Word that rhyme with mistake
246 best rhymes for 'mistake'
1 syllable
- Stake
- Take
- Cake
- Bake
- Shake
- Wake
- Snake
- Sake
- Lake
- Make
- Fake
- Drake
- Break
- Ache
- State
- Tape
- Stayed
- Rake
- Jake
- Paid
- Date
- Quake
- Shape
- Shade
- Bait
- Wait
- Gate
- Blake
- Plague
- Skate
- Played
- Laid
- Blade
- Made
- Plate
- Late
- Mate
- Spake
- Hate
- Fade
- Fate
- Pake
- Flake
- Rate
- Great
- Prayed
- Straight
- Ate
- Rape
- Trade
- Grade
- Aid
- Cape
- Haik
- Vague
- Babe
- Sprayed
- Taste
- Ape
- Stained
- Paint
- Slate
- Nate
- Raid
- Based
- Caged
- Craig
- Kate
- Grape
- Baked
- Waste
- Named
- Vape
- Spade
- Weighed
- Tate
- Placed
- Laced
- Saved
- Saint
- Gained
- Scrape
- Trait
- Faced
- Failed
- Freight
- Tamed
- They'd
- Aimed
- Raised
- Ain't
- Raped
- Pape
- Dade
- Spate
- Dazed
- Swayed
- Pate
- Scape
- Crate
- Bade
- Kade
- Paved
- Chased
- Gape
- Claimed
- Jade
- Trained
- Strayed
- Paste
- Snape
- Quaid
- Glade
- Gade
- Changed
- Hade
- Blazed
- Sate
- Slade
- Braid
- Flayed
- Frayed
- Paske
- Taped
- Chained
- Drape
- Shaped
- Faint
- Crepe
- Spaced
- Blamed
- Drained
- Crazed
- Taint
- Maske
- Staged
- Gabe
- Shaved
- Cabe
- Haste
- Nailed
- Caved
- Pained
- Staked
- Tailed
- Shamed
- Caked
- Bailed
2 syllables
- Intake
- Escape
- Relate
- Milkshake
- Estate
- Invade
- Betrayed
- Awake
- Dictate
- Evade
- Sedate
- Displayed
- Earthquake
- Delayed
- Degrade
- Headache
- Brigade
- Deflate
- Equate
- Switchblade
- Inflate
- Innate
- Negate
- Escaped
- Heartache
- Inmate
- Dissuade
- Dismayed
- Fixate
- Elate
- Mislaid
- Partake
- Belate
- Berate
- Deranged
- Retake
- Erased
- Opaque
- Uptake
- Betake
- Pancake
- Outtake
- Sweepstake
- Heartbreak
- Forsake
- Cupcake
- Handshake
- Misplaced
- Cheesecake
- Detained
- Distaste
- Impaled
- Fruitcake
- Detailed
- Debate
- Remake
- Engraved
- Retained
- Remained
- Entailed
- Snowflake
- Explained
3 syllables
- Levitate
- Gravitate
- Medicate
- Reinstate
- Irritate
- Militate
- Realestate
- Liquidate
- Captivate
- Lubricate
- Implicate
- Designate
- Culminate
- Infiltrate
- Ruminate
- Marinade
- Litigate
- Legislate
- Palisade
- Guesstimate
- Orchestrate
- Overtake
- Magistrate
- Vitiate
- Undertake
- Hesitate
- Rattlesnake
- Timberlake
4 syllables
- Intimidate
- Resuscitate
- Precipitate
- Consolidate
- Invalidate
- Deactivate
- Administrate
5 syllables
- Incapacitate
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ache, ake, bake, brake, break, cake, ...
Pure Rhymes – 65 rhymes
Words that have identical vowel-based rhyme sounds in the tonic syllable. Moreover, that tonic syllable must start with a different consonantal sound.
ache
ake
bake
brake
break
cake
drake
fake
flake
hake
lake
make
quake
rake
sake
shake
slake
snake
spake
stake
steak
take
wake
awake
forsake
opaque
partake
remake
retake
Blake
Haik
Jacque
Jake
Naik
Paik
Shaikh
Salisbury steak
for Heaven's sake
T bone steak
- clean break
- coffee break
- get a break
- make or break
- take a break
- tough break
- pat a cake
- piece of cake
- pieces of the same cake
- piss into the wedding cake
- take the cake
- jake flake
- go jump in the lake
- on the make
- thin as a rake
- for Heaven's sake
- for one's sake
- fair shake
- at stake
- Salisbury steak
- T bone steak
- do a double take
- double take
- give and take
- give or take
- on the take
End Rhymes – 40 rhymes
Words that have a pure rhyme on their last syllable only.
