True rhyme "the first sound of the last stressed syllables are different, all subsequent sounds are the same" - Jerome , pararhyme, internal rhyme, feminine rhymes, etc. Far more common in UK than the US. Post a Comment. Pages Home Thematic List. Saturday, 11 December Rhyme. Advantages It sounds better Sound has a strong, innate effect.
Artists need a restriction to fight against. It can be used to emphasise words or connections. It binds a poem together. Disadvantages It sounds worse - sing-song, jangly, childish. Jerome in a writers' guide says that "much of your effort in rhyming is to subdue it" by spreading the rhymes out, avoiding rare words, using enjambment, etc.
Why bother in the first place? In each stanza lines three and four should be indented by two characters and line five should be indented by six characters. The absence of a vowel rhyme to my mind just brings more attention to the fact that the line lets down the rest of the stanza. Reading this aloud and trying different approaches seems to confirm the wrongness of the last line.
I do hope that regular readers will appreciate that I continue to hold Hill in high regard and the disappointment expressed here is due to a mixture of my own prejudices and some ongoing doubts about whether you can be too idiosyncratic for your own good.
A disassembled personality: a legal concept, whose recursive shape will offer no intentionality to be detected by lips or tape but distributes its known reality throughout its assets where they fold or gape: a holding company, a nest of links. Was this his inside? As he frowns, she thinks,. This is both very clever and well put together and shows why we need to take Jarvis seriously as a poet and a critic.
The points are being made in a complex and lateral way to add further layers to the portrait of a man consumed by scratchy disaffection whilst affecting to play the bourgeois game. Each section has two four line and two three line stanzas and the rhyming scheme is uniform throughout.
This is the seventh section:. Every cut was a cut to the quick what with every feather a feather to ruffle. Every whitrack was a whitterick. Everyone was in a right kerfuffle. Every wall was a wall of Troy and every hunt a hunt in a purlieu.
At every lane end stood a milk churn. Every point was a point of no return. Normally this level of structure would annoy me to death but I get immersed in it because these devices are an important element in underpinning the strength of the message.
Posted in literary criticism , literature , poetry , Uncategorized. Tagged cambridge literary review , dinner , geoffrey hill , hiraeth , oraclau oracles , paul muldoon , simon jarvis , the old country , why rhyme pleases.
Bebrowed's Blog. Skip to content. Tag Archives: why rhyme pleases Night Office — an experiment in reading Posted on July 11, 4 comments. You begin to read: Every last person in this book is dead,- including me. This event is described with such care that you think that it may well allude to something else, that the action of the snow may have something to do with our mortality: Then, just as surely, these determined blacks are filled by flake and flake, until the light unthinking action of the snow conceals every last record and the gazer lacks all means to know their having been.
The night welcomes and hides them: what each thinks or feels is as obliterated as a name drawn in the soft sand when repeated waves delete at one stroke its uncertain fame, leaving these empty flats. The corner where one shaves is still invisible. I search the past for them, but miss their faces. They are where all the happy dead must go. Many of the pictures I am making here exist somewhere in that liminal space between the staged and the candid: I have been looking at the classic street photography of figures such as Raghu Rai, Joel Meyerowitz, Garry Winogrand and Lee Friedlander.
One of the pleasures of a train journey is that, if so disposed, you can find, whilst looking through a window, an agreeable mental balance between your inner thoughts and the rapidly shifting outside world.
This headspace lacks the tyranny of meditation, with its insistence on elimination of unwanted thoughts, or the dizzying distractions of television channel hopping or web browsing. It is as if the train journey is a song, of fixed duration, forward momentum and a pleasing mixture between the anticipated and unanticipated; between elements both within and outside of our control. A metaphor for life itself. What I had thought would be a melancholic voice is surprising me by becoming more salutary.
Trees, water, animals and women. Trees grow…. What kind of change does Aarav need to recuperate happiness? We must always be prepared to learn something totally new.
Does the revision he feels the need to make entail leaving his wife, his religion, his own life? Whatever the change he needs to make, it will be an intuitive decision and formed in large part by the various forms of rhyme with which I am structuring the project. There are the literal rhymes of the octaves that constitute the poetry track.
There are the visual rhymes formed by the two quatrains that form each octave. Most importantly though, there are the chromatic rhymes. Colour gains significance through relation with other colours. And I want this relativistic way of seeing to be at the centre of Reversed Curses.
We might like to console ourselves with the thought that buildings, statues and litter are permanent things, but to view each of them from a moving train reminds us, as they rapidly disappear from view, that they too shall pass.
And I am allowing the randomness of my train journeys, the way in which one has a limited choice over what one photographs, to play a large part in the sequencing, story and design of the project. Or ten years? I hope the pictures will answer this question for me. I want their quasi-randomness to be a primary agency and a series of necessary rhymes, that help to create Aarav.
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