Rhyming with come

The old sound made me happy and again
I sing dreams, nature and love.
(A.S. Pushkin)

Night in my huge city.
I'm going from the sleepy house - away
And people think: wife, daughter, -
And I remember one thing: the night.
(M.I. Tsvetaeva)

Do not sing! Don't sing to me! Have mercy.
And so the fire burns in the chest.
She came to rhyme "again"
Inseparable love.
(S. Yesenin)

Banal rhymes have been widely played up in folklore since time immemorial. They appeared in Russian poetry at the dawn of its development - in the 17th century, and since then they have been invariably present in the verses of almost all poets. "End quote.

See what interesting examples are given on this site!
Pushkin's lines, which are perceived as beautiful antiquity, the golden age of Russian poetry. Here and again, love is quite appropriate - in Pushkin's time it was not yet a banal rhyme! But if they met such a phrase in modern poetry, the idea would immediately arise of styling under 19age, no? In any case, it is unlikely that this line would be taken seriously.
Tsvetaeva's poems are so emotional (a terribly inappropriate word to describe a poem, but I don't know what other word to choose), so deep and so concise that a banal rhyme (and night-daughter-away is just a banal rhyme) by no means does not create the impression of banality, but looks very appropriate.
And Yesenin, where the banality of the rhyme again-love is very well played up, and as a result, the stamp (maybe we'll talk about stamps sometime?) "fire burns in the chest" from the previous line is also perceived as a literary game. Or styling.
It is these examples that give us the sequence of further discussion.

So, banal rhymes are banal because they are very often used in poetry. But in order to understand that these rhymes are often used in poetry, one must read a lot of poetry, right? And if the young author has read quite a bit?
And besides, remember, we talked about grammatical rhymes: the problem is not that they are often found, but that they are often found precisely in inept verses, and therefore cause allergies. And if the young author has not yet read bad poetry? He's not a reader - a writer?
This means that the young author simply does not know that he uses a banal rhyme, and is very surprised that he is scolded for this.
Well, let's try to learn these rhymes - something like Masyanya learned words that need to be filtered on the site :)

Again - love - blood.
The heart is a door.
The sun is the window.
Fairy tales are colors.
Night - daughter - away.
You are loving. (there is still you-me, but this, we will assume, is not a rhyme at all, they can immediately slap a stake for it)
Difficult - wonderful.
Congratulations - wish.
Joy is youth (this example is on the site, but it is unlikely to be relevant - after all, the word "youth" seems clearly outdated, it is unlikely that a modern author will use it)
Evening - meeting - candles.
Tears - frosts - dreams - roses. (I would add more birches here)
Fight is destiny.
Vek is a person.
Feeling is art.
The sky - fiction - bread - I would.
Dreams are spring.
Nights - eyes ...
Well, who will add? :)

Even if you don't have to add it. You can be guided by a very simple and understandable rule: the first rhyme that comes to your mind is likely to be banal. Shall we try?
Happiness ... that's right, "bad weather." A terribly banal rhyme from congratulations.
Dal ... that's right, "sadness." And, by the way, the content of the poems also immediately emerges)
In general, before using the first rhyme that comes to mind, you need to think - what if the second one comes? or even a third? And will she be better?
Because banal rhymes spoil the impression of poetry, and strongly.

Here, again, examples:
First example.
Well, here the author did not work out with rhymes from the very beginning. In the first quatrain, one - if not the same root, then with related words irrevocably backwards, and the other - with nouns on "nye" - one of the most annoying grammatical.
And in the second, the same man-century appears. In combination with the banality of the content - very noticeable and very bad.
The impression is already badly damaged. True, the third and fourth quatrains give hope that maybe everything is not so critical, in any case, the author is trying to pick up more interesting rhymes, but, alas ... the fifth quatrain - "rises-happens." Almost came and went. Finish.

Second example
The very first quatrain about a heart with a broken door, for some reason, sets me up in a humorous way. I don’t even want to disassemble such poems as poetry - I want to say to the author: “Of course, life is beautiful, everything will be fine!” There, by the way, it’s still beautiful, in vain, and clothes-hope are also banal rhymes.

