In poetry, internal rhyme, or middle rhyme, is rhyme that occurs within a single line of verse, or between internal phrases across multiple lines. [1] [2] By contrast, rhyme between line endings is known as end rhyme.
Internal rhyme schemes can be denoted with spaces or commas between lines. For example, "ac,ac,ac" denotes a three-line poem with the same internal rhyme on each line, and the same end rhyme on each line (which does not rhyme with the internal rhyme).
The following example is in limerick form. Each stressed syllable rhymes with another stressed syllable using one of three rhyme sets. Each rhyme set is indicated by a different highlight color. Note that the yellow rhyme set provides internal rhyme in lines 1, 2, and 5, and end rhymes in lines 3 and 4, whereas the blue set is entirely internal, and the pink is exclusively end rhymes.
Each time Rosalie goes for a walk
She well knows that her clothes are the talk
Of the town, and it shows,
But this gown will expose
More than toes, so some shmoes gape and gawk.
Percy Dearmer (1867–1936) revised John Bunyan's (1628–1688) poem "To Be a Pilgrim" in 1906. It became a popular hymn when Charles Winfred Douglas (1867–1944) set it to music in 1917. Here are Dearmer's lyrics, with the internal rhymes in bold. Notice that in these three quatrains the internal rhymes are also echoed in the line rhymes (also in bold). [3]
He who would valiant be ’gainst all disaster,
Let him in constancy follow the Master.
There’s no discouragement shall make him once relent
His first avowed intent to be a pilgrim.
Who so beset him round with dismal stories
Do but themselves confound—his strength the more is.
No foes shall stay his might; though he with giants fight,
He will make good his right to be a pilgrim.
Since, Lord, Thou dost defend us with Thy Spirit,
We know we at the end, shall life inherit.
Then fancies flee away! I’ll fear not what men say,
I’ll labor night and day to be a pilgrim.
W. S. Gilbert (1836–1911) used internal rhyme in some of the songs of his operas. One notable example is that of Bunthorne's solo aria from the opera Patience , which begins:
If you're anxious for to shine in the high aesthetic line
As a man of culture rare,
You must get up all the germs of the transcendental terms,
And plant them everywhere.
You must lie upon the daisies and discourse in novel phrases
Of your complicated state of mind,
The meaning doesn't matter if it's only idle chatter
Of a transcendental kind.
Internal rhyme schemes were extremely common in a popular song of the Swing Era. One familiar example is the bridge from "Don't Fence Me In", written by Cole Porter for the film Hollywood Canteen in 1944:
Just turn me loose let me straddle my old saddle,
Underneath the western skies,
On my cayuse let me wander over yonder,
'Til I see the mountains rise.
Internal rhyme is used extensively in rap and hip-hop music, where it sometimes overlaps with assonance. The usage of internal rhyme in rap has increased over time, but can be found even in the earliest rap songs, such as the Sugarhill Gang's 1979 single, "Rapper's Delight": [4]
I'm six-foot-one and I'm tons of fun and I dress to a T
You see, I got more clothes than Muhammad Ali and I dress so viciously
I got body guards, I got two big cars, I definitely ain't the whack
I got a Lincoln Continental and a sun-roofed Cadillac
So after school, I take a dip in the pool, which is really on the wall
I got a color TV, so I can see the Knicks play basketball
Internal rhyme is used frequently by many different hip-hop artists, including Kool Moe Dee, Big Daddy Kane, Nas, and Rakim, as demonstrated in Eric B. and Rakim's 1987 piece, "My Melody" from their debut album Paid In Full :
My unusual style will confuse you a while
If I were water, I'd flow in the Nile
So many rhymes you won't have time to go for yours
Just because of applause I have to pause
Right after tonight is when I prepare
To catch another sucker-duck MC out there
My strategyhas to betragedy,catastrophe
And after this you'll call me your majesty... [5] [6]
Another prominent hip-hop artist who uses complex internal rhymes is AZ, as shown in "The Format":
Young and gifted, my tongue's prolific
In the beach bungalow is how I brung in Christmas
To the streets I'mma flow from the hungriest districts
Swiss kicks crisp when I come to them picnics
Play slow, paper chase stack and lay low
Range rove tinted all black the same old
Psychic mind, righteous rhymes that turned a new leaf from a life of crime
No concerns with new beef, who's as nice as I'm
It's confirmed, from few feet I'm still a sniper blind
Built my fame, spilt my pain
Politicking daily, still trying to milk the game
It's obvious that I'm real, rap skills remain
I took some change and I'm still the same
Black Thought, rapper from The Roots, uses internal rhymes in the song "Respond/React".
