Rhyming words with stop

243 best rhymes for 'stop'

1 syllable

Flop

Chop

Shop

Drop

Crop

Bought

Shot

Plot

Spot

Caught

Prop

Swap

Walk

Stock

Lock

Flock

Rock

Glock

Block

Shock

Cock

Knock

Clock

Slop

Plop

Yacht

Chalk

Klopp

Swat

Stomp

Tock

Sock

Twat

Scott

Slob

Squat

Slot

Clot

Mock

Knob

Prob

Watched

Want

Popped

Knocked

Cost

Stopped

Locked

Washed

Soft

Shocked

Dropped

Chopped

Squad

Throb

Cocked

Snob

Trot

Hopped

Watt

Blot

Blob

Glob

Staat

Swab

Mott

Frog

Jock

Rocked

Blocked

Copped

Smog

Crock

Brock

Spock

Clog

Pock

Hock

Robbed

Caused

Bond

Slog

Prague

Flog

Blonde

Grog

Frock

Smock

Schlock

2 syllables

Alot

Cannot

Forgot

Laptop

Nonstop

Atop

Robot

Rooftop

Blacktop

Desktop

Aesop

Backdrop

Sweatshop

Workshop

Hilltop

Bebop

Eavesdrop

Raindrop

Bellhop

Airdrop

Shortstop

Backstop

Pawnshop

Dunlop

Spongebob

Gunshot

Unlock

Jackpot

Headshot

Mascot

Blowjob

Slingshot

Buckshot

Epcot

Snapshot

Hotshot

Kebab

Teapot

Iraq

Screenshot

Boycott

Longshot

Hotspot

Foxtrot

Whatnot

Crackpot

Earshot

Heartthrob

Sunspot

Doorknob

Punjab

Ascot

Ascott

Walcott

Minot

Barack

Sherlock

Bangkok

Bedrock

O'clock

Hancock

Respond

Beyond

Peacock

Reebok

Groundhog

Roadblock

Brainwashed

Hedgehog

Padlock

Hitchcock

Deadlock

Livestock

Restock

Prologue

Woodstock

Wedlock

Catwalk

Murdoch

Gridlock

Agog

Shamrock

Hemlock

Gulag

Shellshock

3 syllables

Lollipop

Photoshop

Robocop

Barbershop

Countertop

Mountaintop

Tabletop

Astronaut

Afterthought

Camelot

Autobot

Kilowatt

Ocelot

Lancelot

Montserrat

Apricot

Cuisinart

Scattershot

Megawatt

Overshot

Aftershock

Overstock

Interlock

Demagogue

Tagalog

Laughingstock

4 syllables

Electroshock

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bop, chop, cop, crop, drop, flop, glo...

Pure Rhymes – 60 rhymes

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

bop

chop

cop

crop

drop

flop

glop

hop

knop

lop

mop

op

opp

plop

pop

prop

shop

shoppe

slop

sop

swap

top

wop

guap

gwop

atop

nonstop

non-stop

Bopp

Copp

Dopp

Hoppe

Kopp

Popp

Ropp

iHop

Iggy Pop

not much cop
cash crop
cream of the crop
in one's crop
stuck in one's crop
hear a pin drop
let drop
take a drop
flip flop
take a flop
all over the shop
bull in a china shop
china shop
close up shop
closed shop
open shop
talk shop
big top
blow one's top
blow your top
on top
over the top
take it from the top

End Rhymes – 38 rhymes

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

hip-hop

hip hop

desktop

backstop

bus stop

sweatshop

hilltop

rolltop

rooftop

workshop

bookshop

blacktop

bebop

pawnshop

eyedrop

backdrop

bellhop

airdrop

raindrop

kidz bop

laptop

grandpop

shortstop

eavesdrop

lollipop

malaprop

countertop

tabletop

gigaflop

barbershop

countertop

mountaintop

turboprop

Aesop

Alsop

Dunlop

Allsopp

Wardrop

Near Rhymes – 2085 rhymes

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

carp

harp

scarp

sharp

tarp

Arp

Karp

Sharpe

Tharp

look sharp

chomp

comp

pomp

romp

stomp

swamp

tromp

Duchamp

prompt

stomped

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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.

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Fundamentals of versification (cheat sheet) - Society of versifiers LJ - LJ

Foot - a recurring combination of strong and weak points in a poetic meter, serving as a unit of verse length.

