Inaccurate rhyme. Types of rhymes Exact and imprecise rhyme examples

I often meet in literary communities, forums and websites both ardent opponents of “imprecise rhymes” and their supporters. You have probably often wondered: which rhymes are acceptable and which are not? After all, it’s no secret that in poetry many rhymes are often classified as “come me il faut” (decent) or “bad manners” (bad manners). Let's try to understand this issue and dispel all sorts of myths.
What is a rhyme anyway? The most accurate and understandable explanation is given by Georgy Shengeli in his famous work “Technique of Verse”:
“Rhyme is the consonance of one or several words, which consists in the fact that their stressed vowels are the same or corresponding (a-a, u-u, a-ya, u-yu, etc.), and all subsequent sounds until the end of the word sound approximately are the same and follow the same order in both words. It follows from this that the number of syllables that gives consonance must be the same.” (G.A. Shengeli. Verse technique. M.: Goslitizdat, 1960. – 312 p.)

Many, even novice poets, know that rhymes are classified into:
MEN - the stress falls on the last syllable: korAl - stole.
WOMEN - to the penultimate one: fish - blocks
DACTYLIC – stress on the third syllable from the end: doubts – eclipses
HYPERDACTYLIC (used much less frequently than others) - the stress falls on the fourth syllable or further: sloppy - coughing, etc...

Most often, lines with different types of rhyme alternate, but quite often there are entirely masculine, entirely feminine, or entirely dactylic rhymes in one poem. Given the existing limitations, many are looking for other forms and ratios. A natural question arises: should the given rhyme be strictly adhered to, or are some deviations possible? And what exactly are clear and fuzzy rhymes?

First, let me look a little into history. In Russian literature in the 19th century, the prevailing view was that rhymes should not only be accurate, but there should be a complete coincidence of all sounds included in the sound repetition. An illustrative example:
“My uncle had the most honest rules,
When, seriously, I couldn’t,
He forced himself to respect
And it’s better to invent | I couldn’t” (A.S. Pushkin)

But such strict adherence to the canons leads to a limited supply of rhyming words and ultimately threatens repetition and cliches. I think few people will like banality and stereotypes in literature. Who is interested in repeating the same limited supply of hackneyed rhymes?! Pushkin himself, an excerpt from whose poem is given above, understood this well and pointed out the limited supply of rhymes. He also predicted the transition to blank verse. Thank God, Russian poetry did not completely switch to blank verse, but began to find new solutions.
New opportunities for many authors are given by the understanding that rhymes are distinguished not only by which syllable from the end of the line is stressed, but also by the degree of consonance between the endings of the lines. This is where the main difference between exact and imprecise rhyme arises. When using precise rhyme, not only the stressed sounds at the end of lines are consonant, but also the syllables located behind them. Imprecise rhyme is characterized by differences in the sound of consonants in unstressed syllables located at the end of lines.
Example of an exact rhyme:

“I let my family leave,
All loved ones have long been in disarray,
And the everlasting loneliness
Everything is complete in the heart and nature.” (B. Pasternak)

An example of an imprecise rhyme:

"In the human body
ninety percent water
like, probably, in Paganini
ninety percent love! (A. Voznesensky)

Of course, no one will call Voznesensky a mediocrity or an amateur. From this we conclude that in Russian poetry there is a place for imprecise rhyme. But which one? Is it always appropriate? In what cases is its use justified? A good explanation is given by the Russian writer and poet Yuri Nesterenko:
“The most justified type of imprecise rhyme is a rhyme in which a slight dissonance between syllables is compensated by a large number of consonant syllables (sometimes even words): garages - townspeople, executioners - received, yellow - fuck you. Such rhymes may be even better than exact rhymes, in which fewer syllables match; at the same time, in such rhymes it is necessary that at least some syllables, and first of all the stressed one, coincide exactly.

Another - special - case of imprecise rhyme is the deliberate use of such a rhyme (or pseudo-rhyme) as a device on which the entire poem is built. Usually, words are selected as “rhyming” words in which the consonants and unstressed syllables are consonant, but the stressed vowels are different. Examples could be
to serve “One Poetess” (“I am infected with normal classicism”) by I. Brodsky, “Interlude IV” (“First, there was not enough electricity”) by M. Shcherbakov, “Disso-rondeli” (“Bumble-bee cello”) And .Severyanina (I give both the “official” names of the poems and their characteristic lines - for easier recognition). It is curious, by the way, that in the first two examples pseudo-rhymes are used only as a background, and formally the frame is built on the usual exact rhyme. I will emphasize once again, however, that such a technique should permeate the entire poem; if it flashes in one or two places, then this is not a technique, but a hack.”

