Rhyming with start

239 best rhymes for 'start'

1 syllable

Smart

Part

Heart

Hard

Guard

Yard

Card

Scarred

Sharp

Fart

Mark

Dark

Shark

Bark

Park

Spark

Dart

Chart

Cart

Tart

Mart

Bart

Charred

Barred

Shard

Lard

Stark

Harp

Clark

Starred

Tarp

Carp

Tarred

Marred

Jarred

Sparred

Scarp

Parde

Narc

Barb

Lark

Hark

Garb

Sark

Quark

Carb

Argh

Popped

Stopped

Dropped

Washed

Chopped

Cost

Want

Armed

Charged

Soft

Watched

Caused

Bond

Locked

Knocked

Shocked

Blonde

Robbed

Stomp

Hopped

Cocked

Flop

Drop

Chop

Shop

Stop

Squad

Cock

Flock

Stock

Rock

Block

Knock

Shock

Lock

Glock

Walk

Clock

Shot

Bought

Plot

Spot

Caught

Copped

Chalk

Rocked

Blocked

Aren't

Sock

Tock

Crop

Fond

Mock

Prop

Pond

Carved

Starved

Stomped

Marked

Barbed

Solved

Topped

Bombed

Yacht

Wand

Parked

2 syllables

Apart

Retard

Depart

Restart

Walmart

Backyard

Mozart

Sweetheart

Earnhardt

Graveyard

Discard

Outsmart

Regard

Jumpstart

Impart

Bombard

Bogart

Braveheart

Headstart

Upstart

Kmart

Leinart

Descartes

Rampart

Embark

Earhart

Neidhart

Flowchart

Bernhardt

Asgard

Postcard

Schoolyard

Bernard

Courtyard

Vanguard

Safeguard

Lifeguard

Junkyard

Diehard

Gerard

Barnyard

Picard

Benard

Churchyard

Wildcard

Renard

Broussard

Dockyard

Stockyard

Shipyard

Blowhard

Scorecard

Brickyard

Remark

Trademark

Postmark

Benchmark

Monarch

Landmark

Ballpark

Birthmark

Aardvark

Denmark

Bookmark

Hallmark

Primark

Rhubarb

Skylark

Ruark

Respond

Beyond

Involved

Alot

Forgot

Cannot

Brainwashed

Laptop

Unlock

Robot

Nonstop

Alarmed

Iraq

Restaurant

Unarmed

3 syllables

Disregard

Boulevard

Counterpart

Bonaparte

Lionheart

Leonhard

Bodyguard

Leotard

Mastercard

Disembark

Matriarch

Patriarch

Watermark

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art, cart, carte, chart, dart, heart,...

Pure Rhymes – 68 rhymes

Words that have identical vowel-based rhyme sounds in the tonic syllable. Moreover, that tonic syllable must start with a different consonantal sound.

art

cart

carte

chart

dart

heart

mart

part

parte

smart

tart

tarte

fart

apart

depart

impart

restart

raspberry tart

Bart

Descartes

Hart

Harte

Marte

Smartt

joking apart
poles apart
take apart
tell apart
worlds apart
state of the art
upset the apple cart
off the chart
after one's own heart
after your own heart
all heart
at heart
bare your heart
bleeding heart
bless one's heart
break one's heart
break your heart
by heart
change of heart
close to your heart
find it in one's heart
follow one's heart
from the bottom of your heart
from the heart
have a heart
heart to heart
heavy heart
lay to heart
learn by heart
lose heart
lose one's heart
open heart
open one's heart
put your hand on your heart
take heart
to heart
to the heart
warm the cockles of your heart
with all one's heart
bit part
for the most part
in part
on one's part
take part

End Rhymes – 65 rhymes

Words that have a pure rhyme on their last syllable only.

Stuttgart

Dewart

UART

Godart

Goddart

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Near Rhymes – 2074 rhymes

Words that "almost" rhyme on the vowel-based rhyme sound of the stressed syllable like: be/eat or maybe/shapely.

ar

are

baar

bar

barre

car

char

clar

czar

dar

fahr

far

gar

haar

jar

lar

mar

our

paar

par

r

sar

scar

spar

star

tar

thar

tsar

voir

har

adar

afar

ajar

amar

bazaar

bazar

bizarre

boyar

cigar

dinar

disbar

guitar

revoir

subpar

victoire

har har

superstar

abatoir

Algar

Azar

Bahr

Barr

Bodnar

Bondar

CSAR

Carr

Dakar

Darr

Farr

Farrar

Gregoire

Jamar

Jr

Kadar

Karr

Kumar

Lamar

Lebar

Lemar

Maher

Marr

Mawr

Meagher

Melgar

Myanmar

Navar

Navarre

Nazar

Parr

Phar

Pharr

Pickar

Qatar

Renoir

Saar

Sklar

Soutar

Spohr

Starr

Tarr

Tovar

Valdemar

Zachar

Zadar

Jafar

here you are
lower the bar
getaway car
kiddie car
close but no cigar
by far
near and far
thus far
below par
hitch one's wagon to a star
lucky star
wishin' on a star
wishing on a star
spoil the ship for a ha'pworth of tar

aren't

Arndt

darst

karst

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Mosaic Rhymes

Rhymes made up of more than one word. For instance, "jealous" and "tell us" or "shaky" and "make me."