Poetry is distinguished from prose by an ordered, rhythmic sound, which is achieved by repeatedly repeating a selected sequence of stressed and unstressed syllables. One cycle of such a repetition is called a foot. Usually, no more than 6 feet are repeated in one line of a poem. The part of the foot that is stressed is called thesis, weak, unstressed syllables in the foot are usually referred to as arsis. This division, like the term "foot" itself, came from antiquity, and is still used in versification. nine0003

Poetic meter is a certain order in which stressed and unstressed syllables are placed in the foot in poems. This order sets the sound and rhythm of the verse. A certain alternation of stressed and unstressed syllables can be repeated several times in a line, and this is also reflected in the designation of the size. For example, 3-foot iambic or 4-foot trochee, where iambic and trochee are ways of alternating strong and weak syllables, and the number of feet indicates the number of repetitions of this alternation in one line. nine0003

Versification in its accent speech forms has always corresponded to three main groups or systems of versification: syllabic, syllabo-tonic and tonic. Differences in these groups are determined by the rhythmic basis and proportion, as well as the repetition of rhythmic syllables with a certain location within the line.

METER in verse - an ordered alternation in the verse of strong places (ikts) and weak places filled in different ways. So, in the syllabo-tonic anapaest, strong places fall on every 3rd syllable and are filled exclusively with stressed syllables (stress here is a "constant"), and weak places on intermediate syllables and are filled mainly with unstressed syllables (unstressed here is "dominant"). Meter in this meaning of the word is present in metric, syllabic-tonic, melodic versification and is absent in syllabic and tonic. nine0003

Syllabic system of versification

From Greek. Syllabe - syllable.

The system of construction of verse, which is based on equiposition, i.e. - the same number of syllables in each poetic line. As a rule, this number was equal to eleven and thirteen. In the middle of the line there was a caesura - an intra-verse pause. There was almost no emotional movement in the verse, because for the most part the works were of a religious and moral orientation and had an instructive character, a vivid example of which is the work of the Belarusian poet Simeon Polotsky. nine0003

It is fitting for a monk to sit in a cell of gray hair,
Pray during fasting, endure poverty,
Strongly overcome the temptations of enemies
And mortify the carnal labors of lust…
Having chosen a fasting life to lead,
Striving for that, in order to eat, drink...

It is clear from the example that the main rule of syllabic verse is an equal number of syllables, even despite the usual stresses, it is strictly applied. For combinations, a multi-stressed rhyme is used, that is, the stress itself shifts: ve-lit - ste-lit, sa-ma - ma-ma. If you do not operate with a shift in stress, then the poem gradually arithmetic, turning into blank verse and then into prose. nine0003

Tonic system of verse

From Greek. Tonos - tension, stress.

A system of versification in which rhythm is created by the arrangement of stressed syllables among unstressed syllables. Within tonic versification, a distinction is made between purely tonic versification, which takes into account only the number of stresses in a verse (accent verse), and syllabo-tonic versification, which also takes into account the location of stresses in a verse. In the Russian terminology of the 18th century, tonic versification meant syllabo-tonic, as a system different from syllabic verse. nine0003

Tonic versification, born from buffoon laughter and singing, from chastushkas and folk fairy tale poems, reinterpreted by great Russian poets, has not lost its significance today. And in the last century - revolutionary - purely tonic versification for a long time served with its thundering rhymes for the political conjuncture of the proletariat.

Hey!
Lord!
Lovers of
sacrileges,
crimes,
slaughters -
and the worst
saw -
my face,
when
am I
absolutely calm?

V. Mayakovsky.

Syllabo-tonic system of versification

From Greek. Syllabe - syllable and Greek. Tonos - tension, stress.

The credit for the transformation of Russian verse belongs to V.K. Trediakovsky and especially M.V. Lomonosov. Trediakovsky, back in the 30s of the 18th century, came up with poems based on principles of versification that were different from the syllabic system. Having studied the structure of Russian folk verse, he was the first to come to the conclusion that the tonic principle is natural for Russian versification. nine0003