The attractiveassassin, blastin the devil trespassin
Master gettin cashin an orderly fashion
Message to the fake n**** flashin
Slow up Ahk, before you get dropped and closed like a caption
Fractional kids don't know the time for action
Styles got the rhythm that of an Anglo-Saxon
Round of applause, an avalanche of clappin
{*BLOW*} that's what happen, now what's your reaction
We heavyweight traction, pro-pornographin
Specialize in science and math and, original black man
Bustin thoughts that pierce your mental
The fierce rippin your sacksand
Vocal toe to toe impeccable splittin your backson
Simple as addition and subtraction
BlackThought, the infiniterelaxedone
Shorties say they love it with a passion
Bring the international charm, see a squad I harass
MF Doom uses almost every word as internal rhyme in this verse in his song, "Figaro". (Rhymes highlighted)
It's too hot to handle , you got blue sandals
Who shot you ? Ooh got you new spots to vandal ?
Do not stand still , both show skills
Close but no krills , toast for po' nils , post no bills
Coast to coast Joe Shmoe's flows ill , go chill
Not supposed to overdose, No-Doz pills
Off pride tykes talk wide through scar meat
Off sides like how Worf rides with Star fleet
Kool Keith heavily utilises internal rhyme in his song "3000" to effectively throw off the listener.
As studies have shown; participator acts walk up, clog up
And mess up water down the sound that comes from the ghetto
In the middle the core you tour, exploreexperience
What is real you feel, changing ways
Commercial rap's in the grave, stuff on disc that's very wack
That you saved, you think it's good won't go platinum
Or even turn wood, sell the cassette
Your homey's tape deckgets wet
You my pet, my poodle chicken noodle's on the rise
Open your eyes and see mylife
Rap moves on to the year three thousand!
Bad Lip Reading uses internal rhyme in their comedic song “My Stick”.
I disappear for years then reappear right here to cheer about my cool stick…
Rapping is an artistic form of vocal delivery and emotive expression that incorporates "rhyme, rhythmic speech, and [commonly] street vernacular". It is usually performed over a backing beat or musical accompaniment. The components of rap include "content", "flow", and "delivery". Rap differs from spoken-word poetry in that it is usually performed off-time to musical accompaniment. It also differs from singing, which varies in pitch and does not always include words. Because they do not rely on pitch inflection, some rap artists may play with timbre or other vocal qualities. Rap is a primary ingredient of hip-hop music, and so commonly associated with the genre that it is sometimes called "rap music".
Old-school hip hop is the earliest commercially recorded hip hop music and the original style of the genre. It typically refers to the music created around 1979 to 1983, as well as any hip hop that does not adhere to contemporary styles.
The new school of hip hop was a movement in hip hop music, beginning in 1983–84 with the early records of Run–D.M.C., Whodini, and LL Cool J. Predominantly from Queens and Brooklyn, it was characterized by Drum Machine-led minimalism, often tinged with elements of Rock; rapped taunts, boasts, and socio-political commentary; and aggressive, self-assertive delivery. In song and image, its artists projected a tough, cool, street B-boy attitude. These elements contrasted sharply with Funk and Disco, Novelty hits, live bands, synthesizers, and party rhymes of artists prevalent in the early 1980s. Compared to their older hip hop counterparts, new school artists crafted more cohesive LPs and shorter songs more amenable to airplay. By 1986, their releases began to establish hip hop in the mainstream.