One-syllable words do not have mosaic rhymes.

Poem. types of poems. - Creative ... - LiveJournal

As it turned out, there are a lot of different poems ... I present to your attention the types of poems. It is possible that this is not complete information and I missed something. At least tried to cover everything.

WHITE VERSE - verse without rhymes. A variety of white verses are folk verses and their imitations, among which there are masterpieces that surprise with their unique melodiousness and melody:

I'll sit at the table and think:
How can a lonely person live in the world?
The young man does not have a young wife,
The young man does not have a faithful friend.
(A. Koltsov)

A storm appeared in the darkness of the night;
A formidable ray sparkled in the sky;
Thunders rumbled in black clouds,
And noisy rain in the forest rustled. .. .A. Nekrasov)

The distant ancestor of white verse was the so-called. RHYMENESS VERSE, which includes all ancient poetry and European poetry of a later period, when the tradition of rhymed poetry has not yet developed. An example of a non-rhyming verse:

About that. what awaits us, stop thinking,
Accept, as a profit, the day bestowed on us
by Fate, and do not shy away, my friend,
No round dances, no love caresses.
(Horace)

T.o. white verses, in contrast to non-rhyming ones, are a conscious deviation from the established rules and poetic traditions, ignoring rhyme as a kind of artistic device.

VERLIBR (free verse) - non-rhyming verses without meter, divided into poetic lines and not possessing permanent signs of their commensurability.

She came from the cold,
Flushed,
Filled the room
With the scent of air and perfume,
With a ringing voice
And completely disrespectful to her studies
Chatter.
(A. Blok)

FREE VERSE (free iambic) - free alternation of lines with different number of feet. In Russian poetry, the usual size of fables, many elegies, epistles, etc. Free verse is most suitable for conveying colloquial speech.

...God sent a piece of cheese to a crow somewhere;
A crow perched on a spruce tree,
I was just about to have breakfast...
(I.A. Krylov)

I, leaning against the mast, stood,
Counting the shaft behind the shaft,
The ship flies forward faster, -
Farewell, dear country!
(G. Heine)

The grass is turning green,
The sun is shining,
The swallow is in spring
In the canopy it flies towards us.
(A.N. Pleshcheev)

From a German poet
A genius cannot take over,
Our poets can
Take the size of his creations.

Let him rhyme through the line
Modern Russian Heine,
And in the water of such songs
You can swim like in a swimming pool...
(D. Minaev)

Bury in fresh weeds,
Forget sleep forever!
Shut up, damn books!
I never wrote you!
(A.Blok)

No, I won't give up: father-mother,
Fight-harvest, blood-love,
Drama-frame-panorama,
Eyebrow, mother-in-law-carrot... socks!
(Sasha Cherny)

RIFMOID - a verse with very approximate rhymes. The term is practically not used.

And if I ever cut you
And a feather-hand swings at you,
Then I, as they say, got it with blood,
I carved more rhyme than yours.
(V. Mayakovsky)

PROSE POEMS - a small emotionally rich lyrical work in prose without signs of meter and rhyme. Distinctive features - melody and melodiousness.

In the days of doubt, in the days of painful thoughts about the fate of my homeland, -
You are my only support and support, O great, mighty, truthful and free Russian language!
Without you, how not to fall into despair at the sight of everything that happens at home?
But one cannot believe that such a language was not given to a great people!
(IS Turgenev)

MONORIM (Greek: monos – one, rime – verse) – a verse built on one rhyme; rare in European poetry, but widespread in the classical poetry of the Near and Middle East. Monorims include: gazelle, qasida, mesnevi, rubaiyat, tarjiband, etc. An example of a rubaiyat by Omar Khayyam:

Do not envy someone who is strong and rich.
Sunset always follows the dawn.
With this short life, equal to a sigh,
Treat it like it's been rented to you.
(Omar Khayyam)
The fire is growing cold,
The sounds of the piano have ceased,
The cavatina has resounded...
Where is the picture of other skies,
Lohengrin's white swan?

Monorims are rarely written in their pure form. Among Russian poets, monorhymes are often found as components of a work. There is more than one example of this in the world:

And it's no wonder when a tradesman wants to live,
Like an eminent citizen,
A small fry, like a nobleman.
(I.A. Krylov)

There is a black poplar, and in the window - light,
And the ringing on the tower, and in the hand - the color,
And this step - following no one,
And this shadow, and me - No.
(M. Tsvetaeva)

The prototypes of the first Russian monorhymes can be found in folklore: riddles, nursery rhymes, tongue twisters based on the sound-semantic game of similar-sounding words.

