Rhyme scheme

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A rhyme scheme is the pattern of rhymes at the end of each line of a poem or song. It is usually referred to by using letters to indicate which lines rhyme; lines designated with the same letter all rhyme with each other.

Contents

An example of the ABAB rhyming scheme, from "To Anthea, who may Command him Anything", by Robert Herrick:

Bid me to weep, and I will weepA
While I have eyes to seeB
And having none, yet I will keepA
A heart to weep for theeB

Function in writing

These rhyme patterns have various effects, and can be used to:

A basic distinction is between rhyme schemes that apply to a single stanza, and those that continue their pattern throughout an entire poem (see chain rhyme). There are also more elaborate related forms, like the sestina – which requires repetition of exact words in a complex pattern. Rhyming is not a mandatory feature of poetry; a four-line stanza with non-rhyming lines could be described as using the scheme ABCD.

Notation and examples

Notation used below:

Other notation examples:

Notable rhyme schemes and forms that use specific rhyme schemes:

In hip-hop music

Hip-hop music and rapping's rhyme schemes include traditional schemes such as couplets, as well as forms specific to the genre, [3] which are broken down extensively in the books How to Rap and Book of Rhymes . Rhyme schemes used in hip-hop music include

Couplets are the most common type of rhyme scheme in old school rap [9] and are still regularly used, [4] though complex rhyme schemes have progressively become more frequent. [10] [11] Rather than relying on end rhymes, rap rhyme schemes can have rhymes placed anywhere in the bars of music to create a structure. [12] There can also be numerous rhythmic elements which all work together in the same scheme [13] – this is called internal rhyme in traditional poetry, [14] though rap rhymes schemes can be anywhere in the bar, they could all be internal, so the term is not always used. [13] Rap verses can also employ 'extra rhymes', which do not structure the verse like the main rhyme schemes, but which add to the overall sound of the verse. [15]

Number of rhyme schemes for a poem with n lines

Tale of Genji chapter symbols, including diagrams of the first 52 set partitions Genji chapter symbols groupings of 5 elements.svg
Tale of Genji chapter symbols, including diagrams of the first 52 set partitions

The number of different possible rhyme schemes for an n-line poem is given by the Bell numbers, [16] which for n = 1, 2, 3, ... are

1, 2, 5, 15, 52, 203, 877, 4140, 21147, 115975, .. (sequence A000110 in the OEIS ).

Examples: We find one rhyme scheme for a one-line poem (A), two different rhyme schemes for a two-line poem (AA, AB), and five for a three-line poem: AAA, AAB, ABA, ABB, and ABC.

These counts, however, include rhyme schemes in which rhyme is not employed at all (ABCD). There are many fewer rhyme schemes when all lines must rhyme with at least one other line; a count of these is given by the numbers,

0, 1, 1, 4, 11, 41, 162, 715, 3425, 17722, ... (sequence A000296 in the OEIS ).

For example, for a three-line poem, there is only one rhyming scheme in which every line rhymes with at least one other (AAA), while for a four-line poem, there are four such schemes (AABB, ABAB, ABBA, and AAAA).

Related Research Articles

A quatrain is a type of stanza, or a complete poem, consisting of four lines.

<span class="mw-page-title-main">Sonnet</span> Poetic form, traditionally fourteen specifically-rhymed lines

A sonnet is a poetic form that originated in the poetry composed at the Court of the Holy Roman Emperor Frederick II in the Sicilian city of Palermo. The 13th-century poet and notary Giacomo da Lentini is credited with the sonnet's invention, and the Sicilian School of poets who surrounded him then spread the form to the mainland. The earliest sonnets, however, no longer survive in the original Sicilian language, but only after being translated into Tuscan dialect.

A tercet is composed of three lines of poetry, forming a stanza or a complete poem.

<i>Musophilus</i> 1599 poem by Samuel Daniel

Musophilus is a long poem by Samuel Daniel, first published in 1599 in his Poetical Essays.

Rhyme royal is a rhyming stanza form that was introduced to English poetry by Geoffrey Chaucer. The form enjoyed significant success in the fifteenth century and into the sixteenth century. It has had a more subdued but continuing influence on English verse in more recent centuries.

Terza rima is a rhyming verse form, in which the poem, or each poem-section, consists of tercets with an interlocking three-line rhyme scheme: The last word of the second line in one tercet provides the rhyme for the first and third lines in the tercet that follows. The poem or poem-section may have any number of lines, but it ends with either a single line or a couplet, which repeats the rhyme of the middle line of the previous tercet.

