Words that rhyme with correctly

236 best rhymes for 'correct'

1 syllable

Wrecked

Checked

Kept

Slept

Stepped

Went

Vent

Sent

Rent

Spent

Meant

Bent

Decked

Belt

Felt

Dealt

Blessed

Quest

West

Vest

Rest

Left

Best

Melt

Stressed

Dressed

Test

Chest

Messed

Swept

Sect

Necked

Schlecht

Trekked

Begged

Check

Wreck

Bend

Friend

Tech

Spend

Neck

Send

Deck

Tend

Guest

Crept

Trend

Breast

Cared

Scared

Help

Held

Nest

Wept

Lend

Heck

Stretched

Pressed

Shared

Pest

Blend

Prepped

Dent

Jest

Dreamt

Stared

Legged

Mend

Sept

Leapt

Pegged

Theft

Egged

Pent

Etched

Tent

Fetched

Lead

Threat

Shed

Dread

Sweat

Bread

Debt

Step

Dead

Head

Said

Spread

Sketched

Lent

Crest

Lest

Desk

Fest

Kent

Yelled

Bled

Smelt

Fend

Zest

Helt

Helped

Text

Trent

Revved

Webbed

Gent

Thread

Brent

Stent

Ghent

Dared

Shred

Temp

Pelt

Welt

C'est

Knelt

Cleft

Smelled

Trek

Deft

Speck

Shrek

Penned

Dwelt

Hemp

Heft

Spared

Meshed

Celt

Fleshed

Yest

Dest

Peck

Squared

Beck

Wend

Spelled

Stemmed

Yelp

Feck

Kemp

Mech

Steck

Edged

Hemmed

Breck

Rende

2 syllables

Perfect

Direct

Percent

Arrest

Girlfriend

Protect

Subject

Effect

Connect

Collect

Respect

Expect

Project

Reflect

Reject

Neglect

Forget

Affect

Inject

Object

Suspect

Except

Ferment

Infect

Caressed

Bereft

Dissect

Erect

Detect

Inspect

Select

Concept

Prospect

Aspect

3 syllables

Resurrect

Indirect

Redirect

Incorrect

Intersect

Interject

Intercept

Disrespect

Overslept

Overstepped

Internet

Cigarette

Intellect

Underwent

Overspent

Bucharest

Disconnect

Overspend

4 syllables

Disfigurement

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54 Words that rhyme with correctly for Songwriters

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Top rhymes for songwriters

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Songwriting rhymes for correctly

These rhymes are specially chosen by our unique songwriting rhyming dictionary to give you the best songwriting rhymes.

very
many
ready
already
twenty
heavy
barely
cherry
steady
sexy
fairy
bury
belly
especially
friendly
temporary
marry
plenty
scary
gently
healthy
penny
confetti
necessary
ordinary
deadly
deathly
telly
sweaty
smelly

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Perfect rhymes for correctly

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indirectly
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Near rhymes for correctly

Near rhymes work great for songwriting, often giving a more interesting feel than perfect rhymes.

many
ready
already
very
twenty
heavy
barely
steady
cherry
sexy
fairy
bury
especially
friendly
temporary
belly
marry
plenty
scary
gently
necessary
ordinary
healthy
penny
confetti
deadly
dictionary
sanctuary
legendary
sweaty
deathly
smelly
telly
fairly
wealthy
missionary
imaginary
monastery
dairy
cemetery
visionary
momentary
berry
hefty
teddy
stealthy
deli
harry
jenny
elderberry
strictly

Want to know what rhymes with correctly?

If you’re a songwriter, a quick search online will throw up thousands of different words and expressions that rhyme

In fact, people have been publishing rhyming dictionaries for more than a hundred years

But are these the best rhymes for songwriters? I don’t know about you, but if I’m going to choose between “thieve” and “breach” (which do not rhyme), I’ll always choose “thieve”

Why? Well, we as songwriters are looking for singable words that sound good together in songs

The main factor we look at is how they sound when we say them or sing them, rather than just looking at how they look on a page — and this is what sets us apart from other types of writers

That's what we've done with Chorus!

These are just a few of our rhymes. If you want to discover all the ways you can express yourself with Chorus, sign up for the full version now.

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Rhyme selection for the word

Rifma-rifma.ru is a large free dictionary of Russian rhymes.

Find out rhymes for a word by letter:

A B IN G D E Yo AND W AND Y TO L M H ABOUT P R WITH T At F X C H W SCH S E YU I

Rhymes in syllabo-tonic versification

It is widely believed that creating a poem is easy: just choose rhymes. This is one of the most ignorant misconceptions, since the poet's toolkit consists not only of rhyme, but of poetic meter, sound writing, figures of speech and tropes, not to mention the methods of constructing the plot of a poem and other syntactic phenomena (for example, caesura).