uptake
- quick on the uptake
- slow on the uptake
fruitcake
- nutty as a fruitcake
handshake
- golden handshake
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Near Rhymes – 2226 rhymes
Words that "almost" rhyme on the vowel-based rhyme sound of the stressed syllable like: be/eat or maybe/shapely.
aced
based
braced
chased
chaste
faced
graced
haste
laced
paced
paste
placed
raced
spaced
taste
traced
waist
waste
debased
defaced
disgraced
displaced
distaste
embraced
encased
erased
foretaste
lambaste
misplaced
replaced
retraced
unplaced
interlaced
- two faced
- make haste
- to the queen's taste
- go to waste
- haste makes waste
- lay waste
pastes
tastes
waists
wastes
lambastes
lengths
strengths
- go to great lengths
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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."
There are no mosaic rhymes for "mistake".
SOUNDS, RHYMS, FORMS... | Science and Life
Nikolai Shulgovsky (on the right, penultimate in the first row) - student of St. Petersburg University, 1908 (published for the first time).
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Rhymes, that is, consonant endings of words, play an important role in versification. Rhyme is an important formative element in verse and its special sound beauty. In addition, the sounds of speech themselves play an important role in the poem, for example, to depict some sound phenomenon in life and nature. There are even special (onomatopoeic) words that either literally imitate the natural phenomena they denote by sounds, or express them conditionally.
The first group includes such words as, for example, buzz, whistle, whistle, crunch, crunch, howl, howl, etc. The second group includes conditional ones, for example: ah! Alas! Oh oh oh! ouch! Oh! ha, ha, ha! hee, hee! ding, ding, ding! etc., similar to exclamations issued by people on appropriate occasions, or to the sounds of known objects.
But, in addition to special words and by combining ordinary ones, such combinations of sounds can be obtained that more or less closely express any natural sounds.
Of course, in verse it is necessary to avoid ugly, any whistling, hissing, etc. consonances. It would be strange if a verse declaring love were built on a whistle or a buzz, or a poem depicting evening calm would be full of growling sounds. When this is done by accident, through an oversight, then this is a mistake in the verse. But sometimes a "mistake" can be - under special conditions and with a special plan - turned, on the contrary, into a virtue. Some ugly and unacceptable combinations of sounds in a verse can sometimes be used as a special artistic device.
This is the case with onomatopoeia . It is often found in high poetry, for example:
1) In the sounds of verse - Alexander Sumarokov's frogs croak like this:
Oh, how, oh, how can we not speak to you, to you, gods!
Fyodor Tyutchev writes that the storm "lashes, whistles and roars."
2) In the very rhythm of the verse - the speed of horse running is conveyed in the poem by Leonid Semenov:
We raced on horseback,
The wind tore and metal,
Played in horse manes,
Flooded in deserted fields.
3) The same run in the poem by Konstantin Balmont:
Red horses, red horses,
red horses are my horses.
Their manes are bright, their twists curl,
fiery explosions, neighing in oblivion...
Ivan Krylov with the following viscous dimensions conveys the slowness of the movement of a large heavy carriage:
In July, in the heat, at midday
Loose sands, uphill
With luggage and with a family of nobles
Four sobs dragged along.
The poetic effect for the listener and reader can be enhanced not only by onomatopoeia, but also by playing rhymes. In this case, rhymes consist of two or more words. At one time, Dmitry Minaev was famous for such rhymes:
Though the odor of your poems is strong,
But the general oblivion is their fate.
Of course, both with onomatopoeia and with the game of rhymes, the poem must be constructed in such a way that the connection in rhymes is interesting, and the meaning can be comical.
Often poets create verses of the so-called enigmatic form : acrostic, mesostich, tautogram and others.
In acrostic , the riddle of the writer is solved by reading the words from the first letters of the poetic lines.
In mesosich the letters that make up the "mysterious" word are lined up in the middle of the poem.
In tautogram (another name is anaphora), all words begin with the same letter:
Lazy years are easy to caress,
I love purple meadows,
I catch the Levkoys glee,
I catch fragile legends.
Radiant linen lovingly sculpts
Azure caressing forests.
I love crafty lilies babble,
Flying incense petals.