So, we see two examples when the use of imprecise rhyme is justified:
1) When the dissonance is redeemed by a large number of consonant syllables, which, in principle, only enriches the rhyme.
2) When the entire work is deliberately written in such a “fuzzy” or “pseudo-rhyme”, as a result of which it is clear that this is a special form.
All other cases show that the author made a grave mistake. So, I rhymed “mountain” with “sea” - correct it and have respect for the reader!
In addition, some classifications mention rich, poor and homonymous rhymes. Rich rhyme is the use of consonant syllables at the end of lines of a poem, not only after the last stressed sounds, but also before them. The use of homonymous rhyme, in essence, comes down to placing homonyms (words that have different meanings, but the same sound) at the end of lines.
For example: “I’m calling” - “I’m going”, “near” - “earth”, “water” - “at home”. We see that here words rhyme in which only the stressed vowels are consonant. I won’t say that this is not acceptable, but in a good poem there should not be many such rhymes. And poor rhymes also include rhyming words of the same grammatical form (case or verbal). There is a lot of talk about verbal rhyme and almost everyone is unanimous in the opinion that it is primitive and should be used to a minimum. In many respects I agree. It’s unpleasant to read poetry where everything is “meet” - “rush”, “success” - “stayed”, “shout” - “be silent”, etc. Of course, it is stupid to categorically avoid ending a line with a verb, because by doing so we ignore all the richness and diversity of our language, but still, this should be done infrequently and, if possible, rhyme with another part of speech. For example: “became” - “a lot”, “get out” - “brother”, etc.

So many of them fell into this ABYSS,
I'll open up in the distance!
The day will come when I too will DISAPPEAR
From the surface of the earth. (M. Tsvetaeva).

And the last type of rhyme that I want to give is SINGLE-ROOT rhymes. Most experts categorically do not recommend using such rhymes. This is not only primitive, but also speaks of the poet’s underdeveloped vocabulary and inability to replace a word with a synonym. Example: “obliquely” - “slanting”, “opinion” - “doubt”. The paradox is that such rhymes are the most accurate. Well, what could be more precise than “boot” - “low shoe”?
The worst version of a single-root rhyme is a verbal single-root rhyme: for example, “came” - “approached” or “hacked” - “chopped”. Such rhymes are primitive even for two reasons - they are not only the same root, but also verbal!

The principles presented in the article, of course, apply mainly to Russian poetry, since other languages have their own phonetic features and rules of versification associated with this. But the general principles are similar throughout the world's poetry.
In the article I have not yet mentioned internal rhymes, assonances, superscripts, wedges and other types of complex rhymes - I don’t want to overload the reader, and my main goal was to point out the types of rhymes that should be rarely used or completely avoided. But, nevertheless, I hope that beginning and even experienced poets will find a lot of useful information in my article.

List of sources:
1) G.A. Shengeli, “Technique of Verse”
2) Literary Encyclopedia (FEB)
3) pishi site
4) Yuri Nesterenko, “On exact and imprecise rhymes”
5) Kvyatkovsky Poetic Dictionary (FEB)
6) Tim Skorenko, “Textbook of Versification”

Reviews

Good evening. I read both the first and second articles with great pleasure. I learned a lot for myself. I teach versification techniques at the Rostock youth studio.
But I have always been convinced and continue to convince young people: first - content and depth
thoughts, rich vocabulary. If this is not the case, then no rhyme, even the most polished one, will help. The reader is primarily interested in depth and content, while technology is of interest only to “technicians,” as a rule. I love it very much
M. Tsvetaeva - this is where the treasure trove of improvisations, rhyming and freedom lies. At the same time, the conciseness and capacity of the poetic line and... the uniqueness of her creativity. Thanks again.
Anna Dan Demyanenko.

Rhyme and its varieties

Rhyme is the repetition of more or less similar combinations of sounds that connect the endings of two or more lines or symmetrically located parts of poetic lines. In Russian classical versification, the main feature of rhyme is the coincidence of stressed vowels. Rhyme marks the end of a verse (clause) with a sound repetition, emphasizing the pause between lines, and thereby the rhythm of the verse.

