The rhymes they are an element that adds rhythm and sound to a text. This effect is clearly appreciated when being read, because at the end of each of the verses that make up the writing, the sound combinations that make it pleasant both to recite and listen to them begin to be appreciated..
A clear example is:
"That house is bonita, (to)
that house belongs to my hermAna, (b)
people live thereAna, (b)
big and very small peopleita”. (to)
To achieve this sound effect, this “rhyme”, the writer tries to match words whose last syllables are identical or similar at the end of each line (just after the stressed syllable, that is, the vowel with the highest voice intonation).
The letters "a" and "b" are placed at the end of each line of writing or verse to indicate the correlation that exists between them within the stanza. Let us remember that the grouping of the verses gives rise to a stanza.
A very simple example of this sonic relationship between words would be that "house" rhymes with "mass". Both words have the highest vowel intonation in the first syllable, "house" in "ca" and "mass" in "ma", respectively, and also share an identical ending: "asa".
This allows them to combine perfectly, and that combination is called “consonant rhyme”, because not only do the vowels after the so-called stressed syllable combine, but also the consonants. We will develop this point better later..
The rhyme is in effect the sound of the written words, because when they are said, emitted or declaimed, the correspondence in the timbre is perceived, that certainty of dance and dance between the phonemes, that is to say: the small sounds that make up each word. This allows that between different verses there is a relationship.
Etymologically the origin is associated with the Latin word rhythmus, and it is defined as a movement that flows through spaces of time, in a measured and regulated way, giving the expression notoriety.
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Historically, rhyme obtained rank and renown in the Middle Ages. The Arabs, in stories and narratives, used it as a pedagogical resource to tell their fantastic stories. It was easier for people to learn a story with the use of rhymes and the sounds they provided, than without them.
The Arabs considered superstitious the fact that words will enjoy rhythm, and certain cadences when pronounced.
Later there is the development of the so-called "romantic movement" in which several writers took their first steps in the use of rhyme, and many others achieved glory..
The most prominent of that time was the Spanish writer Gustavo Adolfo Domínguez Bastidas, better known in the literary world as Gustavo Adolfo Bécquer, whose rhymes continue to make history.
In the twilight of the nineteenth century, and with the dawn of the twentieth, there were several currents that proposed and established free verse, that is, with the absence of rhyme and meter, giving rise to a new rise of writers, and ways of seeing the poetry itself.
The rhymes are characterized by being consonants and assonants, each one presents different specifications within the verses. However, based on their concept, they are identified by the prosodic accent that occurs at the end of the syllable of one or more verses.
The consonants, as mentioned in the upper part, are those where the words, after the stressed syllable, share all the following sounds and letters, for example: “owl” and “chuza”; while the assonance only share the vowels after the stressed syllable, example: "casa" and "cada", where the "s" and "d" make the difference.
When we speak of rhyme, we also refer to the metric that is present in them, that is, that they are all the details that give a poetic text a beat. The metric in turn includes the study of the verse, the stanza and the poem.
Another characteristic that rhyme presents is that it can be arranged in stanzas, this refers to the set of verses that are preceded by a punctuation mark: either a full stop, a comma or a semicolon; related in turn to the rhythmic sense.
Something that stands out in the rhyme is the way in which they are marked or named, for the purposes of their recognition. Capital letters “A, B, C”To name the verses known as“ major art verses ”, that is: those that have nine or more syllables.
In relation to the above, for the verses of minor art the same letters are used "a, b, c”, But in this case, in lowercase, which means that the verses are made up of eight or fewer syllables.
Although there are several types of rhymes, the most studied and used are those that refer to timbre; these are the consonants and assonants. Below are the types of rhymes:
These rhymes are also known as perfect. They occur when the pronunciation of consonant sounds coincide exactly. Another way to conceptualize it is when there is a harmonization between the vowels and consonants in the last syllable of each verse.
This type of rhyme is considered the most difficult, because its writing is usually less loose or free, and its harmony with other verses is more limited..
Example: "limestone" rhymes consonantly with "slides".
These are the imperfect ones, that is: they are those where all the vowels agree or adjust in loudness, but the same does not happen with the consonants.
In other words: this type of rhyme occurs when there is the sole and exclusive reproduction of vowel sounds, with the accentuation of the last vowel in each of the verses..
To expand the information on the types or classes of rhyme, reference is made to their classification according to accent, arrangement, and the one known as arromanzada..
Example: "unicycle" rhymes assonance with "micro", the vowels "i-o" coincide in both words, but not the consonants.
These qualities are what determine the so-called "law of the final accent", which is none other than that which determines the exact metric of each verse according to the characteristic of the sonorous timbre of the last word of it, that is: if the word is grave , acute or spruceous. This conditioning is explained below:
This kind of rhyme is the one that specifies that the word that ends the verse falls within the acute classification; thus adding a syllable to the entire verse.