V. Smirensky
Poeters manage to compose verses containing a sequence of words, the initial letters of which make up the alphabet, or verses devoid of any particular letter or several letters.
The listed techniques are poetic tricks. However, there are more complex poetic tricks, where the whole hidden essence of the poem is based on the special construction of the verse and even the whole poem. Such poetic constructions include hidden verses (crypt verses, or piecewise verses) and palindromes.
The crypt verses (from the Greek "crypto" - I hide) are extremely difficult to perform. These are peculiar mysterious poems, which are an interesting form of poetic cryptography. In them, one must immediately embrace the entire given verse and both of its halves with consciousness. Thought spreads both horizontally and vertically, and care must be taken that, on the whole, its insidious parts are completely invisible at first sight, so that the whole poem has its own integral meaning, and each of its parts, both left and right, would have its own meaning.
Let's illustrate this with an example - read a touching declaration of love:
To keep lovingly "yes" I promised forever...
Can I now live alone in the world?
I will never be a heartless coquette.
Loving you, believe me, is fun to drink to the bottom!
An enthusiastic lucky man in ecstasy rushes to share his joy with a loved one, from whom he has no secrets. But this man is more wise in life: he is a skeptic.
In our fast-paced age, idealism is rare. A skeptic takes a love letter, reads it, wants to congratulate his friend, and suddenly ... something catches his eye. Something strange ... "Wait a minute, wait a minute," he says, and, to the horror of his interlocutor, without changing a word in the poem, reads:
Keep lovingly "yes"
Can I now
I will never
Love you, believe me!
I promised forever
in the world to live alone,
heartless coquette,
fun to drink to the bottom.
The scene is so amazing that we leave it to the amazed reader to depict it.
Another trick form of versification is palindrome . It is a phrase or verse based not on a vertical reading, but on a horizontal one. They are read the same and with the same meaning on both sides; there are two kinds of them.
The first type of palindrome represents verses that, when read as on the left, and right are pronounced the same. This is the so-called letter palindrome. WITH many people know him:
I am glad, giving,
Darya, I'm glad.
D.I.
Unfortunately, not every such palindrome is endowed with a meaning that does not require comments.
The second type of palindrome is more difficult to create, but also more interesting. It is a poem that is read from the beginning and from the end with the preservation of the same meaning, but not by letters, but by words. The first word of the poem will be its last word, the second - the penultimate, the third - the third from the end, etc.
Each word of the poem, therefore, must occur twice in it. If we denote the words of the palindrome with the numbers 1, 2, 3, etc., then the scheme of a palindrome containing, for example, 8 different words, will be as follows:
1 2 3 4
5 6 7 8
8 7 6 5
4 3 2 1
Here is a remarkable example of a Latin palindrome presented to Pope Pius I in the 2nd century BC. AD
Laus tua, non tua fraus, virtus, non copia rerum
Scandere te fecit hoc decus eximium.
Eximium decus hoc fecit te scandere rerum
Copia non, virtus, fraus tuf nou, tua laus.
In translation, it means:
"Your feat, not a crime, virtue, not wealth, allows you to rise to this exceptional glory. It is not wealth, but virtue, not a crime, but your feat that allows you to rise to this exceptional glory."
[As you can see, the palindrome fully meets the construction requirements. However, the attentive reader will see in it a possible, albeit hidden, meaning.
Let's try to read its second part, placing punctuation marks in it a little differently:
Eximium decus hoc fecit te scandere rerum
Copia, non virtus, fraus tuf, nou tua laus.
Let's translate the result:
"To this exceptional glory, wealth, and not virtue, your crime, and not your feat, allow you to rise."
What is it? Whether the pope guessed about such a possible metamorphosis of the text, we will probably never know, but it is obvious that the author of this poetic miniature was an inventive person. - Yu.M .]
Through the game of rhymes, you can build any poem. But such verses are also possible, the very essence of which depends on rhymes. These include monorim . In this form, the entire poem is built on one identical rhyme (reeds - breathe - silence - hurry - wilderness, etc.). Beautiful monotonous rhymes, repeated in greater numbers than in the ordinary number habitual for hearing (two or three), can create a truly artistic impression:
Heart rejoicing and tormenting,
Mournfully quiet, melodious
They roar, they roar of monotony .
..
That is not thunderous lightning
Red-flame burning...
Not the fires of the seething sea...
Dawns scarlet, burning...
