Rhyming words with are

ar, baar, bar, barre, car, char, clar...

Pure Rhymes – 107 rhymes

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

ar

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

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

End Rhymes – 74 rhymes

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

radar

Zadar

under the radar

crowbar

towbar

mylar

boxcar

rockstar

fluorspar

alar

quasar

rebar

sonar

jaguar

magyar

calmar

lumbar

sidebar

sandbar

wordstar

fluorspar

earthstar

hectare

feldspar

memoir

railcar

streetcar

lodestar

costar

commissar

avatar

handlebar

caviar

seminar

millibar

cinnabar

motorcar

repertoire

reservoir

insofar

registrar

exemplar

minicar

Sarkar

Samar

Weimar

Mizar

Akbar

Aguilar

Palomar

Salazar

Waldemar

Zanzibar

Amritsar

Kandahar

Morningstar

Hagar

Omar

Dagmar

Bandar

NASCAR

Caspar

Dunbar

Sunstar

Srinagar

Miramar

Telstar

Sylmar

Ingmar

Ingvar

Ishtar

Molnar

Ingemar

Near Rhymes – 2038 rhymes

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

arb

barb

barbe

garb

carb

Garbe

Harb

scarf

scharf

barf

Scharff

arn

barn

carn

carne

darn

harn

starn

yarn

Arne

Garn

Karn

spin a yarn
spinning a yarn

"Go Pro" to see the next 101 near rhyme sets.

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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.

Words That Rhyme with Are - Are Rhymes

We found 212 rhyming words for Are. These rhymes are great for any poet, rapper, singer, songwriter,etc who is struggling to find words that rhyme with are. You can click on the word you like for more information or for fun you can Unscramble are

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Rhymes For Are

We found 212 rhymes for Are

You can browse the rhymes for Are below. Click on any word to find out the definition, synonyms, antonyms, and homophones.

Rhyme	Len.	Syllables	PoS
Adar	4	2	noun
Afar	4	2	noun?
Ahr	3	1	noun?
Ajar	4	2	adjective satellite
Akbar	5	2	noun?
Alar	4	2	adjective, adjective satellite, noun
Alcazar	7	3	noun
Algar	5	2	noun?
Allar	5	2	noun?
Almanzar	8	3	noun?
Almodovar	9	4	noun?
Alvare	6	2	noun?
Amar	4	2	noun?
Amritsar	8	3	noun?
Andujar	7	3	noun?
Aquilar	7	3	noun?
Ar	2	1	noun
Avatar	6	3	noun
Avelar	6	3	noun?
Aydar	5	2	noun?
Azar	4	2	noun?
Azhar	5	2	noun?
Baar	4	1	noun?
Babar	5	2	noun
Bahr	4	1	noun?
Bahre	5	1	noun?
Balakumar	9	4	noun?
Baldemar	8	3	noun?
Baltazar	8	3	noun?
Bar	3	1	noun, verb
Barr	4	1	noun?
Barre	5	2	noun?
Bazaar	6	2	noun
Bazar	5	2	noun
Bejar	5	2	noun?
Bizarre	7	2	adjective satellite
Bodnar	6	2	noun?
Bogar	5	2	noun?
Bognar	6	2	noun?
Bomar	5	2	noun?
Boxcar	6	2	noun
Boyar	5	2	noun?
Car	3	1	noun
Carr	4	1	noun?
Carre	5	1	noun?
Caspar	6	2	noun
Caviar	6	3	noun
Ceasar	6	2	noun?
Char	4	1	noun, verb
Cigar	5	2	noun

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Synonyms of Are

Argon
Atomic Number 18
Ar
Be

Antonyms of Are

No Antonyms Found.

Homophones of Are

Ahr
Ar
Our(3)
R
R.
Rh

Helpful Info

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Thirty-three cows or Learning to compose poetry

Yulia Kasparova

“Thirty-three cows, a new verse was born…” Do you remember the song about the little poet? It is about games in rhyme that we will talk today. These games are not only fun. This is a means of developing both speech, and imagination, and non-standard creative thinking of the baby.

In order to compose poetry, one must be able to observe, notice the brightest and most unusual things around, be able to choose expressive words, and, most importantly, one must be able to rhyme. And let the little "inspired rhymers" do not become great poets (although, who knows!), but they will get great pleasure from the very process of creativity, from the joy of creating their own poem. And what unusual and figurative poems written by a child can be! No wonder Korney Chukovsky said: “At the beginning of life, we are all poets, and only then we gradually begin to speak prose.”

There is one more nuance. It is no secret that many modern children do not like to read poetry. But they love making them! So let's use this to grow a little writer into a great reader!