What Trediakovsky started, continued, developed and brilliantly applied in his poetic practice Lomonosov. The system of versification created by his labors was later called syllabo-tonic, that is, syllable-percussive. The syllabo-tonic system is based on a uniform alternation of stressed and unstressed syllables. At the same time, the experience of the metric system was taken into account. The syllabic tonic is based on the principle of the structure of Russian folk verse: the commensurability of correlated verses in terms of the number and arrangement of stressed syllables. Rhythmic units in syllabo-tonic verse, as in any other, are related poetic lines - verses. Their commensurability with each other is determined by the combinations of stressed and unstressed syllables that repeat in them. The units of measurement for these repeating combinations are feet. The division into feet in Russian syllabo-tonic verse (the foot here is a combination of a stressed syllable with unstressed ones adjoining it) is to a certain extent conditional. The peculiarities of the Russian language do not allow this division to be strictly maintained, since the words of the Russian language are very heterogeneous both in the number of syllables and in the place of stress. Many of the words are so polysyllabic that they can contain two feet each and thus require not one, but two stresses in a word. On the other hand, in a live pronunciation, stress in functional words, and sometimes in pronouns, disappears, and the stress in a verse is transferred from one word to another (transfer of stress from a given word to the next is called proclitic, and to the previous one - enclitic). nine0003

The essence of the syllabic-tonic system is that in a line of poetry, stressed and unstressed syllables alternate according to a certain pattern and form the so-called disyllabic and trisyllabic meters. In two-syllable sizes, a trochee is distinguished - with an accent on the first syllable and iambic - with an emphasis on the second syllable. The arrangement of all possible stresses in a line is feasible only if the line consists of short one-, two- and three-syllable words.

But already Lomonosov admitted that it is "difficult" to write poetry in this way, because there are a lot of long words in the language, and they will not fit in a full-stressed line of poetry. Therefore, the arrangement of stresses is not strictly observed - they should not fall on "foreign" places, but they can be skipped - the rhythmic sound does not suffer from this, on the contrary, the verse sounds more diverse. In this case, two unstressed syllables can appear in a row - they form a group of unstressed syllables, which is called pyrrhic by analogy with the ancient verse. Sometimes words are stacked in such a way that two stressed syllables (spondey) appear in a row. In Russian two-syllable meters, various combinations of iambic and trochaic feet with pyrrhias are especially frequent. nine0325 In trisyllabic meters, depending on the location of the stressed syllable, they distinguish: dactyl - with stress on the first syllable of the foot, amphibrach - with stress on the middle syllable and anapaest - on the last, third syllable of the foot.

The sequence of such groups of stressed and unstressed syllables (stop) in a line creates a meter. Theoretically, the number of feet in a poetic line can be any - from one or more, in practice, the length of the line is in two-syllable sizes (trochee, iambic) from 2 to 6 feet, and in three-syllable ones (dactyl, amphibrach, anapaest) - from 2 to 4 . nine0003

So, there are five main sizes of Russian classical verse: trochee, iambic, dactyl, amphibrach, anapaest.

POETRY MEASURES

Chorea

According to different versions, the name of this poetic meter comes from the Greek words, translated as "dancing" or "running". Indeed, the sound of poems written using chorea is fast, sonorous. The chorea is characterized by the use of two syllables in the foot, weak and strong, so that in the line of the poem the stress always falls on odd syllables. In Russian poetry, the 4- and 6-foot trochee was most often used, but from the middle of the 19th c. they were supplanted by the pentameter trochaic, which is still used today.

Schematic example:

! - ! - ! - ! - ! -
! - ! - ! - ! - !

Clouds melt in the sky,
And, radiant in the heat,
A river rolls in sparks,
Like a steel mirror.

! - ! - ! - !
! - ! - ! - ! -
! - ! - ! - !
! - ! - ! - ! -

A golden cloud spent the night
On the chest of a giant cliff;
In the morning she rushed off on her way early,
Playing merrily across the azure...

! - ! - ! - ! - ! -
! - ! - ! - ! - ! -
! - ! - ! - ! - ! -
! - ! - ! - ! - ! -

Yamba

This poetic meter got its name from Yamba, a servant of the goddess Demeter. Initially, this term was called satire, ridiculing everything vicious. They were formed by alternating weak and strong syllables in such a way that in the line of satire the stress fell on each of its even syllables. This poetic meter is still used in poetry, most often the feet containing two syllables, of which the second is stressed, are repeated 5 or 6 times in each line. nine0325 Circuit example:

- ! - ! - ! - ! - ! -
- ! - ! - ! - ! - !

Again I am standing over the Neva,
And again, as in the old days,
I am also looking, as if alive,
At these dormant waters

- ! - ! - ! - !
- ! - ! - ! - ! -
- ! - ! - ! - !
- ! - ! - ! - ! -

Here is a wooded hill, above which
I sat motionless - and looked
At the lake, remembering with sadness
Other shores, other waves...

