Words That Rhyme With Longer Words That Rhyme With Again

Repetition of like sounds in language

A rhyme is a repetition of similar syllables (commonly, exactly the same number of syllables ) in the final stressed syllables and any following syllables of 2 or more words. About frequently, this kind of perfect rhyming is consciously used for a musical or aesthetic effect in the terminal position of lines inside poems or songs.^[1] More than broadly, a rhyme may also variously refer to other types of like sounds well-nigh the ends of two or more than words. Furthermore, the word rhyme has come up to exist sometimes used as a shorthand term for any cursory poem, such as a plant nursery rhyme or Balliol rhyme.

Etymology [edit]

The discussion derives from Old French rime or ryme, which might be derived from Quondam Frankish rīm, a Germanic term meaning "series, sequence" attested in Erstwhile English language (Onetime English rīm pregnant "enumeration, serial, numeral") and Old High German rīm, ultimately cognate to Erstwhile Irish rím, Greek ἀριθμός arithmos "number". Alternatively, the Old French words may derive from Latin rhythmus, from Greek ῥυθμός (rhythmos, rhythm).^{[2] [3]}

The spelling rhyme (from original rime) was introduced at the beginning of the Modern English menstruation from a learned (but maybe etymologically incorrect) association with Latin rhythmus.^[ii] The older spelling rime survives in Modern English as a rare alternative spelling; cf. The Rime of the Ancient Mariner. A stardom between the spellings is also sometimes made in the study of linguistics and phonology for which rime/rhyme is used to refer to the nucleus and coda of a syllable. Some prefer to spell it rime to separate it from the poetic rhyme covered by this article (come across syllable rime).

Function of rhyming words [edit]

Rhyme partly seems to exist enjoyed simply as a repeating pattern that is pleasant to hear. It also serves every bit a powerful mnemonic device, facilitating memorization^{[ commendation needed ]}. The regular employ of tail rhyme helps to mark off the ends of lines, thus clarifying the metrical structure for the listener. Equally with other poetic techniques, poets use information technology to suit their own purposes; for case William Shakespeare often used a rhyming couplet to mark off the terminate of a scene in a play.

Types of rhyme [edit]

The discussion rhyme can be used in a specific and a full general sense. In the specific sense, two words rhyme if their final stressed vowel and all following sounds are identical; two lines of poesy rhyme if their final potent positions are filled with rhyming words. A rhyme in the strict sense is also called a perfect rhyme. Examples are sight and flight, deign and gain, madness and sadness, love and dove.

Perfect rhymes [edit]

Perfect rhymes tin can be classified by the location of the last stressed syllable.

• unmarried, also known as masculine: a rhyme in which the stress is on the concluding syllable of the words (rhyme, sublime)
• double, also known as feminine: a rhyme in which the stress is on the penultimate (second from last) syllable of the words (picky, tricky)
• dactylic: a rhyme in which the stress is on the antepenultimate (tertiary from terminal) syllable (amorous, glamorous)

Feminine and dactylic rhymes may also be realized as compound (or mosaic) rhymes (poet, know information technology).

General rhymes [edit]

In the general sense, general rhyme tin can refer to diverse kinds of phonetic similarity between words, and to the use of such like-sounding words in organizing verse. Rhymes in this general sense are classified according to the degree and manner of the phonetic similarity:

• syllabic: a rhyme in which the last syllable of each give-and-take sounds the aforementioned but does not necessarily contain stressed vowels. (cleaver, silver, or pitter, patter; the final syllable of the words canteen and fiddle is /50/, a liquid consonant.)
• imperfect (or nearly): a rhyme between a stressed and an unstressed syllable. (fly, caring)
• weak (or unaccented): a rhyme between 2 sets of ane or more unstressed syllables. (hammer, carpenter)
• semirhyme: a rhyme with an extra syllable on one discussion. (bend, catastrophe)
• forced (or oblique): a rhyme with an imperfect lucifer in sound. (green, fiend; one, thumb)
• assonance: matching vowels. (shake, hate) Assonance is sometimes referred to as slant rhymes, forth with consonance.
• consonance: matching consonants. ( rabies, robbersouthward )
• half rhyme (or slant rhyme): matching final consonants. (hand , lend )
• pararhyme: all consonants lucifer. (tick, tock)
• ingemination (or head rhyme): matching initial consonants. ( ship, short)

Identical rhymes [edit]

Identical rhymes are considered less than perfect in English poetry; simply are valued more highly in other literatures such as, for example, rime riche in French poesy.