POEMS AND BABY

Starting to read nursery rhymes and nursery rhymes to a very small child, we are doing a great and important work. And it does not matter that the kid does not yet understand the meaning of what he read. It's not the importance. Reading, from early childhood, we discover for the child the beauty and melody of native speech, instill a love for the word, learn to understand rhyme and meter. A kid grown up on "quality" children's poems will most likely not lose interest in poetry in the future. In the first rhyming games, we play with the child intuitively, without even perceiving them as games. When reading a familiar rhyme, we stop at the end of the line, allowing the baby to pronounce the familiar word himself. And he does a great job with it. As the baby grows, his vocabulary grows. And if you have read and are reading a lot of different poems, a 2-3 year old child can already play the game "Tell me a word" with you. For this game, use unfamiliar quatrains with simple, easy-to-guess rhymes. Riddles are also good in which the answer is selected in rhyme. And do not rush to immediately answer for the baby. Let him find the right answer for himself.

If you don't have a book with riddles or poems at hand, you can come up with pure rhymes on the go. They help the child feel the rhythm of the verse. I often play this game with my youngest daughter:

- Cha-cha-cha, we were at ...
- Doctor! - joyfully picks up Masha.
- Zha-zha-zha, they found in the forest ...
- Hedgehog!
- From-from-from, redhead purrs ...
- Cat!
- Ib-ib-ib, grew up in the forest ...

- Mib! - Here are those! The situation turned out to be not entirely clear to Masha, because we often say not "mushroom", but "fungus". So my daughter invented a word in rhyme, but it means absolutely nothing. And in order not to get any "mibs", select situations that are well understood by the baby, and then the word-guess will itself ask for a tongue. And then you can make it harder. And praise, be sure to praise in any case! Out-of-the-box thinking is great! Why shouldn't some "mibu" grow under the Christmas tree? Who knows. ..

Writing is a wonderful activity on the way to kindergarten or standing in a long line. And time will help pass, and the benefits are undeniable. You can compose poetry just by looking around: what I see, I sing about. And by all means in turn: the line is mom, the line is baby.

It's more fun:

We're walking along the path
We won't fall for anything!
A bee flies over the flower.
My bangs prevent me from looking…

PLAYING POEM

Abracadabra

Sometimes a child can't rhyme words. Well, he does not understand what rhyme is, and that's it. Try to do the following. Take some well-known poem and retell it "in your own words." For example, like this:

The hostess left the bunny.

Bunny stayed in the rain.

I couldn't get off the bench,

I was soaked to the skin.

Ask your child: is this a poem? Not! And why? Yes, because there is no rhyme in it. Now we rearrange the words, and everything falls into place. Find rhyming words with your baby: bunny hostess, couldn’t get wet. Play this rearrangement game, first "spoiling" the poem, and then correcting it.

Applause

For this game we need our hands. You name a couple of words, and the child should clap his hands if there is a rhyme, and raise his hands up if the words do not rhyme. Sand-sock: bang! Table-chair: handles up! Such a game will very quickly help the baby figure out what's what.

“The fourth extra”

You name four words, and the child must choose one that does not rhyme with the other three. For example, in the chain "mimosa, birch, goat, splinter", an extra word, of course, "goat"

Rhymed lotto

For children who can read, you can make a loto. Take a stack of thick paper sheets "for notes" and write one word in large on each. Choose them so that every 3-4 words rhyme. We start playing. We shuffle the cards and distribute 10 cards to the players. The beginner of the game puts any of his cards on the table and reads the word aloud. Each player chooses from his cards those where there are words that rhyme with the one named. Then the player next in a circle puts his card on the table and reads the word, and the rest lay out cards with rhyming words, if they have them. The first person to run out of cards wins.

“Catch the rhyme”

You throw a ball to the kid and say a word, and he must return the ball to you and answer with a rhyme: clock-mustache, squirrel-plate, etc. You can throw a ball and rhyme one word, making a chain: cat-mouse-spoon-brooch-okroshka, etc. And it doesn't matter if it doesn't work right away. A little practice, and wonderful and unusual rhymes will appear. By the way, such games are much more fun to play with a company of kids, for example, at a children's birthday party or while walking. And we often play with the whole family in the car, choosing a word and coming up with rhymes to it in turn until someone's imagination is exhausted. In such a family competition, it is appropriate to name not very used words, such as a yoke or a grip, and at the same time explain their meaning to the child. But dad is not very good at rhyming, and he increasingly chooses wonderful rhymes like "brother-cousin."

"Nonsense-Nonsense-Nonsense"

Here's a game for older kids. After all, it often happens that moms and dads do not know what to play with a grown child. But our little schoolchildren are eager to play and communicate with us no less than kids.

