[1] More broadly, a rhyme may also variously refer to other types of similar sounds near the ends of two or more words.
Alternatively, the Old French words may derive from Latin: rhythmus, from Ancient Greek: ῥυθμός (rhythmos, rhythm).
{{cite book}}: |work= ignored (help)[2] The spelling rhyme (from the original rime) was introduced at the beginning of the Modern English period from a learned (but perhaps etymologically incorrect) association with Latin rhythmus.
A distinction between the spellings is also sometimes made in the study of linguistics and phonology for which rime or rhyme is used to refer to the nucleus and coda of a syllable.
[5] The regular use of tail rhyme helps to mark off the ends of lines, thus clarifying the metrical structure for the listener.
As with other poetic techniques, poets use it to suit their own purposes; for example, William Shakespeare often used a rhyming couplet to mark off the end of a scene in a play.
Examples are sight and flight, deign and gain, madness and sadness, love and dove.
Rhymes in this general sense are classified according to the degree and manner of the phonetic similarity: Identical rhymes are considered less than perfect in English poetry; but are valued more highly in other literatures such as, for example, rime riche in French poetry.
If a reader or listener thinks of the word "sweet" instead of "sour," a mind rhyme has occurred.
For instance, Catullus includes partial rhymes in the poem Cui dono lepidum novum libellum.
According to some archaic sources, Irish literature introduced the rhyme to Early Medieval Europe, but that is a disputed claim.
Rhyme entered European poetry in the High Middle Ages under the influence of the Arabic language in Al Andalus (modern Spain).
Even today, despite extensive interaction with English and French culture, Celtic rhyme continues to demonstrate native characteristics.
"[18] In the post-Classical period, these rules fell into desuetude, and in popular verse simple assonance often suffices, as can be seen in an example of Irish Gaelic rhyme from the traditional song Bríd Óg Ní Mháille:
Is a Bhríd Óg Ní Mháille [ɪsˠ ə ˈvɾʲiːdʲ oːɡ n̠ʲiː ˈwaːl̠ʲə] 'S tú d'fhág mo chroí cráite [sˠ t̪ˠuː ˈd̪ˠaːɡ mə xɾʲiː ˈkɾˠaːtʲə] Oh young Bridget O'Malley
You have left my heart breaking Here the vowels are the same, but the consonants, although both palatalized, do not fall into the same class in the bardic rhyming scheme.
One view of rhyme in English is from John Milton's preface to Paradise Lost: The Measure is English Heroic Verse without Rime, as that of Homer in Greek, and of Virgil in Latin; Rime being no necessary Adjunct or true Ornament of Poem or good Verse, in longer Works especially, but the Invention of a barbarous Age, to set off wretched matter and lame Meeter; grac't indeed since by the use of some famous modern Poets, carried away by Custom...A more tempered view is taken by W. H. Auden in The Dyer's Hand: Rhymes, meters, stanza forms, etc., are like servants.
If the master is fair enough to win their affection and firm enough to command their respect, the result is an orderly happy household.
If he is too tyrannical, they give notice; if he lacks authority, they become slovenly, impertinent, drunk and dishonest.Forced or clumsy rhyme is often a key ingredient of doggerel.
Such final unpronounced letters continue to affect rhyme according to the rules of Classical French versification.
Virtually all 17th-century French plays in verse alternate masculine and feminine Alexandrin couplets.
There are a few rules that govern most word-final consonants in archaic French pronunciation: Holorime is an extreme example of rime richissime spanning an entire verse.
Gallus, the Queen's lover, went (a magnanimous gesture) Gallantly from the Arena to the Great Tower, at Nîmes.
Some examples of imperfect rhymes (all from Friedrich Schiller's "An die Freude"): Ancient Greek poetry is strictly metrical.
O fortunate Rome, to be born with me consul But tail rhyme was not used as a prominent structural feature of Latin poetry until it was introduced under the influence of local vernacular traditions in the early Middle Ages.
Wpłynąłem na suchego przestwór oceanu, Wóz nurza się w zieloność i jak łódka brodzi, Śród fali łąk szumiących, śród kwiatów powodzi, Omijam koralowe ostrowy burzanu.
Across sea-meadows measureless I go, My wagon sinking under grass so tall The flowery petals in foam on me fall, And blossom-isles float by I do not know.
[21] The rules for rhyming used by Alexander Pushkin and subsequent Russian poets owe much to French verse.
The other rhyme and related patterns are called mōnai (alliteration), toṭai (epiphora) and iraṭṭai kiḷavi (parallelism).
[22] Following is an example of an Urdu couplet from Faiz Ahmed Faiz's ghazal dono jahaan teri mohabbat mein haar ke, wo jaa rahaa hai koi shab e ghum guzaar ke[23] haar and guzaar are qafiyas in this couplet because of rhyming.