Department of english language and literature

Classification by position

Rhymes may be classified according to their position in the verse:

tail rhyme (also called end rhyme or rime couée): a rhyme in the final syllable(s) of a verse (the most common kind)
When a word at the end of the line rhymes with a word in the interior of the line, it is called an internal rhyme.
Holorhyme has already been mentioned, by which not just two individual words, but two entire lines rhyme.
Off-centered rhyme is a type of internal rhyme occurring in unexpected places in a given line. This is sometimes called a misplaced-rhyme scheme, or a Spoken Word rhyme style
Broken rhyme is a type of enjambement producing a rhyme by dividing a word at the line break of a poem to make a rhyme with the end word of another line.
Cross rhyme matches a sound or sounds at the end of a line with the same sound or sounds in the middle of the following (or preceding) line.
A rhyme scheme is the pattern of rhyming lines in a poem.
Old English poetry is mostly alliterative verse. One of the earliest rhyming poems in English is The Rhyming Poem.
As English is a language in which stress is important, lexical stress is one of the factors affecting the similarity of sounds for the perception of rhyme. Perfect rhyme can be defined as the case when two words rhyme if their final stressed vowel and all following sounds are identical.
Some words in English, such as «orange», are commonly regarded as having no rhyme. Although a clever writer can get around this (for example, by obliquely rhyming «orange» with combinations of words like «door hinge» or with lesser-known words like «Blorenge», a hill in Wales), it is generally easier to move the word out of rhyming position or replace it with a synonym («orange» could become «amber»).
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.
The first issue of Rhythm was a summer 1911 edition. It was a quarterly until after the Spring 1912 issue, when it began to publish monthly. The final issue under the name Rhythm was published in March 1913; in May 1913, the magazine resumed publication under the name The Blue Review. After publishing additional issues in June and July 1913, the magazine then ceased publication.
The magazine, sometimes referred to as a «little magazine», was focused primarily on literature, music, art, and theatre. [22.P 78].
Throughout its history, the magazine was edited by John Middleton Murry, with Katherine Mansfield serving as the associate editor from June 1912 until the magazine folded. Its title was borrowed from a major painting of a female nude (a drawing of which appears on its front cover) by J. D. Fergusson who became its art editor.[1] The magazine went through three separate publishers: it began with St Catherine Press; when it became a monthly, it was published by Stephen Swift & Co. Under the name The Blue Review, it was published by Martin Secker.