Village Alesya
Hanging your feet from the stove,
Don't laugh, Alesya,
Warm yourself on the stove.
(Russian patter)

Monorhymic chains are found even in medieval poetic monuments of Ancient Rus', such as: ,
and prayed to God...
("Zadonshchina", 14th century)

ALPHABETIC VERSE - a poem in which each verse or stanza (usually a couplet) begins with a new letter and all together are arranged in alphabetical order.

Anti-Semite Entente mil.
Entente bunch of thugs.

The Bolsheviks are looking for bourgeois.
Bourgeois rush for a thousand miles.

Wilson is more important than other birds.
Stick a pen in the buttocks…
(V. Mayakovsky)

Russian alphabetic verse originates from the Alphabet Prayer (X century), widespread in medieval Rus' and in form reminiscent of modern vers libre. In such a verse, each saying began with a new line and a letter of the alphabet.

Az with this word I pray to God
God of all creatures and builder
Visible to them and invisible to them!
Lord, send the spirit of the living
May the word be breathed into my heart
There will be success in everything . ..

EXPERIMENTAL POEMS (exotic verses) - original verses built on non-traditional methods of rhyming, building stanzas, alternating rhymes, etc. To such verses include: acrostics, pantorimes, palindromes, monorhymes, curly verses, anacycles, endless verses, etc.

ACROSTICH (Greek akrostichis - extreme verse) - a verse, the first letters of all lines of which form a word or phrase, most often the name of the author himself. The acrostic has its origins in magical texts and was popular in the poetry of the Middle Ages.

The most complex of constructions,
Creation of a violent mind.
The art of words and their interweaving,
Chronic, to the point of exhaustion,
The basis of difficult writing.
A mean confession of a poet,
Phrases flying into the unknown;
Husky from all prohibitions,
Life without pretense and embellishment.
Barely audible to a tight ear,
Invisible to a half-blind.
Dissent for hearing,
Oil only to the heart and the Creator.
(I. Blumenfeld)

I am well known by my name;
The swindler and the blameless swear by him equally;
Joy in disasters was more than anything;
Life is sweeter with me and in the best share.
I can serve the bliss of pure souls alone;
And between the villains, I was not created.
(Neledinsky-Meletsky)

Prose writers are far from rhyme,
From a clear measure, the mystery of light,
Etheric breath of a line -
That which allows one to become a poet.
(Semyon Tsvang)

MESOSTIKH (from the Greek mesos - located in the middle and stichos - verse) - a verse in which a word or phrase is formed from the letters of each line. Unlike an acrostic and a telestic, in a mesostich the word is formed by letters arranged in a certain order inside the lines, and the vertical arrangement is not necessary. In addition, as a rule, the encrypted word or phrase is highlighted. As an example - the quatrain of one of the founders of the Russian mesostikh hieromonk Karion Istomin, in which he recorded his spiritual title and surname.

Jesus the Lord to Him of the Servants of These,
will take her the Prayer of the SCIENCES of all the free
Even, This is here The skinny ones get used to it.
Mercy love of all blessings Teach.
(Karion Istomin)

TELESTYH - a verse in which the last letters of each line form a word or phrase. A variety of acrostics.

THE BELL
Pronouncing a wonderful clear sound,
I am hanging on the bell tower. High!
Repeatedly I wanted to ring,
Spill the song of the heart far away,
But my tongue is in the power of someone's hands.
I would breathe freely and easily,
Whenever I would sing on my own, not by order.
(I. Chudasov)

LABYRINTH - another genre of visual poetry, often considered as a variant of figure poetry; poems in which various letters from various lines are added to an encrypted word or phrase, forming any lines or geometric shapes. As an example, a message in verse by Valery Bryusov to Vadim Shershenevich, as well as an acroconstruction by Valentin Zagoryansky.

Into a harsh dream,
for a languid speech
vaDim, and thisudalItu,
a gift in the old evening
to yourself a Moment of Fire,
daism of the rock of the newborn.
Temptation of the Kremlin:
EclipseEoShibokweekday -
TroniskRoyudoboli!
(V. Bryusov)

CENTON (from Latin cento - clothes or patchwork blanket) - a humorous poem composed of "blanks" - excerpts from different poems by one or more authors. Here is an example of a centone, collected mainly from the first lines of Pushkin's poems.
I remember a wonderful moment -
Three sisters under the window.
Winter!.. triumphant peasant,
Everything goes around in chains,
Driven by spring rays.
The sun is already fading behind the mountains...
Run, hide from the eyes!
And the heart will be more cheerful.

In the depths of Siberian ores
The east burns like a new dawn.
Do not sing beauty in front of me,
Friend of my harsh days.
Farewell to the free element,
Noisy caravan geese…
Frost and sun! Wonderful day!
Keep me my talisman!

