The Rhyme Scheme
ANAPESTIC METER
Meter using a foot of three syllables, in which the accent falls on the third syllable.
BLANK VERSE
Any unrhyming verse (hence the name "blank"). Blank verse usually consists of lines of iambic pentameter.
COUPLET
A pair of rhymed lines (of any specificable length or rhythm).
DACTYLIC METER
Meter using a foot of three syllables, in which the accent falls on the first syllable.
END RHYME
The near duplication of sounds that takes place at the ends of lines. End
rhyme is the most common type of rhyme.
EYE RHYME
Rhyme in which the ending of words are spelled alike; in most instances were
pronounced alike.
FOOT
Is the combination of stressed and unstressed syllables, which make up the
metric unit of a line. The most commonly used feet are as follows:
ANAPESTIC, DACTYLIC, IAMBIC, and TROCHAIC.
FREE VERSE
Refers to poetry that does not follow a prescribed form but is characterized
by the irregularity in the length of lines and the lack of a regular metrical
pattern and rhyme. Free verse may use other repetitive patterns instead (like
words, phrases, structures).
IAMBIC FOOT: Consists of an unstressed syllable followed by a stressed syllable. Meter using a foot of two syllables, in which the accent falls on the second syllable.
INTERNAL RHYME
Involves rhyming sounds within the same line.
LINE
The sequence of words printed as a separate entity on the page.
METER
The pattern of stressed and unstressed syllables or the units of stress pattern.
METRIC LINE
A line named according to the number of feet composing it:
MONOMETER: one foot
DIMETER: two feet
TRIMETER: three feet
TETRAMETER: four feet
PENTAMETER: five feet
HEXAMETER: six feet
HEPTAMETER: seven feet
OCTAMETER: eight feet
OTTAVA RIMA
An Italian stanza form adapted to English as an eight-line stanza with the
rhyme scheme: a b a b a b c c
PARAPHRASE
The restatement of a poem using words that are different but as equivalent as
possible.
PERFECT RHYME
Rhyme in which the final accented vowels of the rhyming words and all
succeeding sounds are identical while preceding sounds are different. In
perfect rhyme, the correspondence of rhymed sounds is exact.
QUATRAIN
A four line stanza. Quatrains are most commonly seen in English verse.
QUINTET or QUINTAIN
A five line stanza.
RHYME
Refers to the repetition of similar sounds occurring at determined, or regular,
intervals .
RHYME ROYAL
A seven line, iambic pentameter stanza with the rhyme scheme a b a b b c c.
RHYME SCHEME
The pattern of rhymed words. Stanzas are often linked by their rhyme
scheme. Rhyme scheme is lacking in some modern poetry.
RHYTHM
A variable pattern in the beat of stresses in the stream of sound. Rhythm can
also be defined as the sense of movement attributable to the pattern of
stressed and unstressed syllables. Although rhythm is sometimes used to
signify meter, it includes temp and the natural fluctuations of movement.
SCANSION
The systematic analysis of metrical patterns of stress, syllable by syllable,
sound unit by sound unit.
SESTET or SEXTAIN
A six line stanza.
STANZA
A group of lines which form a division of a poem. Stanzas are usually set off
from one another by a space. The distinguishing characteristics of stanzas
are the number of lines, the number of feet in each line and the rhyme
scheme. However, some unrhymed poems are divided into stanzas.
STRESS
A term applied to the emphasis placed on a syllable in a word. A synonym
for stress is "accent."
TRIPLET
A stanza of three lines usually with a single rhyme.
TROCHAIC METER
Meter using a foot of two syllables, in which the accent falls on the first syllable.
VERSE
Refers to either a single line of poetry or to metrical poetry in general.
Source: http://www.mca.k12.nf.ca/
Full Version: The Rhyme Schemes of Poetry
I've got many comments lately (not just here) where it seems as though rhyming is almost frowned upon...what's up with that?