Depending on the location of stress in rhyming words, rhyme can be: masculine, feminine, dactylic, hyperdactylic, exact and inaccurate.

Masculine rhyme

Masculine - rhyme with stress on the last syllable in the line.

Both the sea and the storm rocked our canoe;

I, sleepy, was given over to all the whims of the waves.

There were two infinities in me,

And they played with me willfully.

Feminine rhyme

Feminine - with emphasis on the penultimate syllable in the line.

Quiet night, late summer,

How the stars glow in the sky,

As if under their gloomy light

The dormant fields are ripening.

Dactylic rhyme

Dactylic - with stress on the third syllable from the end of the line, which repeats the pattern of dactyl - -_ _ (stressed, unstressed, unstressed), which, in fact, is the name of this rhyme.

A girl in a field with a willow pipe,

Why did you hurt the spring twig?

She cries at her lips like a morning oriole,

cries more and more bitterly and more and more inconsolably.

Hyperdactylic rhyme

Hyperdactylic - with stress on the fourth and subsequent syllables from the end of the line. This rhyme is very rare in practice. It appeared in works of oral folklore, where size as such is not always visible. The fourth syllable from the end of the verse is not a joke! Well, an example of such a rhyme goes like this:

The goblin scratches his beard,

He's gloomily trimming a stick.

Depending on the coincidence of sounds, accurate and inaccurate rhymes are distinguished.

Rhyme accurate and inaccurate

Rhyme - repetition of more or less similar combinations of sounds at the ends of poetic lines or symmetrically located parts of poetic lines; In Russian classical versification, the main feature of rhyme is the coincidence of stressed vowels.

(O.S. Akhmanova, Dictionary of Linguistic Terms, 1969)

Why was Dunno wrong when he claimed that “stick - herring” is also a rhyme? Because he did not know that in fact it is not sounds that rhyme, but phonemes (a sound is a particular realization of a phoneme) (R. Yakobson), which have a number of distinctive features. And the coincidence of some of these features is enough to make rhyming sound possible. The fewer coinciding features of a phoneme, the more distant, the “worse” the consonance.

Consonant phonemes differ:

1) by place of education

2) by method of education

4) by hardness and softness

5) by deafness and voicedness

These signs are obviously unequal. Thus, the phoneme P coincides with the phoneme B in all respects, except for deafness-voicedness (P - voiceless, B - voiced). This difference creates an “almost” exact rhyme: trenches - individuals. Phonemes P and T differ in the place of formation (labial and anterior lingual). OkoPe - osoTe - is also perceived as a rhyming sound, although more distant.

The first three features create differences between phonemes that are more significant than the last two. We can designate the difference between phonemes according to the first three characteristics as two conventional units (cu); for the last two - as one. Phonemes that differ by 1-2 units are consonant. Differences of 3 or more units do not retain consonance to our ears. For example: P and G differ by three units. (place of formation - 2, voiceless-voiced - 1). And trenches - legs can hardly be considered a rhyme in our time. Even fewer are trenches - roses, where P and W differ by 4 cu. (place of education, method of education).

So, let's mark the rows of consonant consonants. These are, first of all, pairs of hard and soft: T - T", K - K", S - S", etc., but such substitutions are resorted to quite rarely, for example, of the three pairs of rhymes, “otkoS”e - roSy ", "slopes - dew" and "slopes - roses" the second and third options are more preferable.

Substitution of voiceless-voiced voices is perhaps the most common: P-B, T-D, K-G, S-Z, Sh-Zh, F-V (for god - deep, bends - linden, dragonflies - braids, people - raid ).

The stops (mode of formation) P-T-K (voiceless) and B-D-G (voiced) respond well to each other. The corresponding two rows of fricatives are F-S-SH-H (voiceless) and V-Z-ZH (voiced). X has no voiced counterpart, but goes well and often with K. B-V and B-M are equivalent. M-N-L-R in various combinations are very productive. Soft versions of the latter are often combined with J and B (Russian[rossiJi] - blue - strength - beautiful).

So, concluding our conversation about exact and imprecise rhyme, we repeat that exact rhyme is when the vowels and consonants included in the consonant endings of the verses basically coincide. The accuracy of the rhyme is also increased by the consonance of the consonant sounds immediately preceding the last stressed vowel in rhyming verses. An imprecise rhyme is based on the consonance of one, or less often, two sounds.