PANTORIM - a verse in which all words rhyme. In its pure form pantorim exists extremely rarely. Basically, verses-pantorims are found as components of any work. See also Pantorhyme.
Bold running intoxicates,
White snow blows,
Silence is cut by noises,
Thoughts about spring are tender.
(V. Bryusov)

"Torn off, stacked, chipped -
Black reliable gold"
(V. Vysotsky)

ANACYCLE (Greek ana - forward, against and cyclos - circle, cycle) - a poem written in this way that it can be read equally from top to bottom, left to right, and from bottom to top, right to left. The anacycle is read in both directions not by letters (as in a palindrome), but by words. Unlike the reverse poem, the order of presentation, rhymes and rhyme are preserved. Anacyclic verses are extremely rare even for experimental poetry.

Cruel - reflection. Silence of the night
Shakes visions of the past,
Flicker meets smiles severely.
Suffering -
Deep - deep!
Suffering meets a stern smile...
Flickering of the past - vision shakes...
Silence, night meditation - cruel!
(V. Bryusov)

REVERSE - a poem that can be read both from the beginning (from left to right) and from the end (from right to left), while the general meaning is preserved, but the order of presentation changes and, most importantly, rhymes and rhyme may change.
In the sample below, the quatrain has an adjacent rhyme and two rhymes "your - and", "your - crazy". When the poem is played back word by word (from the end), the adjacent rhyme changes to a cross one, and the end rhymes also change to "spring - to me" and "tear - eyes". The genre is practically not developed.

Your green eyes
I will dream again and
Tears as a pure image of yours
Spring will be remembered as crazy.
Crazy will be remembered by spring
Your image is pure as a tear
And I will dream again
Your green eyes.

ROPALIK or ROPALISTIC VERSE (Greek ropalicos - club, club) - a poem with a gradual increase in the number of syllables. Ropal verse was first seen in Homer: in his hexameter, each word in a line had 1 more syllable (1, 2, 3, 4, 5). Subsequently, some ancient poets adopted this technique and tried to write entire poems with such lines. Of the most famous - "Prayer" of Ausonius "(IV century AD).

God the Father, giver of immortal existence,
Incline your ears to the purity of vigilant prayers...

In a horizontal ropal verse, words increase by one syllable from the beginning to the end of the line. So, in the example below (partially pantorimic), in each line the first word is monosyllabic, the second is two-syllable, the third is three-syllable, the fourth is four-syllable.

Life is a game of fleeting desires,
There is a time of unconscious dreams,
There is, later, proud accomplishments,
Boredom, languor, languor of the perspicacious. ..
(V. Bryusov)

In a vertical ropal, each new line has one more syllable. As an example, a humorous roguelike "Vigilant Border Guard".

1 Stop!
2 You see -
3 Border.
4 No further,
5 Not allowed!
6 What, can't sleep again?
7 Do you want to go there, dear?
8 Mafia is everywhere,
9 Clans and exploitation!
10 Be a patriot - in this swamp
11 Don't get involved!.. without an emigration visa.

FIGURE VERSE - a poem, the lines of which visually form any figure or object - a star, a cone, a heart, a cross, a pyramid, a rhombus, etc. Thus, figure verses are intended exclusively for visual perception. Simmias of Rhodes, an ancient Greek poet who wrote three poems in the form of an egg, an ax and wings, is considered to be the inventor of figured poetry. Later, figure verse was in use in European baroque poetry, and was also not deprived of attention by Russian poets: the first figure verses in Russia were composed by virsche-writers at the dawn of Russian poetry - in the 17th century, when poetic "alchemy" was in great fashion. In the 18th century, several samples were written in this genre (in the form of a labyrinth, a cross, a heart and an octagonal star) and one of the largest poets of that time, Simeon Polotsky. At 18-19centuries Derzhavin, Sumarokov, Rzhevsky, Apukhtin, Rukavishnikov and some other poets turn to figure verse. In the future, symbolists (Bryusov) and modernists (Kirsanov, Voznesensky) showed interest in figure verse. In general, curly poetry is nothing more than poetic fun, in which form prevails over content. For this reason, very few highly artistic examples have been created. As an example, a poem in the form of Apukhtin's triangles:

The path of life is paved by barren steppes,
And wilderness and darkness... no hut, no bush...
The heart sleeps; chained
Both the mind and the mouth
And the distance before us
is empty.

And suddenly the road will not seem so hard,
I will want to sing and think again.
There are so many stars burning in the sky,
blood is flowing so violently. ..
Dreams, anxiety,
Love!

Oh, where are those dreams? Where are the joys of sadness,
that shone on us for so many long years?
From their lights in the foggy distance
A faint light is barely visible ...
And they are gone,
They are gone.
(A. Apukhtin)

ENDLESS VERSE - poems with a ring structure, where the end goes to the beginning. Everyone knows the verse:
"The priest had a dog ...". And here is an example of an endless fable:

... I was sitting on a branch
Somehow a stupid parrot.
And taking off very rarely,
He laughed from the flocks of birds:
"There will be a blue haze,
More beautiful than the clouds,
That's when I'll fly
Above all, for sure!"
And he decided to go down,
Save more strength.
It just has to happen like this:
He got caught in the snare.
And now in a beautiful cage
Everyone says: ...