Cathy
Cathy
Dear Cathy,
Modern poetry is free now of the forms that once defined poetry. It has transmorphed more than any other art form and has entrenched itself sufficiently for many to think that our poetic heritage is justifiably
passe.
Language steadily morphs and it is language that many free versers use to explain why Shakespeare, Milton, Byron, Longfellow, etc. are no longer germane in the poetry field. It seems to me that in this modern world
of individual freedom's dominance, only children fully appreciate the benes of rhythm and rhyme.
Cheers, jgd
Modern poetry is free now of the forms that once defined poetry. It has transmorphed more than any other art form and has entrenched itself sufficiently for many to think that our poetic heritage is justifiably
passe.
Language steadily morphs and it is language that many free versers use to explain why Shakespeare, Milton, Byron, Longfellow, etc. are no longer germane in the poetry field. It seems to me that in this modern world
of individual freedom's dominance, only children fully appreciate the benes of rhythm and rhyme.
Cheers, jgd
Hi Cathy and Ron, Lori et al,
Rhyme schemes...
It is true that few poets at the cutting edge today seem to use rhyme. However, fashions come and go and rhymes will be popular again, I have no doubt. On MM, in particular, there are many poems and poets involved in rhyme. I think I may have been one of Cathy's critics to whom she refers but I have used rhyme many times and I am sure I shall do again.
Poor rhyme (this now refers to no one) can sound childish - and many child's rhymes are good. However, rhyme can be used effectively. Some poems benefit from it; some do not. Some poems would benefit from better rhyme schemes and so on.
My own general preference is to write without any form, meter nor rhyme. Why? Because I find it distracting. It imposes disciplines and limitations which seem pointless. I have things I wish to say and I would prefer to concentrate on those. It is easier in that one can ignore all the rules. However, it is harder in some ways because there are no guidelines, so readability etc can be way-off, with no boundaries to assist with improvement of poem. However, I would not be able to experiment as I do if I stuck to forms. (Though many people might say that was a good reason to write in form!)
Now, this is not to say that I do not enjoy others’ strict form / meter / rhyme poems: I often do. Many people on MM - you three are excellent examples - spend a lot of time perfecting their poetry in set styles. The result is some very good poems, indeed. So there is still a great deal of point in writing in styles - because readers often appreciate them and, therefore, you can convey your message.
I just wanted to say, that although you may not be cutting-edge, I, for one, often enjoy reading form poems so I’m sure very many other people do too - probably the majority of readers! keep on truckin’!
James.
Rhyme schemes...
It is true that few poets at the cutting edge today seem to use rhyme. However, fashions come and go and rhymes will be popular again, I have no doubt. On MM, in particular, there are many poems and poets involved in rhyme. I think I may have been one of Cathy's critics to whom she refers but I have used rhyme many times and I am sure I shall do again.
Poor rhyme (this now refers to no one) can sound childish - and many child's rhymes are good. However, rhyme can be used effectively. Some poems benefit from it; some do not. Some poems would benefit from better rhyme schemes and so on.
My own general preference is to write without any form, meter nor rhyme. Why? Because I find it distracting. It imposes disciplines and limitations which seem pointless. I have things I wish to say and I would prefer to concentrate on those. It is easier in that one can ignore all the rules. However, it is harder in some ways because there are no guidelines, so readability etc can be way-off, with no boundaries to assist with improvement of poem. However, I would not be able to experiment as I do if I stuck to forms. (Though many people might say that was a good reason to write in form!)
Now, this is not to say that I do not enjoy others’ strict form / meter / rhyme poems: I often do. Many people on MM - you three are excellent examples - spend a lot of time perfecting their poetry in set styles. The result is some very good poems, indeed. So there is still a great deal of point in writing in styles - because readers often appreciate them and, therefore, you can convey your message.
I just wanted to say, that although you may not be cutting-edge, I, for one, often enjoy reading form poems so I’m sure very many other people do too - probably the majority of readers! keep on truckin’!
James.
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