Common metre or common measure—abbreviated as C. M. or CM—is a poetic metre consisting of four lines that alternate between iambic tetrameter and iambic trimeter, with each foot consisting of an unstressed syllable followed by a stressed syllable. The metre is denoted by the syllable count of each line, i.e. 8.6.8.6, 86.86, or 86 86, depending on style, or by its shorthand abbreviation "CM".

A rondeau is a form of medieval and Renaissance French poetry, as well as the corresponding musical chanson form. Together with the ballade and the virelai it was considered one of three formes fixes, and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries. It is structured around a fixed pattern of repetition of verse with a refrain. The rondeau is believed to have originated in dance songs involving singing of the refrain by a group alternating with the other lines by a soloist. The term "Rondeau" is used both in a wider sense, covering older styles of the form which are sometimes distinguished as the triolet and rondel, and in a narrower sense referring to a 15-line style which developed from these forms in the 15th and 16th centuries. The rondeau is unrelated to the much later instrumental dance form that shares the same name in French baroque music, which is more commonly called the rondo form in classical music.

This is a glossary of poetry terms.

<span class="mw-page-title-main">Sonnet 49</span> Poem by William Shakespeare

Sonnet 49 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man.

<span class="mw-page-title-main">Sonnet 61</span> Poem by William Shakespeare

Sonnet 61 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man.

<span class="mw-page-title-main">Sonnet 99</span> Poem by William Shakespeare

Sonnet 99 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man. The sonnet is generally grouped with the preceding two in the sequence, with which it shares a dominant trope and image set: the beloved is described in terms of, and judged superior to, nature and its beauties.

<span class="mw-page-title-main">Sonnet 148</span> Poem by William Shakespeare

Sonnet 148 is one of 154 sonnets written by the English playwright and poet William Shakespeare.

Sonnet 125 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man.

<span class="mw-page-title-main">Sonnet 119</span> Poem by William Shakespeare

Sonnet 119 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It's a member of the Fair Youth sequence, in which the poet expresses his love towards a young man.

<span class="mw-page-title-main">Sonnet 87</span> Poem by William Shakespeare

Sonnet 87 is one of 154 sonnets published by the English playwright and poet William Shakespeare in 1609. It is part of the Fair Youth sequence, and sometimes included as the last sonnet in the Rival Poet group.

<span class="mw-page-title-main">Sonnet 95</span> Poem by William Shakespeare

Sonnet 95 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man.

<span class="mw-page-title-main">Sonnet 96</span> Poem by William Shakespeare

Sonnet 96 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence.

Fixed verse forms are a kind of template or formula that poetry can be composed in. The opposite of fixed verse is free verse poetry, which by design has little or no pre-established guidelines.

Decasyllabic quatrain is a poetic form in which each stanza consists of four lines of ten syllables each, usually with a rhyme scheme of AABB or ABAB. Examples of the decasyllabic quatrain in heroic couplets appear in some of the earliest texts in the English language, as Geoffrey Chaucer created the heroic couplet and used it in The Canterbury Tales. The alternating form came to prominence in late 16th-century English poetry and became fashionable in the 17th century when it appeared in heroic poems by William Davenant and John Dryden. In the 18th century famous poets such as Thomas Gray continued to use the form in works such as "Elegy Written in a Country Churchyard". Shakespearean Sonnets, comprising 3 quatrains of iambic pentameter followed by a final couplet, as well as later poems in blank verse have displayed the various uses of the decasyllabic quatrain throughout the history of English Poetry.

References

  1. "ababcbc – Poetry Forms". poetscollective.org. Retrieved 2017-11-15.
  2. Glæde over Danmark - English translation
  3. Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 95–110.
  4. 1 2 Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 99.
  5. Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 100.
  6. Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 101.
  7. Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 101–102.
  8. Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 102–103.
  9. Bradley, Adam, 2009, Book of Rhymes: The Poetics of Hip-Hop, Basic Civitas Books, p. 50.
  10. Edwards, Paul, 2009, How to Rap Like A Star: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 97.
  11. Bradley, Adam, 2009, Book of Rhymes: The Poetics of Hip-Hop, Basic Civitas Books, p. 73.
  12. Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 107.
  13. 1 2 Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 104.
  14. Bradley, Adam, 2009, Book of Rhymes: The Poetics of Hip-Hop, Basic Civitas Books, p. 74.
  15. Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 103.
  16. Gardner, Martin (1978), "The Bells: versatile numbers that can count partitions of a set, primes and even rhymes", Scientific American , 238: 24–30, doi:10.1038/scientificamerican0578-24 . Reprinted with an addendum as "The Tinkly Temple Bells", Chapter 2 of Fractal Music, Hypercards, and more ... Mathematical Recreations from Scientific American, W. H. Freeman, 1992, pp. 24–38.