BURIME (from the French. bouts rimes - "rhymed ends") - composing poems to predetermined rhymes, usually of a comic nature. The burime form originated in France in the first half of the 17th century. The history of the emergence of Burime is due to the French poet Dulot, who stated that he wrote 300 sonnets, but lost the manuscript. After massive public doubts about such a large number of written poems, Dullot admitted that he did not write the poems themselves, but only prepared rhymes. After that, his colleagues in the pen wrote sonnets to blank rhymes, and a new poetic game became fashionable in the 17th and 18th centuries. was quite a popular salon entertainment. It is also known that A. Dumas at 19century was the organizer of the competition for the best burime and published a book of the best poems.
In our time, burime continues to be a popular game among all lovers of the poetic genre. Burime allows you to show your creative abilities, show off your wit and originality, and in a matter of minutes (or even seconds) demonstrate your command of the word. For this reason, the genre of burime is especially popular among artists of the conversational genre and entertainer. Here is an illustrative example from Yuri Gorny, who was offered 4 pairs of rhymes, and who instantly (!) gave out a wonderful impromptu.

given rhymes:

air - rest
game - ax

illness - leisure
land - ruble

You can’t build a hut without an ax friend,
And sometimes work is just rest,
Work is joy to me: a fun game
When in the face - good luck fresh air.

I have rejected diseases, I do not know disease.
I don't spend a single ruble on medicines.
The earth creeps under my feet:
Nature is medicine and leisure for me.

CHARADE (from the French charade - conversation, chatter) - a poem - a riddle that allegorically describes a word.

The beginning of a word is a sea beast,
The end of a charade grows in the forest,
An answer in a sewing workshop
A tailor will sew for you, if necessary.
(whale + spruce = tunic)

LOGOGRYPH is a complicated charade, the basis of which is a metagram (words with a difference of one letter). In the example below, one letter is subtracted from the word "victory" in each line.

At the Pobeda factory
During lunch
There was a disaster -
The food was gone!
Have you eaten? - Yes!

PALINDROMON (Greek palindromos - running back) - a poem, the lines of which are palindromes and are equally read from beginning to end and from end to beginning. Genre of experimental poetry (V. Khlebnikov and others)

SOUND RING - a quatrain or poem in which the last letter of each verse coincides with the first letter of the next verse, and the last letter of the last line coincides with the first letter of the first.

It has long been known: life is a struggle,
And the struggle has one outcome:
Hold as fate tells us,
Attacks of violent adversity ...
(Ivan Ovchinnikov)

HETEROGRAM (equal letter) - a play on words, different in meaning, but similar in letter composition (more than centuries - Bolsheviks, you are not homeless - the sky alive, now I am those feathers). A kind of pun. Poems consisting of heterograms are a rare but very interesting phenomenon in poetry.

Azam was taught,
but tortured.
While being treated -
were crippled.
(S. Fedin)

Why are you moaning?
That you're just not the right ones?

I will part my hands - the world is worth it
Is the world worth fools?
(D. Avaliani)

The full set of lessons is available here: http://arttalk.ru/forum/viewforum.php?f=371 Who doesn't want to wait for them to appear here and there - get enlightened! :)

Rhyme // Varlam Shalamov

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The best rhyme in Pushkin's time was the combination of two nouns. Pushkin was the Russian Adam, as Lunacharsky put it. Poetry at the beginning of Pushkin's activity resembled the situation in modern science, when discoveries are literally waiting for you at every corner, guarded at every step. Something similar happened with the Russian word when Pushkin took up his pen.

What is "discovery"? It means to draw general attention to something that existed before, to something that no one noticed before.

Let's return to Pushkin's rhyme. Rhyming an adjective with an adjective, a noun with a noun, a verb with a verb, Pushkin followed untraveled roads.

Marshak believes that it is better to rhyme a verb and a noun, that such rhyming, as it were, links together different parts of Russian speech.

It seems to me that thought does not decide anything in the essence of rhyme. Its sound content says that the best rhyme is an adverb and a noun.

Shklovsky is afraid that there won't be enough rhymes. Rhyme is enough. “Blood is love” can be rhymed for many more years. The sound support will remain.

Rhymes are masculine and feminine, dactylic and hyperdactylic, exact and inexact.

In textbooks, rhyme is called a sound repetition at the end of a line, coinciding with the final pause. All this is so.

But why does a verse need to rhyme?

We are answered: for euphony, to emphasize the rhythmic-musical beginning of poetry, and also so that verses are easier to remember, better to remember.

Is it just for this?

From my childhood it seemed to me that words have a form, coloring. The form depends on vowels, on vowels. In fact, the size of a word depends on the number of syllables determined by vowels - this is true for a first grade student. But form and size are not the same thing. The word "poplar" is clearly different in form from the word "now", although both are of the same size and almost the same color. The color of the word depends on the consonant sounds and is determined by them. Sound repetition can be built on vowels - this is a strengthening in the memory of the form of a word or something else is always present in the poems of a great poet. This is an element of creativity. The pinnacle of Russian poetry, Pushkin's "The Bronze Horseman" is an unsurpassed example of this kind. Pushkin knew everything in poetry.