Third example
Here, the “beginner” level is immediately visible: the verbal rhymes in the first quatrain are still nothing, they have the right to be, but in the second the rhyming scheme changed, which immediately knocked down the rhythm, a trace appeared that crept into the mind (oh, I wish I knew what was meant !), Well, the third quatrain - in the textbooks! happiness-bad weather and a miracle from nowhere, and even with a spelling mistake!

And here's a more interesting one example.
The first four lines are terrifying. The age-man and feeling-art, combined with some incomprehensible incompatible arts and the loss of a loved one, set you up for the most dreary ZhP ... but then it's much better!
Yes, maybe ZhP, but far from the most dreary, in any case, with an attempt at figurativeness and without unnecessary exaltation.
And I must say that the author is well done - she was not afraid of sharply negative reviews (and even a couple), she participated in the following competitions, and even won prizes!

And here's another example.
The poem is very sweet, although the author, of course, should learn Russian. In addition to mistakes, there are a couple of unfortunate phrases, but, in general, they also look pretty ... but then blood-love appeared! Moreover, in combination with incorrect, from my point of view, word usage (for those who are interested, see the meaning of the word "flow"). Perhaps the poem has not ceased to be cute because of this, but it has become funny. I'm not sure that the author achieved such an effect.

Perhaps the examples will suffice.

But why are banal rhymes so badly perceived? Shouldn't they be used at all?

More on that next time.

In the meantime - questions and tasks.
1. Find poems with banal rhymes on the site. Consider whether the quality of the poem can be improved by eliminating the banal rhyme. If yes, please try suggesting an option.
2. What did I mess up in this text?

If you suddenly have questions, comments, suggestions - write!

And he was exposed: January 30 marked the 100th anniversary of the birth of Nikolai Glazkov

Well, what can I say? We waited. Nikolai Glazkov is 100 years old. Another one of those whose poems many remember by heart, but not everyone knows the author. He is called the godfather of samizdat. But it was not he who came up with the term "samizdat", he just came up with the idea of ​​making small collections of his poems and writing the word "samsebyazdat" on them. It was in the 40s. No, he didn't sit down. It just wasn't printed. expelled from the institute. They didn't join the army. Most likely, it’s good that they didn’t print: maybe that’s why he didn’t sit down. There is nothing to say about the army: war. It's not that he was eager, but he would go. And probably wouldn't come back.
He has not been forgotten.

He is known and quoted.

It is difficult for us now to quote anything from Glazkov: it seems that it is so well known to everyone that there is no need. In fact, of course, there is a reason. To once again remind readers of the outstanding Russian poet, who will never get out of the notorious second row. To one of the questions of the famous questionnaire, the authorship of which is attributed to Akhmatova (who is closer to you - Pasternak or Mandelstam), I'm afraid we would both answer: Glazkov.

So, let's recall.

The thief was found,
That she stole the rope.
The Criminal Code is in force,
At the trial she was asked:

“Answer us, thief,
Why do you need a rope?”
And the girl answered:
"I wanted to strangle myself."

Or one more famous one. Not a translation, but, let's say, Edgar Allan Poe's own version of The Raven:

Black raven, black devil,
Learn mysticism.
Arrived on white marble
At midnight, black hour.

I asked him: – Will I succeed
In the coming years
Where can I find wealth? –
He replied: – Never!

<…>

And to all my questions,
Where "no" and "yes" are possible,
The formidable broadcaster answered
Inconsolable NEVER! –
He replied: – Never! –
And he was exposed!