These are flying sparks
Mournfully quiet, melodious
Single flowers - monotones.
Vl. Lebedev
Poems can be composed in the form of well recognizable objects. Such poems belong to subject form poetry . It originated in ancient Rome. And the examples of such poems, in their appearance along the framing contour, corresponded to what was described in them: an ax, an ax, wings, an egg, a goblet, a cross, a palm tree, a tower, a trapezoid, a pyramid.
The "secret" of subject poems lies in the exact distribution of poems of various length, determined by the contours of the chosen form. It is desirable that the content poems went in unison with the purpose or properties of the subject. For example, by about the appearance of this book, its author wrote a joke-prospect in the form of a garden vases.
This advertising-joking poem, placed in a "vase", mentions some forms of poetry, which are described in the book (burime, "echo", logogriff etc.):
Poets respond to all phenomena of life with verses and poems of any form and length.
So, often in collections of poems you can find a poem with a sharp thought - epigram . In modern poetry, the word "epigram" denotes a mockingly satirical (sometimes - "poisonous") poem addressed to a certain person. The advantage of epigrams is the brevity of the verse and the accuracy of the "prick". We give examples of epigrams.
Tip
You are cold and empty: winter is in your verses.
To give them heat, warm them in the fireplace.
P. Kozlov
Na Karamzin
In his "History" elegance, simplicity
They prove to us without any partiality
The Necessity of Autocracy
And the charms of the whip.
A. Pushkin
As opposed to the lightness of the epigram, there is a special form of verse devoted to reflection and maxims.
This is dwarf , a poem expressing some thought, mainly in the moral field, and consisting of one or more couplets. Examples:
Don't marry a brightly shining beauty:
The torch irresistibly draws moths to itself.
A. Semenov-Tyan-Shansky
In the world, always say goodbye to a person, because you don’t know -
It's not the last time you see him in your life.
N.N.
Poets do not disregard both joyful and sad events. In connection with the death and burial of a person in poetry, there is a special form of poetry - epitaph , i.e. an inscription on a monument. Its content is praise for the deceased, reasoning, moralizing, addressing a passerby, etc. Often epitaphs are written from a person buried under a monument. So, at the Volkov cemetery in St. Petersburg there is an old monument, the poem on which begins with the words:
Passerby, you are coming,
But you lie down like me...
There are also humorous epitaphs.
At the Okhtensky cemetery there was a monument erected after cholera in the 30s of the 19th century. The epitaph on it was:
I spoke correctly:
Don't eat berries, Ilya.
You didn't listen to me -
I ate all the berries.
So you died, Ilya!
I spoke correctly...
But let's get back to life.
All poetic forms that we have considered require both time and labor for implementation. But there is one form that is created, or at least should be created almost instantly. This is impromptu .
This name is given to poems written immediately on occasion and very quickly, without preparation. Here is a wonderful impromptu of A. Pushkin, indignant at the fact that he was sent to work to conduct the "case of locusts." Piles of government papers could not have clarified this case better, as Pushkin found out with his inherent genius, writing the following on the cover of the "case":
Locust flew, flew
And sat down.
Sat, sat, ate everything
And flew away again.
Let's complete our short digression into the field of entertaining versification with a humorous form of poetic creativity - parody .
Parody is appreciated and loved by both readers and listeners.
The name of the parody comes from the Greek parados - singing inside out. Most likely, parody developed from satirical farces, which were given for the pleasure of the public in Ancient Hellas after the end of serious tragedies and where their content was often ridiculed.
The essence of parody (not to be confused with an epigram! - see above) is that the parodied serious work more or less retains its form, but the content is changed, which is why the thoughts and images of the main work, when applied to the new content, begin to acquire a comic shade. The main purpose of parody, of course, is mockery, although it is good-natured, but often parodies are of great benefit to the authors of serious works, pointing out to them some shortcomings or monotony of methods that they would not have noticed without parody.
For parody, either a well-known author (at least for a given moment) or a well-known (at a given time) work of his is chosen, and the parody must constantly retain the techniques of the work of the parodied author so that he is immediately recognized by the parody, even if when his name is not given. To be offended by a parody is possible only with sick pride. Usually a talented parody glorifies the person being parodied even more and, in any case, cannot offend or humiliate a genuine talent.
Art parody Anna Akhmatova
I will light my last stub,
Unravel the meaning of dreams
And I will send you a terrible gift -
Letters from all my suitors.