- ! - ! - ! - ! - ! - nine0325 - ! - ! - ! - ! - !
- ! - ! - ! - ! - ! -
- ! - ! - ! - ! - ! -

Dactyl

Dactyl is a way of alternating strong and weak syllables in a foot containing only three syllables, so that the first of them is always stressed. This poetic meter came to us from ancient poetry, where strong and weak syllables were also distributed in the foot, but they were distinguished not by stress, but by a drawl. In the 18th century Russian poets preferred to use 2-foot dactyl, but later it was supplanted by 3- and 4-foot dactyl. These meters are still used in Russian poetry. nine0003

Circuit example:

! - - ! - - ! - - ! -
! - - ! - - ! - - !

How nice you are, O night sea -
It's radiant here, it's bluish-dark there...
In the moonlight, as if alive,
It walks and breathes, and it shines.

! - - ! - - ! - - ! -
! - - ! - - ! - - !
! - - ! - - ! - - ! -
! - - ! - - ! - - !
Early summer dews
We will go out into the field for a walk.
Let's be ringing braids
Cut juicy grass!
! - - ! - - ! - - nine0325! - - ! - - !
! - - ! - - ! - -
! - - ! - - !

Amphibrach

The principle of organizing strong and weak syllables in this meter is already revealed in its name. The word "amphibrachy" (Greek amphibrachys) is translated as "short on both sides. When using this meter, three syllables are formed in the foot, and the stress is on the one that stands in the center of this group. The most common is the 4- and 3-foot amphibrach, although it cannot be said that this poetic meter is often used in Russian poetry. nine0325 Circuit example:

- ! - - ! - - ! - - !
- ! - - ! - - ! -

In the sandy steppes of the Arabian land
Three proud palm trees grew high

- ! - - ! - - ! - - !
- ! - - ! - - ! - - !

There are women in Russian villages
With a calm gravity of faces,
With beautiful strength in movements,
With a gait, with the look of queens.

- ! - - ! - - ! -
- ! - - ! - - !
- ! - - ! - - ! -
- ! - - ! - - !

Anapaest

Anapaest is translated from Greek as “reflected back” or “having the opposite meaning” according to some sources. This poetic meter is the opposite of dactyl. The term of a poem written in anapaest is formed from 3-complex stops, the stress in which is placed on the last syllable. Quite often, when writing a verse using an anapaest, an additional stress is placed on the first syllable of a line, which makes it sound more vivid. In Russian poetry, the most common 3- and 4-foot anapaest. nine0003

Schematic example:

- - ! - - ! - - ! -
- - ! - - ! - - !

It sounded over the clear river,
It rang in the faded meadow,
It swept over the mute grove,
It lit up on the other bank.

- - ! - - ! - - ! -
- - ! - - ! - - !
- - ! - - ! - - ! -
- - ! - - ! - - !

The cold night looks dully
Under the matting of my wagon,
The field creaks under the runners,
The bell rings under the arc,
And the coachman drives the horses. nine0003

- - ! - - ! - - !
- - ! - - ! - - !
- - ! - - ! - - !
- - ! - - ! - - !
- - ! - - ! - - !

RHYME

Rhyme is the consistent use of syllables that have a similar sound at the end of the lines of a poem. At its core, rhyme is a strong expressive means by which emphasis is placed on the rhythmic pattern of a verse. This term is of Greek origin. In the poetry of different nations, different requirements were imposed on the use of rhyme, for example, in France, rhymed line endings had to have not only a similar sound, but also a similar spelling. In Russian poetry, the use of rhyme is characterized by the use of words that have consonant stressed syllables. Often this is achieved by using the same parts of speech (noun, adjective, verb, etc.) at the end of rhymed lines in the same grammatical form. nine0003

Male rhyme
Male rhyme is the use at the end of a line of a poem with words that are stressed on the last syllables that have a similar sound.

Example:
Tired of the beard.
I'm back and forth -
I still can't tear it off
Neither in the evening nor in the morning.

Feminine rhyme
Feminine rhyme - the use of syllables or words at the end of a poetic line in such a way that they have a similar sound, and the last stress in the line falls on its penultimate syllable. nine0003

Dactylic rhyme
When using dactylic rhyme, two stress-free syllables are left at the end of the lines of the poem. The sound of the verse in this case turns out to be rather soft, melodious, however, in Russian classical poetry, this method of rhyming is not used very often.

Example:
It was in the evening.
There was nothing to do.

