Rhyme and its phonostylistic features contents

The aim of my course paper is Rhyme and its phonological feature
To reach the aim I put forward the following tasks:

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  to study Ryhme meaning and its history
  
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  to investigate Rhyme and its type and scheme
  
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  to analyse Rhyme in different types of poetry
  
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  to consider How to make rhyme
  

The subject of my course paper is Rhyme and its phonological feature The object of my course paper is Rhyme and its types
The course paper includes introduction, main part, conclusion and list of references.
The main part includes the meaning of rhyme and what language it comes from, as well as how to form it is written by indicating its structure at the same time, information is written on how to analyze the rhyme at the end of the main part, information is also provided on the importance of rhyme in learning English and the importance of rhyme in learning English for children. Inn addition, the importance of rhyme in the poet is explained in the work of various poets.

MAIN PART
CHAPTER I
1. Rhyme and its defination

A rhyme is a repetition of similar sounds (usually, the exact same phonemes) in the final stressed syllables and any following syllables of two or more words. Most often, this kind of perfect rhyming is consciously used for a musical or aesthetic effect in the final position of lines within poems or songs.[1] More broadly, a rhyme may also variously refer to other types of similar sounds near the ends of two or more words. Furthermore, the word rhyme has come to be sometimes used as a shorthand term for any brief poem, such as a nursery rhyme or Balliol rhyme.Rhymes are words whose endings match, as in “fly” and “spy.” This is one of the most common techniques in traditional poetry and music, and most people can easily identify rhymes. . Rhyming is particularly common in many types of poetry, especially at the ends of lines, and is a requirement in formal verse. The most familiar and widely-used form of rhyming is perfect rhyme, in which the stressed syllables of the words, along with all subsequent syllables, share identical sounds, as in "pencil" and "stencil." Perfect rhyme is so common, in fact, that the word "rhyme" is often used simply to refer to perfect rhymes. However, there are actually a variety of other types of rhymes, such as imperfect rhyme or slant rhyme, which also involve the repetition of similar sounds but in ways that are not quite as precise as perfect rhyme.

Some additional key details about rhyme:

Rhyme is used in poetry, as well as in songwriting, not just because it's pleasant to hear, but because the repetition of sounds (especially when it's consistent) lends a sense of rhythm and order to the language.

Contrary to what many people think, words don't have to share perfectly identical sounds in order to qualify as a type of rhyme. Many words that share similar sounds—including some words that only share a single letter—fall into one of the categories of rhyme we describe below.

Poems that use rhymes at the end of each line often do so according to a repeating, predetermined pattern called a rhyme scheme Classifying Rhymes by Emphasis

Rhymes aren't only classified by whether their stressed syllables rhyme. They can also be classified according to location of the stressed syllables within the rhymed words:

Single: a perfect or slant rhyme in which the emphasis falls on the last syllable, as in "stop" and "mop," or "compare" and "despair."

Double: a perfect or slant rhyme in which the emphasis falls on the penultimate (second-to-last) syllable, as in "plunder" and "thunder."

Dactylic: a perfect or slant rhyme in which the emphasis falls on the third-to-last syllable, as in "indicate" and "vindicate."

Rhyme and Rhyme Scheme
Rhyme has a few purposes in poetry:
Rhyme (along with other sonic devices such as alliteration) differentiates poetic language from prose. These poetic devices give poetry its special poetic qualities of sound and rhythm.
Rhyme helps poetry to be more memorable; the brain can memorize texts more easily with patterns such as in rhyme. This use calls back to the Latin word rithmus. Poems are meant to be remembered and use rhyme to help the listener memorize.
Many poetic forms dictate a rhyme scheme, a set pattern of rhymed lines in the poem. In this case, rhyme is used to fit the form and identify the form to the reader.

In formal verse (which is the name given to rhymed poetry that uses a strict meter), end rhymes typically repeat according to a pattern called a rhyme scheme. Rhyme schemes are described using letters of the alphabet, so that each line of verse that corresponds to a specific type of rhyme used in the poem is assigned a letter, beginning with "A." For example, a four-line poem in which the first line rhymes with the third, and the second line rhymes with the fourth has the rhyme scheme ABAB, as in the lines below from the poem To Anthea, who may Command him Anything by Robert Herrick:

Bid me to weep, and I will weep
While I have eyes to see
And having none, yet I will keep
A heart to weep for thee

Although all formal verse poems have some sort of rhyme scheme, certain forms of poetry have a pre-determined rhyme scheme, such as the sonnet or the villanelle. Poets wanting to write such poems have to match the rhyme scheme they use to that defined by the type of poem in question.

Rhyme Examples

Perfect Rhyme in John Milton's "When I consider how my light is spent"

Each rhyme in this famous sonnet by Milton is an example of perfect rhyme (words whose stressed syllables share identical sounds, as well as all sounds that follow the stressed syllable).