Eric B. & Rakim were an American hip hop duo formed on Long Island, New York, in 1986, composed of DJ Eric B. and rapper Rakim. They first received acclaim for their 1987 debut album Paid in Full, which featured versions of the popular singles "Eric B. Is President" and the title track. They followed with three successful albums: Follow the Leader (1988), Let the Rhythm Hit 'Em (1990), and Don't Sweat the Technique (1992).
Freestyle is a style of hip hop music where an artist improvises an unwritten verse from the head, with or without instrumental beats, in which lyrics are recited with no particular subject or structure. It is similar to other improvisational music, such as jazz, where a lead instrumentalist acts as an improviser with a supporting band providing a beat. Freestyle originally was simply verse that is free of style, written rhymes that do not follow a specific subject matter, or predetermined cadence. The newer style with the improvisation grew popular starting in the early 1990s. It is now mainly associated with hip hop.
William Michael Griffin Jr., better known by his stage name Rakim, is an American rapper. He is one half of golden age hip hop duo Eric B. & Rakim, with whom he released four albums: Paid in Full (1987), Follow the Leader (1988), Let the Rhythm Hit 'Em (1990), and Don't Sweat the Technique (1992). He also released four solo albums: The 18th Letter (1997), The Master (1999), The Seventh Seal (2009), and G.O.D.'s Network: Reb7rth (2024).
Paid in Full is the debut studio album by American hip hop duo Eric B. & Rakim, released on July 7, 1987, by Island-subsidiary label 4th & B'way Records. The duo recorded the album at hip hop producer Marley Marl's home studio and Power Play Studios in New York City, following Rakim's response to Eric B.'s search for a rapper to complement his disc jockey work in 1985. The album peaked at No. 58 on the Billboard 200 chart, No. 8 on the R&B/Hip-Hop Albums chart, and produced five singles: "Eric B. Is President", "I Ain't No Joke", "I Know You Got Soul", "Move the Crowd", and "Paid in Full".
The Hip Hop Honors is an annual event that airs on VH1. The television special honors old school and golden age hip hop rappers and contributors for their long-term influence and importance in the history of hip hop culture. It features live performances by most of the honorees along with new artists who have been influenced by them in tribute. The show is taped at the Hammerstein Ballroom in Manhattan, New York City.
The Treacherous Three was a pioneering American hip hop group that was formed in 1978 and consisted of DJ Easy Lee, Kool Moe Dee, L.A. Sunshine, Special K and Spoonie Gee, with occasional contributions from DJ Dano B, DJ Reggie Reg and DJ Crazy Eddie. They first appeared on record in 1980 on the B-side of Spoonie Gee's single, "Love Rap".
William Paul Mitchell, better known by the stage name of Large Professor, is an American rapper and music producer. Based in New York City, he is known as a founding member of the underground hip hop group Main Source and as a mentor and frequent collaborator of Nas. About.com ranked Large Professor at No. 13 on its Top 25 Hip-Hop Producers list.
Grandmaster Flash and the Furious Five were an American hip hop group formed in the South Bronx of New York City in 1978. The group's members were Grandmaster Flash, Kidd Creole, Keef Cowboy, Melle Mel, Scorpio, and Rahiem. The group's use of turntablism, breakbeat DJing, and conscious lyricism were significant in the early development of hip hop music.
In poetry, a fourteener is a line consisting of 14 syllables, which are usually made of seven iambic feet, for which the style is also called iambic heptameter. It is most commonly found in English poetry produced in the 16th and 17th centuries. Fourteeners often appear as rhymed couplets, in which case they may be seen as ballad stanza or common metre hymn quatrains in two rather than four lines.