Love you, Petra creation,
I love your strict, slim look,
Neva sovereign current,
Its coastal granite.

The notorious "root rhymes" (strict - harmonious) are placed, as it should be a sound repetition of this kind, inside the line. Sound coloring (variations of consonant letters) is perfect.

Pushkin's rhyme (verbs with verbs, nouns with nouns) outlines the linguistic boundaries of Russian poetry, outlines its boundaries. The poets of Pushkin's and post-Pushkin's times follow this rhyme. Time shows the need for some amendments to Pushkin's canons of rhyme, namely, a greater sound correspondence of rhyming words - in their literary, i.e. Moscow pronunciation. This work is being done by Alexei Konstantinovich Tolstoy. He, like Chekhov, does not have critical articles, but there are numerous letters where a new theory of rhyme is substantiated.

Classical Russian rhyme, complete rhyme, is used by all our great poets - Pushkin, Lermontov, Tyutchev, Baratynsky, Nekrasov, Blok, Tsvetaeva, Mandelstam, Tvardovsky. Pasternak, Mayakovsky and Yesenin will be discussed in due course.

The possibilities of Russian rhyme are inexhaustible, and it is a thankless task to take on the destruction of "local words". Modern Russian rhyme is a bond, a combination of various parts of speech, it is a constructive element of the language in the struggle against idle talk, with verbal sloppiness for laconicism, for the accuracy of poetic speech. "Noun - verb", "participle - verb", "adjective - noun", "adverb - verb", "adverb - noun" - all these are the combination of language elements in Russian versification.

Insufficiently literate young poets, discoverers of the long-discovered Americas, inspired by poorly literate critics, spend time, both their own and the reader's, glorifying lifeless literary forms, for the sake of innovation at all costs. What is offered (a root rhyme or typographical dots instead of words by Sapgir) is false innovation, the reason for this is either ignorance, or literary adventurism. "Root rhyme" - an ordinary sound coloring of a word (kind - long), appropriate in the middle of a word. As a "word of mouth" it is negligence, slovenliness, sound lameness ...

As for Sapgir's "poetry", Alexey Nikolayevich Chicherin, the leader of the "nichevoks" of the 1920s, now alive, could tell something about "poetry" of this kind.

It is quite characteristic that young poets and poetesses concentrated their efforts on the destruction of rhyme, posing as innovators and seekers of the simplest element of a line and stanza. Their quest does not concern more complex issues - intonation, metaphor, image.

But rhyme is only a tool with which a poem is created, a search tool for a poet…

And assonances, like sabers,
Chopped rhyme hastily[1].

This is a Northerner.

Historically, assonance precedes rhyme. Poetic lines, more interconnected by assonances, go back to the deep antiquity of both literary and folk speech. Rhyme appears for the first time among medieval troubadours. Since the time of Otfried Weissenburg [2], rhyme has been gradually strengthening, opening up more and more new roads of verse. We do not need to pay attention to Western fashions, to the destruction of poetry. Classical Russian poetic meters - iambic, trochee - have not exhausted even a thousandth of their capabilities. Are Pasternak's iambs similar to Pushkin's iambs? Aren't Mandelstam's iambs discoveries? Is Akhmatova repeating anyone? (except Mikhail Kuzmin).

There is no need to go back to assonance - this is a stage passed a long time ago.

The creative process consists more in discarding the unnecessary, insufficiently true, unreliable, not bright enough, than in searching. To create each stanza, the world instantly, or almost instantly, substitutes for the poet tens, hundreds of pictures of the past, present, future, and from this great multitude, brought into the creation of the poet by rhyme, some of the observations, knowledge, illustrations are discarded or recorded . .. freely trusting the rhyme, sound repetition, the poet, not yet fixed on paper, meets with dozens of directions. Somewhere deep in the mind, a mood of a certain strength and tone is hidden, some main idea is hidden, a theme that seeks its expression in yet unwritten verses. Sometimes this sound work prompts new thoughts, leads away from the supposedly conceived. Sometimes novelty is limited only to trifles, touches, but it also happens that a poem is a discovery, a find, born without a preliminary plan.

The stanzas not yet written down come under the control of thought. Thought vigorously selects the best, most expressive, and here a variant of the poem is written down. Thought can hardly keep up with the flow, driven by rhyme, alliteration, associations of every possible kind.

Work begins on the first version, finishing it is no less stressful work than the first part of the creative process. Here the main idea for which the poem was written comes to the fore. In accordance with this main idea, the poem is rebuilt, the order of stanzas is determined, rhymes and metaphors are honed or replaced. The poem is brought into full compliance with the rules of the Russian language.

Work on a poem can take an indefinitely long time. From time to time you can return to it, all the time clarifying, wanting to improve the text. There are no perfect poems. Any poem is just the best version of what is intended, what the poet wanted to say.