After all, one and now with me
Walks in pajamas in the morning,
And another
left yesterday On the boat along the Kama.
E. Gerken
Parody of Vladimir Mayakovsky
Naughty - for me
Eat a fig! -
Parody will not come out,
I'll write it myself.
Or you don't feel,
What is my nature?
Where will you look,
With what torment
Drums and noise
Trousers?
Don't you dare buy anywhere,
Except GUM!
I buy
myself And others recommend
Button for underpants;
Prices published daily
42-18 -
Telephone.
I would like to go to GUM as a clerk,
I would sell all the boxes!
L. Borisov
For a cheerful poet
This book appeared -
New "university"
Light Muses,
Mind games,
Burime,
Laughter
"Echo",
Maidens of Myth
Logogriffa,
Epigrams, charades and jokes
For unoccupied minutes -
Who looks at things strictly, there is a lot of instructive
He will find in this book, dressed in a cloak of fun.
See same issue
Y. MOROZOV - Entertaining versification by N. N. Shulgovsky
7 Rules for a Poet Whose Poems Haven't Laid Down
Text: Stefania Danilova *
A fresh poem is always a small celebration for the author.
According to the first, the poet considers him, like a newborn child, the very best. But this wow effect does not last long, especially for those who are doing well with self-criticism. Few people immediately give out “for a clean copy”, the process of jewelry work on the text can take several years. It's great if a poet has a colleague who is sympathetic to his work, able to point out mistakes and sagging places. But what if there is no such person, and the next seminar with debriefing is not soon? The "Year of Literature" hurries to the rescue with a reminder for poets whose poems have not been laid to rest. We deliberately kept the memo in a humorous way, so as not to look like harsh critics. And funny names will, we hope, better remember typical mistakes.
1. The rule of Alexander Men or Japanese noodles
The stresses inside the line are very insidious: contrary to common sense, our poet has “you”, “when”, “me” and other strange characters. Remember, there were test words in school textbooks? We suggest in such cases to remember Archpriest Alexander Men.
He hardly wanted to get into your poem. And the line of the popular minstrel Helavisa “you caress me”, where it is even sung with an accent on “e”, with this knowledge seems simply indecent. And how do you like the line “The last time you see next to you”? Those who are attentive will notice that rhythmically the stress in the word "self" is placed on the first syllable, resulting in "self." Soba is Japanese noodles. You can fix this by rearranging the words: “The last time you see with you next to you,” and the Japanese noodles will disappear. At least from the reader's ears.
2. Butter oil rule, or are there more than two halves?
We have the same example: "The last time you see yourself next to you." Now stress and rhythm have become friends. However, the line is still undermined by the error. To see nearby - a priori means "with oneself" (the context of the poem was exactly about this). In the same cauldron: “When two halves of one world…”, because there can be no more than two halves. Better skipping a syllable than oil butter.
3. The Rule of the Twisted Stump, or A Little About Shearology
Let's turn to history. In 1922, the radical futurist Alexei Kruchenykh, the author of the legendary line "Dyr bul schyl", published the treatise "Shiftology". In which he analyzes in detail the emerging double meanings in poetic speech and argues that poets are children in the technique of speech. No wonder his treatise is subtitled "offensive and instructive." We propose to study this treatise at leisure and give more modern examples, showing that "childhood" in the technique of speech is still alive and can be found in any of us. Try reading aloud the simple combination "stump twisted": you will be surprised to hear that our stump has turned into, ackham, something else. Kruchenykh calls such things “shifts”: a third word is formed from two original words, which the author did not foresee. In his examples, it is: “to the mighty is given” - “I can - a suitcase”. The word "suitcase" is a shift, "I can" - a break, as "mighty" breaks into two parts in favor of the "suitcase". Sometimes this blunder can be used as a deliberate joke and the author's idea. So at one time Vera Inber and another writer fought exquisitely - the literary legendarium offers dozens of options for who he was. Marshak, Kataev, Mayakovsky, Simonov, Selvinsky ... but the point here is not the personality of the author. In response to the line of the poetess from the poem about Stepan Razin, “You don’t rashly wave your tin saber, / Cut down the dashing head to the very shoulder,” the opponent dedicated a poem to Vera: “Oh, Inber, oh, Inber / What eyes, what a forehead! / I would look at everything, I would look at everything / I would admire her b! Think carefully about whether you want a similar line in your reputation. And, if the transformation of the "stump" does not scare you, go for it. You can also “turn the ashes with a stick”, or you can not. The author of this article in one of his poems had the phrase: “and the beggar is in transition”, as a result of which the readers were perplexed, what did Gennady Onishchenko have to do with it, if we are talking about a grandmother with a senile diagnosis.