Rhyme systems

Previously, in a school literature course, the basic methods of rhyming were necessarily studied in order to give knowledge about the variety of positions in a stanza of rhyming pairs (or more) of words, which should be a help to anyone who writes poetry at least once in their life. But everything is forgotten, and the majority of authors are somehow in no hurry to diversify their stanzas.

Adjacent - rhyming of adjacent verses: the first with the second, the third with the fourth (aabb) (the same letters indicate the endings of verses that rhyme with each other).

This is the most common and obvious rhyming system. This method can be used even by children in kindergarten and has an advantage in the selection of rhymes (the associative pair appears in the mind immediately, it is not clogged with intermediate lines). Such stanzas have greater dynamics and a faster reading pace.

The scarlet light of dawn was woven on the lake,

On the forest, wood grouse are crying with ringing sounds.

An oriole is crying somewhere, burying itself in a hollow.

Only I don’t cry - my soul is light.

The next method - cross rhyme - also appealed to a large number of the writing public.

Cross - rhyme of the first verse with the third, the second with the fourth (abab)

Although the scheme of such a rhyme seems to be a little more complicated, it is more flexible rhythmically and allows you to better convey the necessary mood. Yes, and such poems are easier to learn - the first pair of lines, as it were, pulls out of memory the second pair that rhymes with it (while with the previous method everything breaks up into separate couplets).

I love the storm in early May,

When the first thunder of spring

As if frolicking and playing,

Rumbling in the blue sky.

The third method - ring (in other sources - girded, enveloping) - already has less representation in the total mass of poems.

Ring (girdled, enveloping) - the first verse - with the fourth, and the second - with the third. (abba)

This scheme can be somewhat more difficult for beginners (the first line is, as it were, erased by the subsequent pair of rhyming lines).

I looked, standing over the Neva,

Like Isaac the Giant

In the darkness of the frosty fog

The golden dome glowed.

Finally, woven rhyme has many patterns. This is the general name for complex types of rhyming, for example: abvbv, abvvbba, etc.

Far from the sun and nature,

Far from light and art,

Far from life and love

Your younger years will flash by

Living feelings die

Your dreams will be shattered.

In conclusion, it is useful to note that one should not always adhere so rigidly, strictly and dogmatically to certain canonical forms and templates, because, as in any form of art, there is always a place for the original in poetry. But, nevertheless, before rushing into the unbridled inventing of something new and not entirely known, it always does not hurt to make sure that you are still familiar with the basic canons.

Stanzas

Stanza - from Greek. strophe - revolution, circling. Such a complex rhythmic unit of poetic works as the stanza is based on the order of rhymes in poetry.

A stanza is a group of verses with a specific rhyme arrangement, usually repeated in other equal groups. In most cases, a stanza is a complete syntactic whole.

The most common types of stanzas in classical poetry of the past were: quatrains, octaves, terzas. The smallest of the stanzas is a couplet.

There are also stanzas:

Oneginskie

ballad

odic

limericks

Quatrains

Quatrain (quatrain) is the most common type of stanza, familiar to everyone from early childhood. Popular due to the abundance of rhyming systems.

Octaves

An octave is an eight-line stanza in which the first verse rhymes with the third and fifth, the second verse with the fourth and sixth, and the seventh verse with the eighth.

Octave scheme: abababvv

At six years old he was a very cute child

And even, as a child, he played pranks;

At twelve he looked sad

And although he was good, he was somehow frail.

Inessa said proudly,

That the method changed his nature:

A young philosopher, despite his years,

He was quiet and modest, as if by nature.

I must confess to you that I am still inclined

Don't trust Inessa's theories.

Her husband and I were friends;

I know, very complex excesses

An unsuccessful family is born

When the father is a rake in character,

And mommy is a prude. Not without reason

The son's inclinations take after his father!

Rhyme and its varieties

Rhyme accurate and inaccurate

(O.S. Akhmanova, Dictionary of linguistic terms, 1969)

Consonant phonemes differ:
1) by place of education
2) by method of education
3) by the participation of voice and noise
4) by hardness and softness
5) by deafness and voicedness

Substitution of voiceless-voiced voices is perhaps the most common: P-B, T-D, K-G, S-Z, Sh-Zh, F-V (for god - deep, bends - linden, dragonflies - braids, people - raid ).

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Masculine rhyme

Masculine - rhyme with stress on the last syllable in the line.

Both the sea and the storm rocked our canoe;

I, sleepy, was given over to all the whims of the waves.