Hyperdactylic rhyme
Hyperdactylic rhyme is characterized by an accent placed only on the fourth syllable from the end of the line. It is quite difficult to use such a rhyme, and most often it was found in oral folklore, where the requirements for the size and rhythm of the verse were rather mild. As a result of the use of hyperdactylic rhyme, the poem sounds fervently, briskly, often has a characteristic "ragged" rhythm. nine0003

Example:
The wind combs the head.
Like a peg.

Exact and inexact rhymes

Rhymes are distinguished not only by the syllable from the end of the line that is stressed, but also by the degree of consonance between the endings of the lines. Most often, exact and inexact rhyme is distinguished. When using exact rhyme, not only stressed sounds at the end of lines, but also the syllables located behind them turn out to be consonant. Inexact rhyme is characterized by differences in the sound of consonants in stress-free syllables located at the end of lines. nine0325 In addition, some classifications mention rich and homonymous rhymes. Rich rhyme is the use of consonant syllables at the end of the lines of a poem, not only after the last shock sounds, but also before them. The use of homonymous rhyme, in fact, comes down to setting homonyms (words that are different in meaning, but the same in sound) at the end of lines.

Thus, how successful the rhyme will be is determined not only by the use of vowels that have the same sound, but also by the correct selection of consonants, which, giving similar sounds, will give the endings of the lines even more similarity. The more similar sounds, arranged in a certain order, are used in the endings of lines, the more accurate the rhyme itself will be in the end. nine0003

Rhyming systems

A rhyming system is a sequence in which lines are located in a poem whose endings have a similar sound. The use of only one such sequence in a poem is not strictly required. By applying various alternations of rhyming lines, the author can achieve an original, non-standard sound of the entire poem.

The most common is the adjacent rhyming system, when paired lines are arranged sequentially, one after another, that is, the author first "closes" one rhyme and only then moves on to the next. Poems written using adjacent rhymes are distinguished by a fast pace and high dynamics. nine0325 Many authors choose to cross-rhyme. In this case, consonant lines are located "through one", that is, two rhymes are entered at once. Cross-rhyming is not considered a complicated way of organizing paired lines in a poem, moreover, using it, it is easier for authors to convey the desired emotional mood, it is easier to choose a rhythmic pattern.

I love a thunderstorm in early May,
When the first spring thunder,
As if frolicking and playing,
Rumbles in the blue sky.

The girdled, enveloping or ring rhyming scheme is quite well known, but it is used much less frequently than the adjacent and crossed ones. Pairs of rhymed lines in this case are arranged in such a way that the first of them, as it were, “breaks”, one of its lines opens, and the other closes the quatrain. The second pair is placed between them and remains indivisible. This rhyming system is quite complex, but its application gives a special expressiveness to the verse. nine0003

Standing over the Neva, I looked,
Like Isaac the giant
In the mist of the frosty fog
The golden dome shone.

More complex rhyme schemes are usually referred to by the general term "woven rhyme". This definition includes verses where in stock groups rhymed pairs are used not two, but three times, or where not two, but three or more rhymes are used. Woven rhymes are quite difficult to use, but they allow you to create poems that sound unusual. However, before you start experimenting with such rhyming systems, you should learn simpler ways to alternate lines with consonant endings. nine0003

Far from the sun and nature,
Far from light and art,
Far from life and love
Your young years will flash,
Alive feelings will die,
Your dreams will vanish.

Stanzas

The word “stanza” is literally translated from Greek as “revolution” or “whirling”. By and large, the translation quite accurately reveals the essence of this term, because a stanza is nothing more than a combination of lines in a poem where the cycles of rhymes, meter and rhythm are completed. From the point of view of syntax, most often a stanza is a complete unit or group of units (sentences). The lines in the stanza are united not only in meaning, but also in their structure, which is repeated throughout the entire verse. nine0003

The most common types of stanzas in classical poetry of the past were: quatrains, octaves, terzas.

Quatrain (quatrain) - the most common type of stanza, familiar to everyone from early childhood. Popular because of the abundance of rhyming systems.

An octave is an eight-line stanza in which the first verse rhymes with the third and fifth, the second verse with the fourth and sixth, and the seventh verse with the eighth.

Octave pattern: abababww
At six years old he was a very cute child
And even, childishly, he was naughty;
At twelve he took on a dull look
And although he was good, he was somehow frail.
Inessa proudly said,
That the method in him had changed nature:
A young philosopher, despite his years,
He was quiet and modest, as if by nature.