You should immediately pay attention: rhyme, as well as the size, is not an obligatory element of a poetic text, which is exemplified by blank verses and free verse. Nevertheless, it is especially characteristic for Russian folklore, where it has been used and is used to this day in the form, as a rule, of verbal consonances: came - found. It was the folklore origin of the Russian-language rhyme that determined its further distribution in the poetic work of our compatriots.

It should also be noted that rhyme is inherent primarily in poetic works, which include even rhymed advertising slogans and texts of such popular rap artists. Now it is precisely in poetry that it has become fixed almost as an inevitable element of verse. Previously, consonances were used even in political and scientific tracts - to bring enthusiasm to the style and highlight especially important parts of the text.

What is called rhyme

Rhyme is used to denote consonance in words; usually at the end of a word. A classic example of rhyme, which is common in the minds of ordinary people, is a clause - the last stressed syllable in a line, followed by all unstressed syllables and consonants. For example: customize - bark ; here the stress in both words falls on the penultimate syllable, so the rhyme will be in clause -yaem - -ayem.

So, rhyme is consonance. But does it have to be at the end of a verse (a verse, roughly speaking, is one line of a poem)? And can a pair of mute - yoke and (Brodsky) be considered a rhyme? It will be possible to talk about this after delving into the nature of consonance, but first you need to familiarize yourself with its basics.

Basic types of rhyme

The principal classification of clauses in versification is based on the place where they are stressed:

Male rhyme. The emphasis falls on the very last syllable in the verse: socks - sands.
Feminine rhyme. The emphasis is placed on the penultimate syllable of the clause: important - twice . In the 18th century, when Russian versification was born and underwent rapid development, it was believed that it was female rhyme that could express all the beauty of the Russian language. Already 19The th century completely refuted this assertion, and the modernists left no basis for it at all.
Dactylic rhyme. Here, the intonational accent is on the third syllable from the end of the clause: cash - excellent for them (this is a compound clause - a complicated version of an ordinary one; more on that below).
Hyperdactylic. The stress, respectively, falls on the fourth syllable from the end. This clause is very rarely used in poetry, since such words are not only difficult for the author to choose for the poem, but also difficult for the reader to pronounce. They are presented in a relatively large number in the poetry of V. Bryusov. An example, albeit a banal one: slingers - riveters.

In the Russian system of versification, stress can be placed up to the ninth syllable from the end of a word. Such rhymes are not used anywhere, but the term for them still exists - superhyperdactylic clauses - this is how it is customary to call all types of rhymes that come after hyperdactylic ones.

The sound and feeling of rhyme

Since rhyme is primarily a musical phenomenon, it should be perceived only by ear. It is for this reason that a great poet has a good ear. This is already a somewhat in-depth understanding of consonance: so what is the difference between the above-described pair mute - yoke and from, say, a pair of snow - bliss ?
There is also a separate classification for the sound characteristics of rhymes. It is important to note that each example of consonance is incredibly individual. Words are difficult to categorize, and there can be quite a lot of controversial points when analyzing the sound of a rhyme in a certain poem.

Rich clause. Not only the stressed syllable matches, but also the syllables after and/or before it. The role of even consonant sounds is important here (namely, sounds, not letters, since the latter do not sound at all, but the first ones are perceived by ear): line - verst ; in this example, the sounds of the second word are diluted with the consonant "s", which is why this consonance can be called rich only due to the coincidence of both syllables. This group includes the second presented pair: snow - bliss.
Poor clause. This group is characterized by the coincidence of only the stressed syllable. This includes the first pair: mute - yoke and , since only the stressed syllable matches, and the syllables before and after it are expressed by different sounds. These clauses significantly increase the space for the author's stylistic and plot maneuvers, since such rhymes can be picked up much more than rich ones. Another plus of this group of consonances is the originality of the sound of a well-chosen inaccurate rhyme, which is fresh for the ears of even a sophisticated reader and critic: aiming - Venezuela e (Mayakovsky).
Exact consonance. A common type of sound in the 19th century. Rhymes with exact consonance should be as similar as possible to each other both in stressed syllables and in supporting ones. Most of the rich clauses are immediate and precise. Example: dollars - walked.
Inaccurate consonance . This category of consonances began to supplant the exact rhymes that were the standard of versification of the 19th century, in the era of modernism in literature - in the 20th century. This group of clauses is especially vividly represented in the works of V. Mayakovsky (with his favorite compound rhymes): paper I am magic, the wick flies, the tariff is rhyme . With poor pronunciation or not very sensitive hearing, these consonances may not be noticed at all, but if the author skillfully uses inaccurate rhymes, then his poetry will be enriched with unusual sounds.

Clausal scheme and rhymes in solid forms

Surely every reader remembers at least some quatrains from the school literature curriculum. But far fewer of them know that the quatrain is a classic solid poetic form - a quatrain:

Staring deeply at the stone,
The artist saw the nymph in him,
And a flame ran through the veins,
And his heart flew to her.
(Baratynsky)

The clause scheme - which line rhymes with which - in the quatrain can be presented in three variations, which became the most common arrangement of consonances in the world poetry of the 19th-20th century.