There were two infinities in me,

And they played with me willfully.

Feminine rhyme

Feminine - with emphasis on the penultimate syllable in the line.

Quiet night, late summer,

How the stars glow in the sky,

As if under their gloomy light

The dormant fields are ripening.

Dactylic rhyme

Dactylic - with stress on the third syllable from the end of the line, which repeats the pattern of dactyl - -_ _ (stressed, unstressed, unstressed), which, in fact, is the name of this rhyme.

A girl in a field with a willow pipe,

Why did you hurt the spring twig?

She cries at her lips like a morning oriole,

cries more and more bitterly and more and more inconsolably.

Rhyme accurate and inaccurate

(O.S. Akhmanova, Dictionary of Linguistic Terms, 1969)

Consonant phonemes differ:

1) by place of education
2) by method of education
3) by the participation of voice and noise
4) by hardness and softness
5) by deafness and voicedness

Substitution of voiceless-voiced voices is perhaps the most common: P-B, T-D, K-G, S-Z, Sh-Zh, F-V (for god - deep, bends - linden, dragonflies - braids, people - raid ).

Everyone at least once in their life has had to experience a moment when the soul is wounded or, conversely, when happiness overwhelms and you want to write some poem, dedicate it to someone, or pour out your emotional experiences on paper. But it’s not enough to experience one such moment, you have to live it. To write poetry, you need to feel wider than others, think in your own way, and not rely on anything other than your feelings. However, if you do not follow the rhyme, then any eloquent masterpiece can suddenly become mediocre writing for people. Rhyme not only needs to be felt, it needs to be known. This article will talk about such phenomena as exact rhyme and its types.

Rhyme

First, let's figure out what a rhyme is. This is the consonance of vowels in one or more syllable endings of words. Since ancient times, it has been integrated into poetic speech and has become almost an integral part of it.

The endings in the verses are not only consonant with each other, but also emphasize the rhythmic ending of each line. This is the main difference between rhyme and ordinary sound repetitions that do not fall under a certain rhythm in a constant sequence. It is set by the last consonant syllables in the lines - rhythmic meaning. It defines the motive under which all lines of the verse must fall. Therefore, “stick - herring”, invented by Dunno, is not a rhyme, since it contains only similarities in the ending, and not in the stressed syllable. There are rhymes that are based not only on rhythmic meaning, but we will talk about what an exact rhyme is.

Basic types of rhymes

Rhymes are classified into many different types, but we will consider only the main ones so as not to overwhelm our heads:

1. By the position of the stressed syllable from the end of the line. They are divided into one-syllable, two-syllable and so on, up to nine-syllable. The first part of the word indicates exactly where the stressed syllable is located, that is, monosyllabic - the last syllable, disyllabic - the penultimate, and so on. This classification has many other designations, for example, one-syllable and two-syllable are called masculine and feminine, respectively.

2. By degree of wealth. A rich rhyme is one in which the pre-stressed syllable coincides. There are, of course, fewer of them, so due to the frequency of their use, they have become banal and simple, and the words that form a rich rhyme themselves roll around on the tongue.

3. According to lexical characteristics. Classification is based on lexical elements, for example:

Tautological, when the word completely coincides with the consonant.
Homonymous, when a word coincides with a consonant word, but diverges in meaning.
Pun, similar to homonymous, but divergent in meaning, sometimes prefixes are added to words, or words with the same parts are used.
Paronymic, when the words are similar in sound and spelling. The most common type.

4. By belonging to the part of speech.

Homogeneous. This is a rhyme that connects words of one part of speech with consonance: two verbs, adjectives, and so on.
Heterogeneous. Connects words of different parts of speech.
Composite. This includes use with conjunctions, pronouns and interjections.

5. By language affiliation.

6. According to the degree of accuracy. This point interests us most of all. Let's look at it in detail.

Phonemes

To find out what an exact rhyme is, you need to understand that a phoneme is the minimum meaningful unit of language, that is, sound. To form a rhyme, they must match the following characteristics:

place of education;
method of education;
participation of voice and noise;
hardness and softness;
deafness and voicedness.

For example, the phonemes B and P coincide in all features except the fifth. When a poem is written, it has a certain structure, similar to a matrix, where each element (phoneme) coincides with the same element, but next to it, at least according to the first three characteristics. However, in an imprecise rhyme, only the endings of the lines may coincide; the main thing is not to disrupt the rhythm.