Though homophones and homonyms satisfy the first condition for rhyming—that is, that the stressed vowel sound is the same—they practice not satisfy the second: that the preceding consonant be different. Equally stated above, in a perfect rhyme the last stressed vowel and all following sounds are identical in both words.

If the sound preceding the stressed vowel is too identical, the rhyme is sometimes considered to be junior and not a perfect rhyme later all.^{[4] [5]} An example of such a super-rhyme or "more than than perfect rhyme" is the identical rhyme, in which not only the vowels only also the onsets of the rhyming syllables are identical, as in gun and begun. Punning rhymes, such every bit bare and bear are also identical rhymes. The rhyme may extend fifty-fifty farther back than the last stressed vowel. If it extends all the way to the beginning of the line, and so that there are two lines that audio very similar or identical, it is called a holorhyme ("For I scream/For water ice cream").

In poetics these would exist considered identity, rather than rhyme.

Eye rhyme [edit]

Eye rhymes or sight rhymes or spelling rhymes refer to similarity in spelling only not in sound where the last sounds are spelled identically but pronounced differently.^[6] Examples in English language are cough, bender, and honey, movement.

Some early written poetry appears to contain these, but in many cases the words used rhymed at the time of writing, and subsequent changes in pronunciation have meant that the rhyme is now lost.

Mind rhyme [edit]

Heed rhyme is a kind of commutation rhyme similar to rhyming slang, only information technology is less generally codified and is "heard" only when generated by a specific poetry context. For instance, "this sugar is nifty / and tastes so sour." If a reader or listener thinks of the give-and-take "sweet" instead of "sour," a heed rhyme has occurred.

Nomenclature by position [edit]

Rhymes may be classified according to their position in the verse:

• Tail rhyme (likewise called stop rhyme or rime couée) is a rhyme in the terminal syllable(s) of a poetry (the most common kind).
• Internal rhyme occurs when a discussion or phrase in the interior of a line rhymes with a word or phrase at the end of a line, or inside a different line.
• Off-centered rhyme is a blazon of internal rhyme occurring in unexpected places in a given line. This is sometimes chosen a misplaced-rhyme scheme or a spoken word rhyme style.
• Holorime, mentioned in a higher place, occurs when two entire lines have the same sound.
• Broken rhyme is a type of enjambement producing a rhyme past dividing a word at the line break of a poem to make a rhyme with the terminate word of some other line.
• Cantankerous rhyme matches a sound or sounds at the end of a line with the same sound or sounds in the heart of the post-obit (or preceding) line.^[6]

A rhyme scheme is the pattern of rhyming lines in a poem.

History [edit]

In many languages, including mod European languages and Arabic, poets apply rhyme in set patterns as a structural element for specific poetic forms, such as ballads, sonnets and rhyming couplets. Some rhyming schemes have go associated with a specific language, civilization or period, while other rhyming schemes accept achieved utilize across languages, cultures or fourth dimension periods. Nonetheless, the use of structural rhyme is not universal even within the European tradition. Much modern verse avoids traditional rhyme schemes.

The earliest surviving evidence of rhyming is the Chinese Shi Jing (ca. 10th century BCE). Rhyme is also occasionally used in the Bible.^[7] Classical Greek and Latin verse did not usually rhyme,^[viii] but rhyme was used very occasionally. For instance, Catullus includes partial rhymes in the poem Cui dono lepidum novum libellum.^[9] The ancient Greeks knew rhyme, and rhymes in The Wasps by Aristophanes are noted past a translator.^[10]

Rhyme is fundamental to classical Arabic poetry tracing back to its 6th century pre-Islamic roots. According to some archaic sources, Irish literature introduced the rhyme to Early on Medieval Europe, but that is a disputed claim.^[eleven] In the 7th century, the Irish gaelic had brought the art of rhyming verses to a high pitch of perfection. The leonine poetry is notable for introducing rhyme into High Medieval literature in the 12th century.