Cross rhyming. Scheme: abab (the same letters denote the same clause): stone - sight - flame - flew . This type of arrangement of clauses can be called the most popular among both beginner poets (because of the ease of compilation) and venerable authors (because of their adherence to classical forms).
Paired rhyming. Schematic: aabb: stone - flame - sight - flew. The rarest type of arrangement of clauses from all three presented, since there is no distance between verses where one or more rhymes can be inserted. But for long verses (lines) this is the most suitable scheme.
Encircling rhyme . Scheme: abba: stone - sighted - flew - flame . This scheme requires the author to already have a certain level of skill and a good ear, since the first rhyme can be lost after two lines with a different clause, so the poet needs to say it out loud several times.

The Onegin stanza, also known to everyone from school, is also a solid poetic form. The solidity of the form lies in the fact that it has its own clausal scheme, and sometimes even requires the use of a certain meter (as with a classic Italian sonnet or Alexandrian verse). The Onegin stanza is subjected by the author to a strict arrangement of clauses, the scheme of which is as follows (It is customary to denote female rhymes in capital letters, male rhymes in lower case): AbAb CCdd EffE gg.

The poet, based on his experience, level of language proficiency and stylistic devices, poetic meters, tropes and figures of speech, can vary several types of rhymes even within the same work, without being limited within a certain fixed meter, and even come up with his own.

Some other types of rhyme

Having accumulated both theoretical and practical knowledge about the main types of clauses and how to place them in a poem, the poet can improve his knowledge of poetic language by starting to use the types of consonance described below.

Compound rhymes. Such a favorite type of consonance by Vladimir Mayakovsky is deservedly considered one of the most original ways of rhyming, since it combines different parts of speech: for example, a particle and an adverb: molasses - again (Brodsky).
Homonymous rhymes . For clauses, homonyms are used here - words with different meanings, but the same in pronunciation and spelling. Example: (in the ears) rock - (in fate) rock.
Punning rhyme. The same, but instead of homonyms - puns. Example: the girls went to the garden at night, / As if de Sade wrote from them.
Internal rhyme. This is already a radically new type of consonance, since it is not a clause - it does not complete the line, but is located approximately in its middle. It is important that with such an arrangement of consonance, the size is correctly built, otherwise the poem can simply be broken at the place of internal rhyme into one more line. Example: over you, over a small river, / Over water, whose way is far... (Tvardovsky) In the example, the word "you" rhymes with "water".
Double internal rhyme. In this variation of the above-described consonance, words in one line rhyme, and the clauses connecting different lines may be absent altogether, as in free verse or blank verse. For example: The last time you are at your table, the last time you returned to the house, / The last time the wife carries the cake, 9 is reflected across the glass0020 (Eugene Rein). In this example, there is no clause as such. But in these lines (also Yevgeny Rein) both the internal rhyme and the clause are already present: Under the dome the Savior in sandals and his robe curls, / The Savior who fed his contrite children.

Echo rhyme . The line repeats some part of the clause of the line with which it rhymes, thereby creating an echo effect. For example: Hold on, Detroit of the world! / …Oh, you! (A. Bezymensky).

Pantorhyme . One of the most spectacular types of consonance, in which not the final parts of the verse (clauses) rhyme, but any number of words between (and within) two or more lines. In other words, with such consonance, the lines contain both internal and clause rhymes, which can be arranged in an absolutely non-standardized order. This rhyme is an element of combinatorial poetics and modernist trends in creativity, therefore, examples of pantorhyme cannot be found in classical works. However, it has become especially popular among rap artists, where you can find good examples: popped in for a visit, as to the south, but got stuck. / Let's keep quiet, since the language is volapuk, newspeak. (Volapyuk - rubbish; Newspeak - the official language of the ruling party in Orwell's novel "1984").

Tips for choosing rhymes

It's better to avoid using verbs in clauses. Although Pushkin himself in "The House in Kolomna" went against this rule - he, however, is excusable, but the work of a novice author with verbal consonances can be considered bad taste.

Experiments with inaccurate, poor, composite, internal and pantorhythms are best begun after at least some sufficient experience in the use of classical forms, sizes and clauses has been obtained.

For the correct selection of rhymes, the poet needs to say everything written aloud - not necessarily in public. If the clauses sound separately, but not in the line, then you can try to change the number of stops in the size, or even the entire size

Success in your work!

SOUNDS, RHYMS, FORMS... | Science and Life

Nikolai Shulgovsky (on the right, penultimate in the first row) - a 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:

Your poems, though strong odor,
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 mesostih 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 left-handed 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:

I promised to keep lovingly "yes" 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 loving "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 sea are ebullient...
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

Karamzin street

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 gnoma , a poem expressing some thought, mainly in the moral field, and consisting of one or more couplets. Examples:

Don't take a brightly shining beauty as your wife:
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 the morning in pajamas,
And another one 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.
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