When I consider how my light is spent,

Ere half my days, in this dark world and wide,
And that one Talent which is death to hide
Lodged with me useless, though my Soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide;
“Doth God exact day-labour, light denied?”
I fondly ask. But patience, to prevent
That murmur, soon replies, “God doth not need
Either man’s work or his own gifts; who best
Bear his mild yoke, they serve him best. His state
Is Kingly. Thousands at his bidding speed
And post o’er Land and Ocean without rest:
They also serve who only stand and wait.”

Internal Rhyme and Alliteration in Edgar Allen Poe's "The Raven"

Poe's famous poem uses internal rhyme in addition to end rhyme—and also makes heavy use of alliteration. Examples of alliteration are bolded, while examples of internal rhyme are highlighted.

Once upon a midnight dreary, while I pondered, weak and weary,

Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
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The repetition of sound (whether rhyme or alliteration) is part of what gives the language of Middle English poetry its musicality, the patterned artifice which signals that it is different from everyday speech. In rhyming verse, the rhyme at the end of each line (as well as the metrical pattern of the line) divides its language up into equal units. As well as marking the individual line, rhymes indicate greater divisions, whether these be pairs of lines linked together to form couplets (aabbcc), or larger patterns of quatrains (abab), tail-rhyme stanzas (aabaab), seven-line rhyme royal stanzas (ababbcc) or eight-line ballade stanzas (ababbcbc).
Rhyming verse in earlier Middle English often features what might seem to us to be less than ‘pure’ or ‘perfect’ rhyme such as assonance or half-rhyme. Some poets of the late fourteenth and fifteenth centuries (including Chaucer, Gower, Hoccleve and Lydgate) imposed stricter ‘rules’ on themselves, sticking mostly, but not always, to full rhyme. English verse borrowed from French poetry a type of rhyme called rime équivoque (that is, punning rhyme) in which the rhyme words are identical, whether these are rhyming homonyms (i.e. the wise and alle the wise, meaning ‘the wise ones’ and ‘in all respects’) or the same words used in two different senses or as two different parts of speech (i.e. the claw, the noun, and to claw, the verb). This is not poets failing to find a rhyme, but rather showing off their verbal ingenuity.
Be careful to take account of the demands that rhyme makes on a poet’s choice of words. Given the self-imposed constraints of getting a word which has the right rhyme in the right place in the line, poets manipulate language in various ways. If you are making a point about word order or syntax, think about whether the poet has inverted or altered normal syntax simply in order to get his rhyme in the right place. If you are making a point about verbal repetition or emphasis, consider whether the poet has repeated or added a word simply to pad out the line to push the rhyme-word into the right place.
Rhyme has an impact on language choice, too. Poets sometimes borrow a word into English from Latin or French to provide a rhyme, or use a rare word, or invent a nonce-word (i.e. a word coined in situ for a particular purpose, here rhyme). Chaucer occasionally makes use of variations in a word’s spelling or pronunciation in order to provide a rhyme word, or uses a variant from a different dialect (on this see Simon Horobin, Chaucer’s Language (2007), pp. 61–66). So if you want to make a point about a word in rhyme position, think about whether it has been chosen solely for its meaning, or more for its form and sound.
Middle English poets sometimes used verse fillers or tags (i.e. an often-used, largely meaningless phrase such as it is no faile, meaning ‘without a doubt’) at the end of the line to provide a rhyme (these can be checked via the Middle English Dictionary). The demands of rhyme may thus shape content in various ways. So if you are commenting on a poet’s choice of word, or interpreting a word which lies in rhyme position, consider whether the demands of form have influenced the content of the line. It isn’t persuasive to say that a stanza is really concerned with (for example) truth or doubt if those nouns only appear in tag phrases in rhyme position.
Rhyme highlights the similarity in sound and word-form in words which mean different things. In the most subtle and small-scale way, each rhyme asks whether the two (or more) words in question have any other relationship, whether this is similarity, difference, ironic contrast, or coincidence. It’s temptingly easy to pick out a pair or trio of rhymes in a commentary passage and argue for the profound significance of this pair or group. But every stanza in Troilus and Criseyde has rhymes, so it might be a bit superficial or arbitrary to pick out one set of rhymes, unless you have a really incisive interpretative point to make.
Some rhymes are used so often that they become familiar or expected. When a reader encounters one word, say a lover’s trouthe or ‘fidelity’, they might anticipate that a corresponding rhyme would refer to his lady’s routhe or ‘pity’. Poets can play with those expectations, side-stepping the expected rhyme or negating or questioning it. Myra Stokes and Owen Boynton, in the articles listed below, show how Chaucer exploits repeated and familiar rhymes in Troilus and Criseyde