Rhyme entered European poetry in the High Middle Ages, in role nether the influence of the Arabic language in Al Andalus (modern Kingdom of spain).^[12] Arabic language poets used rhyme extensively from the get-go evolution of literary Arabic in the 6th century, equally in their long, rhyming qasidas.^[13]

Since dialects vary and languages change over time, lines that rhyme in a given annals or era may not rhyme in another, and it may not be clear whether one should pronounce the words so that they rhyme. An example is this couplet from Handel's Judas Maccabaeus:

Rejoice, O Judah, and in songs divine

With cherubim and seraphim harmonious join.^[14]

Rhyme in various languages [edit]

Arabic [edit]

Rhymes were widely spread in the Arabian peninsula around the 6th century, in letters, poems and songs, as well as long, rhyming qasidas.^[13] In improver, the Quran uses a form of rhymed prose named saj'.

Celtic languages [edit]

Rhyming in the Celtic Languages takes a drastically dissimilar course from most other Western rhyming schemes despite potent contact with the Romance and English patterns. Fifty-fifty today, despite extensive interaction with English language and French culture, Celtic rhyme continues to demonstrate native characteristics. Brian Ó Cuív sets out the rules of rhyme in Irish poetry of the classical catamenia: the last stressed vowel and whatsoever subsequent long vowels must exist identical in order for two words to rhyme. Consonants are grouped into six classes for the purpose of rhyme: they need not exist identical, but must vest to the same class. Thus 'b' and 'd' can rhyme (both beingness 'voiced plosives'), as can 'bh' and 'l' (which are both 'voiced continuants') but 'l', a 'voiced continuant', cannot rhyme with 'ph', a 'voiceless continuant'. Furthermore, "for perfect rhyme a palatalized consonant may be balanced only by a palatalized consonant and a velarized consonant by a velarized one."^[15] In the mail-Classical period, these rules fell into desuetude, and in popular verse elementary assonance often suffices, equally tin can be seen in an example of Irish Gaelic rhyme from the traditional song Bríd Óg Ní Mháille:

Here the vowels are the same, only the consonants, although both palatalized, exercise not fall into the aforementioned class in the bardic rhyming scheme.

Chinese [edit]

Besides the vowel/consonant attribute of rhyming, Chinese rhymes often include tone quality (that is, tonal contour) as an integral linguistic factor in determining rhyme.

Employ of rhyme in Classical Chinese poesy typically but not always appears in the form of paired couplets, with stop-rhyming in the final syllable of each couplet.

Another of import aspect of rhyme in regard to Chinese language studies is the study or reconstruction of past varieties of Chinese, such as Heart Chinese.

English [edit]

Old English poetry is more often than not alliterative verse. One of the earliest rhyming poems in English is The Rhyming Poem.

As stress is important in English, lexical stress is one of the factors that affects the similarity of sounds for the perception of rhyme. Perfect rhyme can be defined equally the example when two words rhyme if their final stressed vowel and all following sounds are identical.^{[half dozen]}

Some words in English, such as "orange" and "silver", are commonly regarded equally having no rhyme. Although a clever writer can get effectually this (for example, past obliquely rhyming "orangish" with combinations of words like "door hinge" or with lesser-known words like "Blorenge" – a hill in Wales – or the surname Gorringe), it is generally easier to movement the discussion out of rhyming position or supersede it with a synonym ("orangish" could get "amber", while "silver" could become a combination of "bright and argent"). A skilled orator might be able to tweak the pronunciation of certain words to facilitate a stronger rhyme (for example, pronouncing 'orangish' as 'oringe' to rhyme with 'door hinge')

One view of rhyme in English is from John Milton's preface to Paradise Lost:

The Measure is English Heroic Poetry without Rime, equally that of Homer in Greek, and of Virgil in Latin; Rime being no necessary Adjunct or true Ornament of Poem or good Poetry, in longer Works especially, merely the Invention of a barbarous Historic period, to set off wretched thing and lame Meeter; grac't indeed since by the use of some famous modern Poets, carried away by Custom...