I confess to you that I am still inclined
Not to trust Inessa's theories.
We were friends with her husband;
I know very complex excesses
An unsuccessful family gives birth,
When the father is a rake,
And mother is a hypocrite. Not without reason
A son comes out with inclinations in his father!

Tertsy (tertsy) - three-line stanzas with a very original way of rhyming. In them, the first verse of the first stanza rhymes with the third, the second verse of the first stanza - with the first and third of the second stanza, the second verse of the second stanza - with the first and third of the third stanza, etc. The tercina ended with an additional verse that rhymed with the second verse of the last three-line.

Tercina scheme:
aba
bvb
cgv
ydg
grandfather
etc. nine0325 Black magician

When the darkness gathers around
You are like a slave of destiny,
You draw an even circle with blood,

You cast aside miserable doubts.
You will enter it, forgetting about fear.
Dark currents will take you.

Throw away the body - mortal dust.
You are with those who stepped into the darkness!
The lights in the eyes went out.

Where is your spirit, isn't it in hell?

(Janger Scowger Alkariot)

CLASSIC VERSE TECHNIQUE

Classical technique refers to the basic, that is, it is the "skeleton" of the poem. There are quite a few requirements for the dimensionality and rhythm of a poem when using classical technique in the corresponding textbooks. However, they all boil down to three simple rules.

The first is that in one stanza all lines must have metric counterparts. That is, a line written with a certain alternation of stressed and unstressed syllables must necessarily correspond to another line that has the same rhythmic pattern within the same stanza. Such lines can be combined in pairs or triples, in principle, their number in a stanza can be any, one thing is important - it is impossible to leave single lines in a poem. nine0003

If it is not possible to hit the meter exactly, and this situation often happens, its violation can be compensated for by using the same number of stresses or syllables in combined lines. If, on the other hand, it is not possible to keep the meter in a certain part of the poem, this can be disguised by the increased use of decorative techniques. Otherwise, the poem will be difficult to understand, and its meaning will be almost impossible to understand.

Sometimes, when using classical technique, some deviation from the rules is even welcome. So, a meter broken in the last line of the poem will give it more expressiveness, help to attract the reader's attention. When working with classical technique, it is important for the author to remember that poetry is far from being an exact "science", and an expedient deviation from its rules can become one of the strongest trump cards of a particular poem. It is only important not to get carried away with such retreats. nine0003

Working with rhymes

Most of the poems are written using rhymes. It is permissible to refuse them, however, in this case, the author must work with syllables and letters, otherwise the poetic work cannot be attributed to poetry.

The use of rhymes requires special skill. It should not be reduced to a simple selection of words that have consonant endings, at least the entire previous line should prepare the reader for the appearance of a particular rhyme. At the same time, consonance must be stable and it must be achieved in an original way. nine0003

A rhyme that is easy to predict does not impress the reader, and the entire verse suffers. Simple or common rhymes can be used by the author, however, in this case, the phonetics of the poem should be worked out, giving them an additional shade.

One of the strongest consonances are rhymes formed in the endings of different parts of speech. However, finding a stable consonance in this case can be difficult. If this fails, a weak consonance at the end of the line can be strengthened by the corresponding phoneme located at the beginning of the next line. Similar techniques are also used if the rhyme word contains a sound that violates the phonetic pattern of the verse. In this case, a phoneme is used in the previous or subsequent word that can mitigate this effect. nine0003

The selection of stable and at the same time non-banal consonances is a very laborious task. It is almost impossible to compile a manual for its implementation, and the real ability to compose rhymes comes to the author only with experience.

Working with letters and syllables

Working with letters and syllables is a decorative technique and how correctly it is applied determines not only the sound of the poem, but sets its tone, determines its mood. Carrying out this work can be compared with putting things in order in the phonic component of the verse, it is obligatory even if the author refuses to rhyme. Otherwise, the resulting text cannot be attributed to poetry. nine0003

Although the technique involves selecting both letters and syllables, working with syllables is usually unnecessary if the work with letters is done correctly. It can be divided into two parts - work with vowels and work with consonants. In the aspect of this technique, vowels create the main pattern of the verse, depending on the stress or unstressedness, determine its rhythm, at this time the consonants are responsible for expressiveness and brightness.

However, when working with letters, it is important to remember that even one incorrectly chosen consonant or vowel can break the harmony of the verse, break everything painstakingly built by the author.