Mikhail Kuzmin remarked that "the first line of a poem is its last line", the ending for which the poem was written. There is a lot of truth in this. Such are the majority of Tyutchev's poems, Tsvetaeva's poems, Kuzmin's own poems, some of Mayakovsky's poems.

There is another observation related to Kuzmin's remark. It is almost always possible to guess (in a short poem, lines 16-20) from Pushkin, from Lermontov, from Blok - from any major poet (the less talent, the easier it is to do what is being said) - which quatrain was written first, which one appeared on paper before others.

There is another circumstance that is important in the process of creating a poem. Every literate person carries in his memory a large number of all sorts of poems that are stored somewhere deep in the brain and remind of themselves in rhythm, passages, lines, moods.

Human feeling seeks expression and finds it in the poet's verses that remain in his memory; there is a kind of discharge of mood, feelings into other people's verses. These other people's poems are remembered or re-read, repeated many times and give vent to the mood. And when no "suitable" verses are remembered, when the feeling does not find a way out in familiar texts, not finding correspondence, reassurance in them - then one's own verses are written. And in this case, a magnetic search tool - rhyme moves the layers of events, impressions.

And one more thing: in every poem of every poet there is some kind of novelty, a find. The poem was not written because of this novelty, but without it it would have lost its meaning. In each, even a small poem, some technical task is also posed, no matter how naive it may be. Derzhavin wrote a number of poems without the letter "p". There is always a desire to introduce into poetry a word that has never been in poetry, to put some big word in a line, which even in ordinary speech seems clumsy, angular, but enters the poem unexpectedly freely. For example, "obstetrician". I would like to see in my own stanza "a dance of strange names, which is gratifying for the heart", to write myself - "The Choctos and Comanche Blackfoot and Peru, Delaware and Mogeki" [3].

And this “playful” side of the matter is also involved in the creation of a line of poetry.

But there is no time for jokes when the poet feels that something important, very important, extremely important has been found, that it is not worth continuing further search, that even though the rhyme would need to be improved, any further work on it will worsen the main idea, the main tone , the main feeling that dictated the poem.

And Blok leaves in the stanza, and, it would seem, mediocre, dubious rhymes -

Born in deaf years
The paths do not remember their own.
We, the children, of the terrible years of Russia,
Nothing can be forgotten.

No reader, no listener, notices the rhyme here. Such is the expressiveness, the power of the poem.

Here, the expressiveness of the verse is achieved by rhyme, but not in its mnemonic quality and not by the euphony of "local words". The rhyme, having served its purpose, played its role as a search tool and was pushed aside.

Blok, and not only Blok, has many such examples. Surprisingly, it turns out that Blok, in his strongest stanzas, did not sufficiently polish the "local lore" proper.

Russia, impoverished Russia,
I need your gray huts,
Your wind songs for me -
Like the first tears of love.

I will give one more extract - from the letter of A.K. Tolstoy[4], dated 1871.

From a letter (Dresden)

...let's talk about art...

... I sometimes write bad rhymes, but not bad poetry. I write bad rhymes deliberately in those poems where I consider myself entitled to be sloppy, but only in relation to rhyme. I never consider myself entitled to write a bad verse...

You see, about rhyme, I will make you a comparison, instead of a dissertation. There is a painting that requires the steady precision of lines - this is in historical paintings. Umbrian, Florentine, even Venetian. There is another kind of painting, where colors are the main thing, but lines are not on ceremony. These are Rubens, Rembrandt, Ruisdael and other Flemings or Dutch. And now, horribile olictu (it's terrible to say), these last paintings would be lost if the line in them were inexorably correct. So, if I paint a picture of large dimensions and with a claim to seriousness, I agree with you that I should be strict about rhyme: but if I write a ballad or other poem in which the impression, i. e., color, paint, - the main thing is that I can casually treat the rhyme, but, of course, do not overdo it and do not rhyme WEDDING with LOCUST ...

if you want, take an example in poetry. Take Goethe in the Gretchen scene in front of the icon:

is there anything worse than rhymes in this magnificent prayer? This is the only thing in the sense of naivete and truth! But try to correct the texture, give it more regularity, more grace, and everything will be spoiled. Do you think that Goethe could not have written better poetry? - He DID NOT WANT, and then he proved his amazing poetic flair. There are some things that need to be carved; there are others who have the right and even the duty NOT to be trimmed for fear of appearing cold. In the German and English languages, the irregularity of rhyme is allowed, as well as verse; in Russian, only incorrect rhyme is allowed. This is his only opportunity in poetry to appear in a negligee.

In conclusion, I would like to say that I am thinking of acting in the spirit of the Russian language, remaining unshakable with respect to verse and ALLOWING ONE SOMETIMES some free attitude to rhyme. It's a matter of intuition and tact."

Observations by A.K. Tolstoy are true and not a bit outdated to this day.

Blok, just like Goethe, DID NOT WANT that an excessively sonorous rhyme that attracts attention would interfere with the main thing - that which had already entered the verses ...