A more tempered view is taken by W. H. Auden in The Dyer's Hand:

Rhymes, meters, stanza forms, etc., are like servants. If the chief is fair plenty to win their affection and house enough to control their respect, the result is an orderly happy household. If he is also tyrannical, they give notice; if he lacks authority, they become slovenly, impertinent, drunkard and dishonest.

Forced or clumsy rhyme is oftentimes a key ingredient of doggerel.

French [edit]

In French poetry, unlike in English, it is common to take identical rhymes, in which not only the vowels of the concluding syllables of the lines rhyme, but their onset consonants ("consonnes d'appui") as well. To the ear of someone accustomed to English language poesy, this often sounds like a very weak rhyme. For case, an English perfect rhyme of homophones, flour and blossom, would seem weak, whereas a French rhyme of homophones doigt ("finger") and doit ("must") or point ("betoken") and betoken ("non") is not only acceptable just quite mutual.

Rhymes are sometimes classified into the categories of "rime pauvre" ("poor rhyme"), "rime suffisante" ("sufficient rhyme"), "rime riche" ("rich rhyme") and "rime richissime" ("very rich rhyme"), co-ordinate to the number of rhyming sounds in the ii words or in the parts of the two verses. For instance, to rhyme "tu" with "vu" would be a poor rhyme (the words take just the vowel in common), to rhyme "pas" with "bras" a sufficient rhyme (with the vowel and the silent consonant in common), and "tante" with "attente" a rich rhyme (with the vowel, the onset consonant, and the coda consonant with its mute "east" in common). Authorities disagree, even so, on exactly where to place the boundaries betwixt the categories.

Holorime is an extreme example of rime richissime spanning an unabridged verse. Alphonse Allais was a notable exponent of holorime. Hither is an example of a holorime couplet from Marc Monnier:

Gall, amant de la Reine, alla (tour magnanime) Galamment de fifty'Arène à la Tour Magne, à Nîmes.	Gallus, the Queen's lover, went (a magnanimous gesture) Gallantly from the Loonshit to the Bang-up Tower, at Nîmes.

Classical French rhyme not merely differs from English rhyme in its unlike handling of onset consonants. Information technology likewise treats coda consonants in a distinctive mode.

French spelling includes several final letters that are no longer pronounced, and that in many cases have never been pronounced. Such last unpronounced letters continue to touch on rhyme according to the rules of Classical French versification. They are encountered in most all of the pre-20th-century French poetry texts, but these rhyming rules are almost never taken into account from the 20th century.

The near of import "silent" letter is the "mute due east". In spoken French today, final "e" is, in some regional accents (in Paris for example), omitted subsequently consonants; but in Classical French prosody, information technology was considered an integral office of the rhyme fifty-fifty when following the vowel. "Joue" could rhyme with "boue", but not with "trou". Rhyming words ending with this silent "e" were said to brand up a "double rhyme", while words not catastrophe with this silent "e" made upwards a "single rhyme". Information technology was a principle of stanza-germination that single and double rhymes had to alternate in the stanza. Virtually all 17th-century French plays in poetry alternate masculine and feminine Alexandrin couplets.

