 3. Complex patterns which joined sequential or juxtaposed simpler patterns of assonance, consonance, and parallel strings of phonemes. Sound patterns could be strict or loose. They most often spanned lines, although were sometimes constrained to within the line. Occasionally, sound patterns were arranged in an inverted structure, analogous to the types of inverted patterns which have been noted for metrical count. Patterns constrained to names and epithets seemed to function as recur-ring islands of sound parallelism. Such patterns were generally of asso-nance, or combined assonance and consonance. They might repeat in paral-lel, or be organized into an inverted structure. The process by which phonemes of a sound pattern were selected is not generally apparent. However, for certain passages, they were found to echo the constituent phonemes of thematically important words. Having surveyed aspects of the data relevant to sound parallelism, the next chapter will present and discuss evidence of syntactic and semantic parallelism.

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  eBook - ePub

  The Princeton Encyclopedia of Poetry and Poetics

  Fourth Edition

  • Stephen Cushman, Clare Cavanagh, Jahan Ramazani, Paul Rouzer, Stephen Cushman, Clare Cavanagh, Jahan Ramazani, Paul Rouzer(Authors)
  • 2012(Publication Date)
  • Princeton University Press

    (Publisher)

  But again, it is essential to bear in mind that, even for rhyme types directly appropriated from the Romance langs. and for which the Eng. terms are simply direct trans., the effect is not the same: rhyme is a markedly different phenomenon in inflectional langs., where identity of word ending is pervasive and often must be actually avoided, than in positional langs., where inflectional endings are almost entirely absent and where sound similarity is more dependent on the historical evolution of the lexicon. Notwithstanding, this difference does not automatically make the Romance langs. rhyme “rich” and the Germanic langs. rhyme “poor,” as has often been thought: it is not merely the quantity of like endings that is at issue.

  D. Analogues .

  Inside poetry, there are a number of structures that have rhyme-like effects or functions or exceed the domain of rhyme, verging into repetition. The *sestina, e.g., repeats a sequence of whole words rather than rhyme sounds. Several rhetorical devices generate comparable effects to those of rhyme even in unrhymed verse: in the 10,000 lines of Paradise Lost , there are over 100 cases of epistrophe, nearly 100 of *anaphora, 60 of *anadiplosis, 50 of *epanalepsis, and 40 of epizeuxis, all of them, as Broadbent says, “iterative schemes tending to the effect of rhyme.” Milton also weights words at line end (Broadbent calls this “anti-rhyme”), counterposing semantically heavy and contrastive terms at Paradise Lost 4.561–62, e.g.: “Tempt not the Lord thy God, he said and stood. / But Satan smitten with amazement fell”—an effect reinforced all the more by reiteration of these two terms via *ploce ten more times in the following 21 lines, and echoed thereafter at 4.590–91 (cf. 9.832–33). In *American Sign Language poetry, poets achieve rhyme-like effects using hand shapes.

  Outside poetry, rhyme is commonly thought of as a “poetical” device, but, in fact, it is a broadly attested ling. structure used for marking the ends of important words and phrases to make them memorable. Rhyme is widely used not only for ludic and didactic purposes, as in rhymed and rhythmical calendrical mnemonics, children’s counting-out and jump-rope rhymes, and jingles for ads (see Chasar) but for other types of memorable speech such as *proverbs, *epigrams, inscriptions, mottoes, *riddles, puns, and jokes (Brogan). Children seem to be able to manufacture rhymes not only spontaneously and happily but more readily than the other six forms cited at the top of section II.B above, suggesting that the closural or “final-fixed” structure that is rhyme is somehow more salient for cognitive processing (see Rayman and Zaidel), as the vast lit. on the role of rhyme in promoting children’s phonemic awareness, lang. acquisition, and literacy suggests. Perhaps the most common form of rhyming in lang. is seen in mnemonic formulas, catch phrases that rhyme, e.g., true blue , ill will , fender bender , double trouble , high and dry . The list of such popular and proverbial phrases is astonishingly long, and the device is also used in poetry (Donne, “Song (Go and Catch a Falling Star”); Eliot, Four Quartets ; see CLOSE RHYME

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