Pushkin's rhyme is a complete rhyme. But this is an "eye" rhyme. It is not meant to be read aloud. This was shown by Kruchenykh in the twenties in the well-known work "500 new witticisms and puns of Pushkin." But 50 years before Kruchenykh, Alexei Konstantinovich Tolstoy pointed out the need to organize rhyme associated with the sound of a word.

These remarks remain in full force to this day. The beginning of the twentieth century in Russian poetry paid much attention to the issues of rhyme. The euphony, melodiousness, musicality of a poetic line, achieved by full rhyme, find the most vivid expression in Balmont's poems.

I love forest herbs
Fragrant.
kissing and fun
Non-refundable.

Balmont, despite his talent, still did not have sufficient poetic taste.

Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
The storm is close, the shore beats
Uncharmed black boat.

This is, of course, artificial, alien to poetry.

Be that as it may, Balmont was the main exponent of rhyme - melodiousness, harmonious stanza.

In the fight against Balmontov's rhyme, Mayakovsky's rhyme arose - a typical example of the assertion of the mnemonic role of rhyme.

Speaking our way -
rhyme - barrel,
Barrel with dynamite.
Line - wick,
The string will smoke,
The line explodes,
And city
For air
The stanza flies.
Where can you find -
At what tariff
Rhymes,
To kill, aiming?
Maybe
Heel
Unbelievable rhymes
Only remained,
What's in Venezuela[5].

Both Mayakovsky's book "How to Make Poems" and Aseev's article "Our Rhyme" treated the question of rhyme as novelty, unusualness in the same way - finding this unusualness in compound rhyme or in exercises like "electric", "draw".

Young Lefites even made rhyme preparations and supplied their older comrades with them.

The preparation of rhymes, about which Mayakovsky was so baked, pursued the goal of striking the reader's ear, getting into the reader's memory with the help of an extraordinary phrase, unprecedented rhymes.

Speaking your way,
Rhyme - bill,
Learn through the line! - here is the order,
And looking for
Little suffixes and inflections
In an empty box office
Declensions and conjugations.

“Be sure to try to rhyme an important, basic word,” wrote Mayakovsky.

It is in the mnemonic qualities of rhyme that Mayakovsky sees the main thing. Hence the demand for novelty, extraordinaryness, hence the work on the compound rhyme.

Rhyme is given great attention, although it does not participate in the creation of a poem, but is used from "blanks".

There is a struggle between the melodious beginning and the mnemonic beginning of the rhyme. Full rhyme, melodiousness wins. Mayakovsky is replaced not by Selvinsky, but by Tvardovsky.

In the tenth and twenties, they broke the line and rhyme in all available ways - from “phrasers” to “nichevoks”, from imaginists to original phrase-mongers. Sapgir's poems are strangely reminiscent of the entertainments of Aleksey Nikolaevich Chicherin, the leader of the Nichevoks.

Alexander Blok had a completely different understanding of rhyme than that of Balmont and Mayakovsky. Here is a perfection of a different kind than the pursuit of melodiousness or the desire to achieve rhyme so that the verses are remembered. Here comes the third principle of rhyme, its third meaning. Rhyme serves Blok only as a search tool. After the best, most expressive option is found, the semantic line is taken under control and Blok is sure that the semantic side of the matter is expressed here in the best way - he stops searching not for rhyme, but for that content, that world that rhyme attracted to his poem.

Found the significance, expressiveness of a stanza or a poem as a whole (with the help of rhyme), greater than the value of the best rhyme “found in Venezuela”.

Rhyme has fulfilled its purpose, its service, and stepped aside, this is not rhyme for the sake of rhyme, but only a search magnet of the poetic world.

Such is the third meaning of rhyme, about which literary scholars write little, and which nevertheless retains all its objective force.

One can also refer to Byron, who called rhyme a steamboat that takes the poet against his will in the other direction.

Keys:

Into your furious mind, into your multi-stringed language
I penetrated like a bee-rhyme like a beehive[6].

Shalamov V.T. Collected Works: In 6 vol. + vol. 7, add. T. 5.: Poems. / Comp., prepared. text, eg. I.P. Sirotinsky. Moscow: Knigovek Klub Klugovek, 2013, pp. 38-47.

Name index: Aseev, Nikolai Nikolaevich, byron, Balmont, Konstantin Dmitrievich, Baratynsky, Evgeny Abramovich, Block, Alexander Alexandrovich Bunin, Ivan Alekseevich, Yesenin S. A., Klyuev, Nikolai Alekseevich, Lunacharsky, Anatoly Vasilievich, Mandelstam O.E., Marshak S.Ya., Mayakovsky V.V., Nekrasov N.A., Otfried of Weissenburg, Pasternak B.L., Peter I Pushkin A.S., Sapgir G.V., Severyanin I., Tvardovsky, Alexander Trifonovich, Tolstoy A.K., Tyutchev F.I., Tsvetaeva Marina Ivanovna Chicherin A.N. , Shklovsky V.B.