The now-silent final consonants present a more than circuitous example. They, too, were traditionally an integral part of the rhyme, such that "pont" rhymed with "vont" but not with "long". (The voicing of consonants was lost in liaison and thus ignored, and then "pont" also rhymed with "rond".) There are a few rules that govern most word-final consonants in archaic French pronunciation:

• The distinction betwixt voiced and unvoiced consonants is lost in the terminal position. Therefore, "d" and "t" (both pronounced /t/) rhyme. Then too with "c", "yard" and "q" (all /chiliad/), "b" and "p" (both /p/), and "southward", "ten" and "z" (all /z/). Rhymes ending in /z/ are called "plural rhymes" because nearly plural nouns and adjectives end in "s" or "x".
• Nasal vowels rhyme whether spelled with "m" or "northward" (e.g. "essaim" rhymes with "sain" but non with "saint").
• If a discussion ends in a stop followed past "due south", the stop is silent and ignored for purposes of rhyming (due east.g. "temps" rhymes with "dents"). In the archaic orthography some of these silent stops are omitted from the spelling as well (e.g. "dens" for "dents").

German language [edit]

Because German phonology features a wide assortment of vowel sounds, certain imperfect rhymes are widely admitted in German language poetry. These include rhyming "east" with "ä" and "ö", rhyming "i" with "ü", rhyming "ei" with "eu" (spelled "äu" in some words) and rhyming a long vowel with its brusk counterpart.

Some examples of imperfect rhymes (all from Friedrich Schiller's "An die Freude"):

• Deine Zauber binden wieder / Alle Menschen werden Brüder
• Freude trinken alle Westesen / Alle Guten, alle Bösen

Greek [edit]

Come across Homoioteleuton

Ancient Greek poetry is strictly metrical. Rhyme is used, if at all, only equally an occasional rhetorical flourish.

The showtime Greek to write rhyming poetry was the fourteenth-century Cretan Stephanos Sachlikis. Rhyme is now a common fixture of Greek poetry.

Hebrew [edit]

Ancient Hebrew rarely employed rhyme, e.g. in Exodus 29 35: ועשית לאהרן ולבניו כָּכה, ככל אשר צויתי אֹתָכה (the identical function in both rhyming words being / 'axa/ ).

Latin [edit]

In Latin rhetoric and poesy homeoteleuton and alliteration were frequently used devices.

Tail rhyme was occasionally used, equally in this piece of poetry by Cicero:

O Fortunatam natam me consule Romam.	O fortunate Rome, to exist built-in with me consul

But tail rhyme was not used as a prominent structural characteristic of Latin poetry until information technology was introduced under the influence of local colloquial traditions in the early Middle Ages. This is the Latin hymn Dies Irae:

Dies irae, dies illa Solvet saeclum in favilla Teste David cum Sybilla	The day of wrath, that twenty-four hours which volition reduce the globe to ashes, every bit foretold by David and the Sybil.

Medieval poetry may mix Latin and vernacular languages. Mixing languages in poetry or rhyming words in different languages is termed macaronic.

Polish [edit]

In Polish literature rhyme was used from the beginning. Unrhymed verse was never popular, although it was sometimes imitated from Latin. Homer's, Virgil's and fifty-fifty Milton's epic poems were furnished with rhymes by Polish translators.^[16] Because of paroxytonic accentuation in Polish, feminine rhymes e'er prevailed. Rules of Polish rhyme were established in 16th century. Then only feminine rhymes were immune in syllabic verse organisation. Together with introducing syllabo-accentual metres, masculine rhymes began to occur in Polish poetry. They were most popular at the end of 19th century. The most frequent rhyme scheme in Old Polish (16th - 18th centuries) was couplet AABBCCDD..., just Polish poets, having perfect noesis of Italian linguistic communication and literature, experimented with other schemes, among others ottava rima (ABABABCC) and sonnet (ABBA ABBA CDC DCD or ABBA ABBA CDCD EE).

Wpłynąłem na suchego przestwór oceanu, Wóz nurza się w zieloność i jak łódka brodzi, Śród fali łąk szumiących, śród kwiatów powodzi, Omijam koralowe ostrowy burzanu.	Across sea-meadows measureless I go, My wagon sinking nether grass so tall The flowery petals in cream on me fall, And blossom-isles bladder past I do not know.[17]
—Adam Mickiewicz, " Stepy akermańskie ", Sonety krymskie , lines 1-iv	—"The Ackerman Steppe", Sonnets from the Crimea, translated by Edna Worthley Underwood

The metre of Mickiewicz's sonnet is the Smooth alexandrine (tridecasyllable, in Shine "trzynastozgłoskowiec"): 13(7+half dozen) and its rhymes are feminine: [anu] and [odzi].