Replacing the "beggar woman" with the "refugee" helped the line to recover and eliminated the Krunykh's "shift". Someone will reassure themselves by remembering from Alexander Sergeevich himself: “the nuclei are pure emerald”, and after reading numerous ironic posts on this topic on the Web. Although what is allowed to Jupiter is not allowed to the bull ...
4. The rule for joining letters in words
This rule is easy to remember, as it is shown in its name: “letters in words”. "Vv" is simply not readable, swallowed, resulting in "book words". You can cite many examples from already existing lyrics or come up with them, but the most difficult thing is to diagnose them in your own creations: the poet himself is not a therapist in his lyrics. By the way, this rule also applies to prose: when we read a text, we often voice it to ourselves, so reading aloud will again help us correct this annoying oversight. Even if we ourselves do not plan to recite a work from the stage, it is not a fact that someone else will not do it. If we replace the original line with "joints of letters in words", the dislocation of the line will be corrected. It is necessary that the road tiles of your words, on which the reader will have to go, be laid evenly and logically, butt-to-butt, without swallowing letters. If it is heard correctly, then it is written correctly.
5. Fishing rule for snakes
Poor, unfortunate amplifying particle! How unlucky she was with poets of various sizes, abundantly populating the landscapes of their poems with reptiles. According to the studies of E.V. Uryson, an employee of the Institute of the Russian Language. Vinogradova, “already” more and more often appears not as a truncated form of the word “already”, but as “ a special colloquial word with almost elusive semantics, a kind of filler for the statement, giving it an idiomatic colloquial coloring ". If we set ourselves the task of describing the colloquial speech of, for example, a villager in our poem, then “already” will bask in the gentle sun of the correctness of what is happening. In other cases, "already", not noticed by the poet, will turn into a viper and sting the reader painfully in the eye. We don't want that, do we?
6. The rule of physics of the poem
We bring to your attention the wonderful lines of a very popular poetess: “Wake me up with the howl of birds, / Those that rush south in flocks.” So, we are talking about a bird that howls. Strange, isn't it? This is usually done by wolves. Open Google, type in the line. We understand that we are talking about a bittern. Everything would be fine, because such a bird really exists ... but there is one “but”: the bittern does not fly. Physically. And thanks to the metaphor that crumbled here, neither it, nor the line, nor the poem as a whole can take off. And here is a more complicated example from another poet:
- New Cain with novocaine,
- What is injected into the heart muscle,
- Will perish in the singing of a nightingale,
- Immersing burns in the cold.
Sounds spectacular, but let's see what happens in this quatrain. The lyrical hero was injected with novocaine in the heart, and he dies. But where did the burns come from? And the original Cain was not burned by anything. Now, if there was Prometheus, then, perhaps, it would be another matter - after all, he brought fire to people, and metaphorically one could hold out. However, it is written the way it is written. Because of this, the reader may erroneously believe that novocaine causes burns if injected.
7. The main rule: “Sometimes you can!”
The attentive reader must have wondered why verbal rhyme has not yet been mentioned here, because all the inhabitants of poetic publics know from a humorously insulting couplet what the mythical Mongols do with those who rhyme with verbs. However, even Pushkin ardently disputed the inferiority of verbal rhyme:
- Why? Tell; and so we are naked.
- From now on I will take verbs into rhymes.
A S.Ya. Marshak, more than a hundred years later, in "Education with a word" argued that "there are cases when a simple verbal rhyme is stronger and more appropriate than the most bizarre, most refined." And indeed: if you skillfully enter rhyming words into the context, like “erase” / “grow old”, this can be a game of twin words, and give the text a certain charm. Of course, about "running-trembling" and "live-grieving" must be forgotten immediately and forever. Our rules want to tell you that even the strictest ones have exceptions. The craftsman Lefty has shoed an English flea, why shouldn't a skillful poet shoe a verbal rhyme in such a way that it looks “more expensive” than the most refined language game? Here, for example, from Sergei Markovich Gandlevsky:
- After death, I will leave the city that I love
- And, raising my muzzle to the sky, throwing back my horns on my shoulders
- Obsessed with sadness, I will blow my trumpet into the autumn expanse
- That, for which words of human speech were not enough for me.
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