Funny, right? And it was written under Stalin. When the word "exposed" was not just a word. But somehow he managed to survive until the thaw (he died at 1979th). In 1957, Glazkov published his first book, and since then he has been published a lot and willingly. True, not what he would like to see printed, but only what was possible then. Some of Glazkov's "carelessness", rhythm failures and incorrect stresses, the transition from feminine to masculine rhyme, etc. often attributed to the fact that almost all of his "public" poetry was partly a parody of the Soviet. Well, in part, of course, it was. But one should not forget that his, so to speak, real poems were originally, in essence, not intended for publication. He read them aloud to friends and acquaintances, printed them by "self-publishing". The fact that a professional editor would work with his texts was not supposed in principle. This is the first. And the second. And is it such negligence? Exactly the same, it is with the same "carelessness" that Vsevolod Emelin, for example, writes now. And almost no one believes that we are dealing with negligence. If Emelin has negligence, it is deliberate, ostentatious. Yes, and the themes of Glazkov and Emelin are similar. In fact, this is one theme: poetry.

The latest thing is to compose poems about poetry, make films about cinema, etc. It is very difficult to do something really interesting here. In addition, only poets proper are important poems about poetry. And now to compose poems about poetry in such a way that it touches a plump girl, a gopnik from a doorway or a drunk at the railway station - this is already some kind of the highest aerobatics. Emelin knows how. Before him, only Nikolai Glazkov could do this. So Glazkov is not just a poet, he is a missionary poet. Poet-teacher, poet-educator. He calls, leads, drags the reader by the scruff of the neck to the only country where he, Nikolai Glazkov, is comfortable and free - to the country of poetry, to Poetograd.
Glazkov's texture, the sparkle of his eyes attracted the attention of filmmakers to him. In 1956, he starred in episodes of two films at once: "Freemen" by Grigory Roshal and "Ilya Muromets" by Alexander Ptushko.

The role played by Glazkov in Andrei Tarkovsky's Andrei Rublev is also small, but extremely important for the film. The film canvas consists of separate short stories, and the first of them, which serves as a prologue, is completely built on the hero of Glazkov. This is a flying man. He appears in the picture earlier than Rublev. In some ways, this prologue echoes the last short story "The Bell". And there, and there - an allegory of creativity. And there, and there - a flight into the unknown. Boriska, the hero of the actor Nikolai Burlyaev, undertakes to cast a bell and casts it successfully, although, as it turns out later, he does not know the secret of the bell alloy, his father did not tell ... Yefim, the hero of Nikolai Glazkov, rises into the sky in a balloon made of some kind leather He experiences a short-term happiness of freedom, comparable, perhaps, only with the writing of poetry. Of course, this role was to be played not by a professional actor, but by a poet. Moreover, it is precisely such a poet as Nikolai Glazkov was - eccentric, ridiculous, in shoes without laces and with poems that are outwardly simple and naive, but in fact are deep and philosophical.

Dear, good, don't!
Why are such extremes
needed?
I am a holy fool of Poetograd,
I will pay for
originality...

I have an imperishable fire
faith,
And all sins burn on it.
I am a poet of an era that has not yet come,
I write my poems best of all.

This strange property of his, this childish sincerity or sincere childishness was recognized by his comrades in the pen and in the Literary Institute. For example, Boris Slutsky:

This is Kolya, abandoned by us
at the hour of the most hasty departure
from the country over which the banner
flutters
of our childhood.

<…>

Echelons were taken away from him,
marching companies
marched.
All of us - as if passed.
He stayed at the pass.

In the film "Romance of Lovers" Glazkov appears in two roles at once. This picture is extraordinary in every way. Yevgeny Grigoriev, a strict adherent of socialist realism, already at that time the author of the script for the "factory" painting "Three Days of Viktor Chernyshev", suddenly wrote a script where everyone speaks in blank verse. Andron Mikhalkov-Konchalovsky undertook to stage it, he chose the "non-Soviet" genre of the musical. One of the songs written by Alexander Gradsky is based on verses by Glazkov. In addition, the poet appears in an episodic role as a neighbor of the main characters. He has an extremely mundane profession: he makes mattresses. But the poet appears on the screen... And he personifies Moscow. The action of the picture takes place in an old Moscow courtyard, where everyone celebrates weddings together and is escorted to serve in the army.

Moscow speech can also be heard in Glazkov's poems.

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