Portuguese [edit]

Portuguese classifies rhymes in the following style:

• rima pobre (poor rhyme): rhyme betwixt words of the same grammatical category (e.yard. substantive with noun) or betwixt very common endings (-ão, -ar);
• rima rica (rich rhyme): rhyme between words of different grammatical classes or with uncommon endings;
• rima preciosa (precious rhyme): rhyme between words with a unlike morphology, for example estrela (star) with vê-la (to see her);
• rima esdrúxula (odd rhyme): rhyme betwixt proparoxytonic words (case: ânimo, "animus", and unânimo, "unanimous").

Russian [edit]

Rhyme was introduced into Russian poetry in the 18th century. Folk poetry had generally been unrhymed, relying more than on dactylic line endings for consequence. 2 words catastrophe in an accented vowel are but considered to rhyme if they share a preceding consonant. Vowel pairs rhyme—even though non-Russian speakers may not perceive them equally the same sound. Consonant pairs rhyme if both are devoiced. As in French, formal poetry traditionally alternates betwixt masculine and feminine rhymes.

Early 18th-century verse demanded perfect rhymes that were also grammatical rhymes—namely that noun endings rhymed with noun endings, verb endings with verb endings, and so on. Such rhymes relying on morphological endings become much rarer in modern Russian poesy, and greater use is fabricated of approximate rhymes.^[18]

Sanskrit [edit]

Patterns of rich rhyme (prāsa) play a office in modern Sanskrit verse, but merely to a minor extent in historical Sanskrit texts. They are classified according to their position within the pada (metrical foot): ādiprāsa (offset syllable), dvitīyākṣara prāsa (second syllable), antyaprāsa (final syllable) etc.

Spanish [edit]

Spanish mainly differentiates two types of rhymes:

• rima consonante (consonant rhyme): Those words of the same stress with identical endings, matching consonants and vowels, for example robo (robbery) and lobo (wolf), legua (league) and yegua (mare) or canción (song) and montón (pile).
• rima asonante (assonant rhyme): those words of the same stress that only the vowels identical at the end, for example zapato (shoe) and brazo (arm), ave (bird) and ame (would honey), reloj (watch) and feroz (vehement), puerta (door) and ruleta (roulette).

Spanish rhyme is too classified past stress type since dissimilar types cannot rhyme with each other:

• rima llana (aeroplane rhyme): the rhyming words are unaccented, for example cama (bed) and rama (branch), pereza (laziness) and moneda (coin) or espejo (mirror) and pienso (I think).
• rima grave (paroxytone rhyme): The rhyming words are accented on the last syllable, for example: cartón (cardboard) and limón (lemon), jerez (sherry) and revés (backwards). Grave words that end in a unmarried same vowel can exist asonante rhymes for example compró (he/she bought) and llevó (he/she carried), tendré (I will have) and pediré (I will ask), perdí (I lost) and medí (I measured).
• rima esdrújula (odd rhyme): The rhyming words are accented on the antepenult. For example, mácula (stain) and báscula (calibration), estrépito (noise) and intrépido (fearless), rápido (fast) and pálido (pallid).

Tamil [edit]

In that location are some unique rhyming schemes in Dravidian languages similar Tamil. Specifically, the rhyme called etukai (anaphora) occurs on the second consonant of each line.

The other rhyme and related patterns are called mōnai (alliteration), toṭai (epiphora) and iraṭṭai kiḷavi (parallelism).

Some classical Tamil poetry forms, such as veṇpā, have rigid grammars for rhyme to the point that they could be expressed as a context-gratuitous grammer.