Exact rhyme in Russian

An exact rhyme is one that is formed when all phonemes coincide, that is, not only the vowel endings of lines, but also the consonants preceding and within the stressed syllable.

Consonants that are consonant at the end enhance the color of the verse, making it more sonorous. It is their presence that determines the exact rhyme. For example, “their” and “two” at the end of the lines form an exact rhyme, since the sounds coincide in all respects. The coincidence of spelling does not play any role for the rhyme if the sound is different.

If you want to write something very sonorous, then you can use special dictionaries to achieve precise rhyme.

Dictionary

The Dictionary of Exact Rhymes is a collection of all possible exact rhymes, selected for each possible word of the Russian language. It exists to simplify the process of writing poetry. If you know, then you should understand how difficult it is sometimes to comply with it. Guided by a dictionary alone, great success in writing poetry cannot be achieved, but it significantly speeds up the process of writing congratulations, songs, advertising slogans and works in other branches of art involved in mass writing.

There are a lot of similar dictionaries, they are freely available. For example, Rhymes is the most popular and complete edition. You can choose any type of rhyme in it, depending on the settings. There is an exact word for almost every word. In Russian, most words, especially adjectives and verbs, rhyme very easily, since their endings follow the same rules. But many people mistake poems that rhyme with verbs and adjectives as mediocre mass rhymes just because they are easy to write.

Yesenin's exact rhyme

Rhyme is easy to trace in the works of classics of Russian literature; it was they who set the beginning of the popularity of writing poetry based on it. Thanks to them, exact rhyme is considered the most beautiful. Examples from literature can be taken from Pushkin or Yesenin. Let's start with Yesenin. Here is an excerpt from the work “Do not wander, do not crush in the crimson bushes...”:

The endings “yshe” and “yshu” in the first stanza perfectly coincide not only in the stressed vowel in the syllable, but also in which it accompanies them, they set the rhythm of the entire verse. This sound is called "exact rhyme". It is used quite often in literature, which is why rhymes in different poems or among different poets often coincide.

Pushkin's exact rhyme

Due to the fact that this Russian classic wrote a lot of works, rhyme in his poems is often repeated, and it can appear repeatedly not only in his works, but also in many modern writers. This happens not by the will of the author, but because not many words correspond to an exact rhyme, and it is very difficult to refrain from its beauty and from the temptation to build a poem exclusively on it. So we have to use what we already had.

Exact rhyme is achieved through the endings “uzhba” (in the first quatrain) and “ore” (in the second). In them, the consonant letter determines the sound, and the stressed vowels determine the rhythm and rhyme. Due to the fact that all the letters in the ending match in sound, an exact rhyme is obtained here. Examples clearly show that choosing a large number of words for such a rhyme is not easy. But repetitions do not spoil the sound of the verse and do not deprive it of its beauty. To reinforce this, let us consider another example from Pushkin’s works.

The syllables “you”, “dash” and “dash” form an exact rhyme, since they are completely identical in sound. Although the second pair differs in spelling, this fact does not play any role in the exact rhyme. This difference does not change the sound in any way, so there is certainly an exact rhyme here. Examples can be found in almost any author, as well as similar rhymes. This is most noticeably manifested in homonic and punning rhyme. But this type is, by definition, precise, and, as a rule, is not considered a beautiful style.

The effect of rhyme on the listener

The main purpose of rhyme is to build a pattern of poetic speech for more convenient and pleasant perception. It divides the verse into parts, gives it an emotional coloring and allows it to be divided into semantic parts. At the same time, rhyme unites completely different parts of the verse with a common intonation and sound, linking together the poet’s different moods, decorating it with new tones and allowing the listener to follow him. Even on an unconscious level, having heard a rhyming line, we associate it with the previous one, which allows us to better assimilate the information, absorb the tone of speech and the meaning of the poem. In rhyme, the main thing is not the style of what is written, but the sound. That is, it is quite reasonable to rhyme by ear, and not by letters.

Conclusion

Exact rhyme is the most colorful type of rhyme. It is perceived best by the listener. Due to the rare occurrence of such words that rhyme exactly, it gradually becomes familiar and no longer evokes the storm of emotions that it caused when you first heard it. From this article you learned what types of rhymes there are, what exact rhyme is, why it is needed and how to achieve it when writing poetry. But do not forget that rhyme alone is not enough, poetry is an experience, it consists not only of words, but also of actions and feelings splashed out on paper by the author in an emotional outburst.