Examples: "more", "there", "peanut", "coffee". All words have the strongest intonation in the last syllable of each word.
This type of rhyme is associated with the serious or flat quality of the classification of words, of the final word that comprises the verse. Your goal is to make the last syllables match, while keeping the accent within the penultimate syllable. It is the most used in our language.
Examples: "house", "dough", "cup", "car", "jar".
In this case, the rhyme occurs in the word esdrújula of the verse, as long as it is at the end. Unlike the previous ones, by the length or metric to the whole one syllable is suppressed.
It is worth noting that due to the scarcity of esdrújulas words with similar consonants, this type of rhyme is of very little use.
Examples: "esdrújula", "compajula", "maniac", "bótate".
We refer to this kind of rhyme when the verses are repeated throughout the stanzas of the poem. We can observe the continuous rhyme in the poems known as popular romances, in addition to the assonance in the even verses. (See example at the end).
This rhyme is also known as pareada or par, and is the one that occurs between two verses that are followed. Refers to couplets, those stanzas that are made up of two verses.
It can be applied in verses seven and eight, such as the "real octave" which is a stanza made up of eight verses of hendecasyllable meter, in addition to consonant rhyme. (see example at the end).
According to the provision, this form is also included, which is one that encloses or contains two verses with the same type of rhyme. Despite its simplicity, depending on the linguistic domain, the poet can achieve great communicative results with this type of rhyme.
In this rhyme, as the name implies, there is a cross between the odd and even verses. It is also known as alternate rhyme, by virtue of its variability. The crusade is commonly used in the "serventesios”, Which describes a stanza consisting of four verses of major art. (See example at the end).
It occurs when in a stanza the verses do not coincide in a row, more specifically the even verses rhyme with those of their type, and the odd with the odd. Chained triplets are a good example of braided.
It is a resource widely exploited by current poets, especially for the versification of musical themes. (See example at the end).
To end with the types of rhyme, as its name indicates, this is manifested in the inside of the verse, and not at the end, as is customary. It is used to generate a striking sound within the verse, a very good resource when composing songs. (See example at the end).
"In the sunlight you do not existes, (to)
and in the length of the hyou pray (b)
you don't laughistes (to)
sin to our absencesyou pray. (b)
But fortune, of my bad not enough, (c)
It afflicts me, and from one job to another it leads; (d)
already from the country, already from the good it separates me; (c)
and my patience in a thousand ways tests; (d)
and what I feel the most is that the letter (c)
where my pen in your praise moves, (d)
putting in their place vain cares, (e)
it takes me away and takes it from my hands. (and)
(Garcilaso de La Vega).
I
“The light fell like dry water (a)
of fresh strength. (to)
From: César Vallejo (b)
And I have thought about his eyes, (c)
on his numerous feet. (c)
The following is easy to apply, to teach the little ones: (b)
Trina a bird in the nest (free)
beautiful song in the morning, (d)
the flower grows on the rosebush, (free)
the frog croaks in the pond ”. (d)
Note that
"Take this river overgrown (a)
and it will take every day (b)
and the things that along the way (b)
the camera has come out ”. (to)
(Luis de Góngora)
"Poet yesterday, today sad and poor (a)
late-night philosopher (b)
I have in copper coins (a)
yesterday's gold changed. ”(b)
(Antonio Machado)
I
"If you are magical
go to africa
swallow a helicopter (free)
and get on the lamp ”. (free)
(Anonymous)
The following is another clear example of this type of rhyme, remembering that due to its length or meter, a syllable is no longer counted, with respect to the totality:
(…) And their supreme, and their unique smiles, (a)
and their glances, stars that wear black robes. (a)
(Ruben Dario)
"With sackcloth of bitterness, of life rosemary, (a)
I came across, after a long walk, the peace of a path. (a)
The last radiance of the day was dying. (A)
On top of a poplar tree a goldfinch was sobbing. ”(A)
(Ramón Pérez de Ayala)
I
“Spring has come. (to)
Nobody knows how it was. ”(A)
(Antonio Machado)
I
"Like the sea from the beach to the sands, (a)
I'm going on this wreck of swings, (b)
through a dark night of pans (b)
round, poor, sad and brown. (to)
What happens to me with the quartet, (c)
that I can't find the rhyme, (d)
I better ask my cousin (d)
that of verses makes sonnets ”. (c)
(Miguel Hernandez)
I
“Divine treasure youth, (a)
and you'll not return! (b)
When I want to cry I don't cry ... (a)
and sometimes I cry without wanting to. ”(b)
(Ruben Dario)
“A hard slap, an icy blow, (a)
an invisible and murderous ax blow, (b)
a brutal shove has brought you down. (to)
There is no extension greater than my wound, (b)
I cry my misfortune and its sets (free)
and I feel more your mind than my life ”. (to)
(Miguel Hernandez)
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