Vietnamese [edit]

Rhymes are used in Vietnamese to produce similes. The following is an example of a Rhyming Simile:

Nghèo như con mèo
/ŋɛu ɲɯ kɔn mɛu/
"Poor as a cat"

Compare the above Vietnamese example, which is a rhyming simile, to the English phrase "(every bit) poor every bit a church mouse", which is just a semantic simile.^[nineteen]

See also [edit]

• Alliteration
• Assonance
• Glossary of poetry terms
• An Introduction to Rhyme
• List of English words without rhymes
• Consonance
• Multisyllabic rhymes
• Rhyme in rap
• Rhyming recipe
• Rhyming slang (e.grand. Cockney rhyming slang)
• Rhyming spiritual
• Rime table - syllable chart of the Chinese language
• Traditional rhyme

Notes [edit]

1. ^ "Rhyme". Oxford Dictionaries. Oxford University Printing. 2013.
2. ^ ^{a b} rhyme, n. OED Online. Oxford University Press. March 2013. Retrieved 2013-04-15 .
3. ^ Harper, Douglas (2000–2012). "Online Etymology Dictionary". Retrieved 2013-04-xv .
4. ^ "Rhyme, which cites Whitfield'southward University Rhyming Lexicon, 1951". myclasses.net. Retrieved 2015-08-25 .
5. ^ "Rhyming and Songwriting". michael-thomas.com. Retrieved 2015-08-25 .
6. ^ ^{a b c} Stillman, Frances (1966). The Poet's Manual and Rhyming Lexicon. Thames and Hudson. ISBN0500270309.
7. ^ "Quondam Testament survey: the bulletin, grade, and background of the Erstwhile Testament pg. 236"
8. ^ Wesling, Donald (1980). The chances of rhyme . Academy of California Press. pp. x–eleven, 38–42. ISBN978-0-520-03861-v.
9. ^ "Bernard of Morlaix - METRE AND RHYME". prosentient.com.au. Archived from the original on 2016-03-04. Retrieved 2015-08-25 .
10. ^ Aristophanes; Slavitt, D.R.; Bovie, Southward.P. (1999). Aristophanes, two: Wasps, Lysistrata, Frogs, The Sexual Congress. Academy of Pennsylvania Printing, Incorporated. p. iv. ISBN9780812216844 . Retrieved 2015-08-25 .
11. ^ "Article about early Irish literature by Prof. Douglas Hyde in The Catholic Encyclopedia"
12. ^ Menocal, Maria Rosa (2003). The Arabic Role in Medieval Literary History. University of Pennsylvania. p. 88. ISBN0-8122-1324-half-dozen.
13. ^ ^{a b} Sperl, Stefan, ed. (1996). Qasida poetry in Islamic Asia and Africa. Brill. p. 49. ISBN978-xc-04-10387-0.
14. ^ Kelly, Thomas Forest (2011). Early Music: A Very Short Introduction, p.83. ISBN 978-0-nineteen-973076-6.
15. ^ Ó Cuív, Brian (1967). 'The Phonetic Ground of Classical Modern Irish gaelic Rhyme'. Ériu twenty, pp. 96-97
16. ^ Wiktor Jarosław Darasz, Mały przewodnik po wierszu polskim, Kraków 2003, p. 19 (in Polish).
17. ^ "Adam Mickiewicz's Sonnets from the Crimea at Sonnet Central".
18. ^ Wachtel, Michael (2006). The Cambridge Introduction to Russian Poetry. Cambridge: Cambridge Academy Printing. ISBN9780511206986.
19. ^ See p. 98 in Thuy Nga Nguyen and Ghil'ad Zuckermann (2012), "Stupid as a Coin: Meaning and Rhyming Similes in Vietnamese", International Journal of Language Studies 6 (4), pp. 97-118.

External links [edit]

Wikimedia Eatables has media related to Rhymes.

• Directory of rhyming dictionaries at the Open Directory Project
• Querying rhyming words in WolframAlpha

• Gosse, Edmund William (1911). "Rhyme". Encyclopædia Britannica. Vol. 23 (11th ed.). pp. 274–275.

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Source: https://en.wikipedia.org/wiki/Rhyme