The game "Nonsense" came from my childhood. There was a period when we enthusiastically played it not only at breaks, but also, what is there to hide, in the classroom. I think that this game is familiar to you. Several players (you can have two, but the more the better) each take a piece of paper. Closing your sheet with your hand from prying eyes, write any phrase on top, for example: "Once under our desk" or "Once, in the cold winter season. " Then they fold the sheet so that what is written is closed, and pass it around, telling the neighbor the last word in the line. Now the task of the players is to write the next line in rhyme with the previous one. Then the sheet is folded again and passed on. This continues until the end of the sheet or until you get bored. Then the sheet is unfolded and the written aloud is read. All the players roll with laughter, because they get meaningless, but very funny combinations. Well, that's why she's a jerk. And if you dare to play this game with the whole family on a rainy autumn evening, you will be in a good mood, despite the dull weather.

Miracle charades

Our next game is charades. In them, the given word is divided into several parts, each of which is an independent word: beans, top-ears, etc. In old children's magazines, this useful game was given a lot of space. And for good reason. Charades are a wonderful task for ingenuity and erudition. Guessing such riddles helps to better understand the native language and its diversity. And we will try to compose charades, and then make them to dad. Let him break his head! Charades have many varieties. The most popular among them is an anagram. In it, the word is found by rearranging the letters. Here is an example:

To the seas and oceans
I release fountains.
On the contrary, you will write -
You will hear me in the clock.

(kit tick)

In order to write an anagram, you first need to pick up a couple of words, and then come up with an explanation poem based on it. There are a great many such pairs, but here's a start for you: pump-pine, linden-saw, clever-tsunami, bank-boar, entrance-inhale, midge-chamomile, park-carp, hair-word.

Shall we play Burim?

In addition to the described games, there are others that came to us from ancient times, when any well-educated person was a bit of a poet. Such poems were written in the circle of close people, used as gifts to friends.

“Burime (from French bout - end, rime - rhyme) is a fun game, a poetic task where you need to write poems to pre-set rhymes. It is interesting to play it with the whole family, reading out their works in turn. And this is not just entertainment, but a useful activity that develops creativity, a sense of humor, and expands vocabulary. Rhymes for burime should be unexpected and a little strange. The main requirement for the future poem: common sense and humor. For kids, use simpler rhymes: bunny-flock-box-bun. Here's what might happen:

A hare came out into the clearing.
He sees - there is a flock of titmouse.
He opened his box,
Gave a roll to the tits and poppy seeds.

And then it can be more difficult: in the zoo-business-hot-chalk. It is interesting to play burim using rhymes from famous children's poems. Come on, let's try to compose our own version of the chain: half-paw-throw-good or in a mink-shut up-peel-candles. And you can play "guessing games" by asking the baby to remember in which poem these rhymes were found.

One of the varieties of burime is monorim (from Greek monos - one and French rime - rhyme). In this game, one base word is taken, and the entire poem must be built on the same rhyme. You can come up with lines in turn. For example, we choose the word "duck" and compose the following poem:

There once was a duck in the world,
She loved forget-me-nots.
They bloomed in her stomach.
And this, you know, is not a joke!
Once a visit for a minute…

… well, and so on.

Surely the kid will be interested in composing an acrostic with you. This is a poem in which each line begins with a certain letter. If you read these letters in a row, you should get some word:

Little girl
Eating apricots
Playful squirrel.
Oh, he doesn't listen to me!

Try to play with the name of the baby and his friends, or come up with an acrostic gift for dad or grandma.

A type of acrostic is a tautogram in which all words begin with the same letter. This is where a large vocabulary is needed:

A purple petal flies,
A light summer piece ...

If you manage to get your baby interested in rhyme games, this will be great for him in the future. Compose funny wishes for the birthday of a loved one, remake a song at a school holiday, come up with anagrams for student KVN - where you just don’t need the ability to write poetry.

And most importantly - the child will have the opportunity to express in creativity their originality, their amazing inner world, whose name is childhood.

Rhyme // Varlam Shalamov

Back | Content | Forward

The best rhyme in Pushkin's times 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?

Since childhood, it seemed to me that words have a shape, 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.

I 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, full 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 time.

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 "poems", Alexei 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, as it were, a 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 each poem of each 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 the “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'll 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 in relation 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.
A storm is close, beats on the shore
Uncharmed black boat.

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

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

In the struggle 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,
Stitch 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 poetry" and Aseev's article "Our Rhyme" treated the question of rhyme as a 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), more than the best rhyme “found in Venezuela” is worth.

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 away 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.