Illmatic is the debut studio album by the American rapper Nas. It was released on April 19, 1994, by Columbia Records. After signing with the label with the help of MC Serch, Nas recorded the album in 1992 and 1993 at Chung King Studios, D&D Recording, Battery Studios, and Unique Recording Studios in New York City. The album's production was handled by DJ Premier, Large Professor, Pete Rock, Q-Tip, L.E.S., and Nas himself. Styled as a hardcore hip hop album, Illmatic features multi-syllabic internal rhymes and inner-city narratives based on Nas' experiences growing up in the Queensbridge Houses in Queens, New York.
"I Shot Ya" is a song by American rapper LL Cool J featuring Keith Murray, from his sixth album Mr. Smith. The remix version, which featured Prodigy of Mobb Deep, Fat Joe, and Foxy Brown, of the song was released as a B-side to "Hey Lover", but received a video directed by Hype Williams, leading some to believe the track was an actual single from the album. Produced by Trackmasters, the remix was released in 1995 for Def Jam Recordings, and peaked at number 55 on the Hot R&B/Hip-Hop Songs for the Billboard charts.
"Bring the Noise" is a song by the American hip hop group Public Enemy. It was included on the soundtrack of the 1987 film Less than Zero; the song was also released as a single that year. It later became the first song on the group's 1988 album, It Takes a Nation of Millions to Hold Us Back. The single reached No. 56 on the Billboard Hot R&B/Hip-Hop Songs chart.
"Know the Ledge" – originally on the soundtrack of the film Juice as "Juice (Know the Ledge)" – is a 1992 single by hip-hop duo Eric B. & Rakim. The film's theme song, also released on the duo's 1992 album Don't Sweat the Technique, it features a distinctive sample from Nat Adderley's 1968 hit "Rise, Sally, Rise".
"I Ain't No Joke" is a song by rap duo Eric B. & Rakim, released as the second single from their debut studio album Paid in Full. It peaked at number thirty-eight on the Hot R&B/Hip-Hop Singles & Tracks. Described as one of the album's "monumental singles", Michael Di Bella wrote in the All Music Guide to Rock that "Rakim grabs the listener by the throat and illustrates his mastery of the rhyming craft". A music video was made for it, featuring dancing from Flavor Flav of the group Public Enemy. The song was selected by Jay-Z for the NBA 2K13 soundtrack. It was also featured in the video game Saints Row, as well as in the soundtrack of MLB The Show 23.
When rapping, MCs use braggadocio to boast—to speak about themselves with great pride. Braggadocio may include subjects such as physicality, fighting ability, financial riches, sexual prowess, or "coolness". Often heavily used in battle rap, braggadocio lyrics can range from just saying, "I'm the best MC ever," to using elaborate phraseology and wit.
Curtis Brown, better known by the stage names Grandmaster Caz and Casanova Fly, is an American rapper, songwriter, and DJ. He was a member of the hip hop group The Cold Crush Brothers from 1979 to the mid-1980s. He is best known as the (uncredited) main writer of Big Bank Hank's raps on the seminal 1979 hip hop single by The Sugarhill Gang, "Rapper's Delight".
Jonathan Allen Burks Sr., better known by his stage name Jaz-O, is an American rapper and record producer. Active in the late 1980s through the 1990s, he became known in retrospect as the mentor of fellow Brooklyn rapper Jay-Z. Burks, nicknamed "the Originator", debuted the artist on his 1986 single "H. P. Gets Busy". Burks signed with EMI to release three studio albums: Word to the Jaz (1989), To Your Soul (1990) and Kingz Kounty (2002). His debut extended play (EP), The Warmup (2021) was the first release from the Roc Nation subsidiary, Equity Distribution. He has also been credited with production work for other artists including Puff Daddy, Rakim, Usual Suspects, GZA, Kool G Rap, Queen Latifah, M.O.P., and Group Home, among others.
