Words that rhyme with creativity

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

Types of rhymes. Versification. - Anton Slam — LiveJournal

1. Bad rhymes
If there is a rhyme, this does not mean that it is good and decorates the poem. Bad rhymes, unfortunately, are found here and there in the works of modern poets, almost all the time you have to cover your ears with your hands in order not to hear such opuses. At various festivals, sometimes the confidence of one or another poet in the remarkableness of his poem comes to the point of absurdity, but meanwhile, the rhymes there are primitive to the extreme. I conditionally divide bad rhymes into several categories:
Consonances, or incorrect rhymes. Everyone knows the line "... and kiss me everywhere, I'm eighteen already ...". “Everywhere - already”, “you - me” - these are not just bad, incorrect rhymes, these are consonances. There is something in common in these words, they are consonant (not “herring - cockroach”), but this is not a rhyme. You just can't rhyme like that, because those words don't really rhyme. In addition to the “already everywhere” and “you - me” mentioned by me, one can also note “balcony - blue”, “road - book”, and so on. Such errors are found mainly in the poems of very young poets or mediocre poets, devoid of a sense of rhyme.

One-root rhymes. It is categorically not recommended to rhyme words with the same root. This is a terrible primitive: they say, I did not find a suitable word and rhymed with a similar one-root. This only speaks of the underdevelopment of the poet's vocabulary and the inability to replace the word with a synonym. The canonical example of such a "rhyme" I would call Kinchevskoe "centuries - millennia." There are also often “boots - low shoes”, and the wonderful bard Vyacheslav Kovalev joked about such rhymes, deliberately rhyming “area - living space” in one song (this is not quite the same root, this is a semi-tautological rhyme). In fact, these are the same words, just in a slightly different form. The worst version of a single-root rhyme is a verbal single-root: for example, “came - approached” or “hacked - chopped”. Such rhymes are primitive even for two reasons. The second is discussed below.
This subspecies also includes epiphora or tautological rhymes - when a word rhymes with itself. Many great poets used this technique in their work, but it has long been outdated and is now considered simply primitive. Canonical example:

“Everything is mine,” said the gold;
"Everything is mine," said damask steel.
"I'll buy everything," said the gold;
"I'll take everything," said damask steel. (AS Pushkin)

Semi-tautological rhymes include “boots - low shoes” mentioned by me above, as well as “love - love”, “us - you”.
Here I will make one digression. There is such a type of rhyme as homonymous (or redif). It is not one-root and belongs to good rhymes. The fact is that homonyms, despite the fact that they are written the same way, are not single-root words, and they are not the same. Example:
Suddenly Mishka, that's an attack,
The bees decided to attack. (Y. Kozlovsky)
At the same time attack-1 and attack-2 here are completely different parts of speech

Poor rhymes

insufficient rhymes in which only stressed vowels are consonant, for example: star - wave, wine - easy, sing - love , dawn - ringing, share - the sea, etc. In fact, the same as assonance.

Your rays with heavenly power
My whole life is illuminated.
Will I die, you over the grave
Burn, burn, my star!
(V. Chuevsky)

Rhymes composed of words of the same parts of speech in the same grammatical forms are also considered poor, especially if the rhyming vocabulary of such words is very large. So, due to its simplicity, it is not difficult to pick up such a rhyme - verbal rhymes are called poor rhymes, as, for example, on “at”: fly - moan - read - know - play - write - hold ...; rhymes from adjectives on "oh": big - simple - dry - mute - steppe - mischievous ...; rhymes from nouns to “any”: fortune-telling - desire - knowledge - wedding - sparkling - radiance - chirping ... The most common type of poor rhymes are parallel rhymes, in which the same parts of speech rhyme in one form (they also include verbs) Extremely poor are considered tautological and semi-tautological rhymes.

Homogeneous rhymes

a variety of poor rhymes. Such a rhyme is found almost exclusively in verbal rhymes. In general, there are very, very few good verbal rhymes. Most often, it turns out something like “passed - gored” or “slipped - denounced”. Or infinitives: "to want - to whistle." It seems like the roots are different, but the same form of the word gives everything the same primitiveness. Thus, rhyming is permissible, but simply undesirable: it does not add beauty. The same applies to rhymes "adjective - adjective" (for example, "funny - gloomy"). Nouns can rhyme with nouns, but there is another danger here.

Graphic rhymes

rhymes from words whose endings match in spelling but do not match in sound. Without forming auditory harmony, graphic rhyme is purely conditional (rhyme for the eyes) and is almost never used today. Big - a little (ovo-oh), a cliff - a forest (eu - eu), urgently - on purpose (full-time), forever - of course (echno-echno), bold - cheerful (white - white).

Banal (hackneyed) rhymes.

It also happens when the roots are different, even if the forms are different, and the rhyme is good from a technical point of view, but it sounds bad. Strange! The fact is that such a rhyme, due to its clarity, has already been used hundreds of times in poetry and therefore has become simply hackneyed: Again - love - blood (canonical example). Night - daughter - away. You are loving. Difficult - wonderful. Joy is youth. Evening - meeting - candles. Tears - frosts - dreams - roses. Fight is destiny. Vek is a person. Feeling is art. Good rhymes, but overused. As in the previous case, such rhymes are permissible.
I note that there are countless bad and weak rhymes. It is much easier to remember which rhymes should be used, and use them in versification.
Moreover, my goal is, of course, not to demonstrate the bad, but to demonstrate the good. There are a lot of good, solid rhymes that not only can, but should be used in poems. Moreover, you can’t stop at any one option, knowing that it is good, but constantly mix these rhyming options to get a complex and effective poem.

2. RHYMS OF DIFFERENT PARTS OF SPEECH (dissimilar rhymes).

*Verbs.
a) Verb-noun. This is the classic perfect rhyme that you should always aim for.

How many of them have fallen into this abyss,
Opening in the distance!
The day will come when I too will disappear
From the surface of the earth.
(M. Tsvetaeva).

In general, Tsvetaeva is a brilliant poetess, I put her on a rank above Akhmatova (may the fans of the latter forgive me). Tsvetaeva's rhymes are amazing, so true and amazing in strength - read and learn!
But this quatrain is given here to demonstrate the beautiful rhyme "the abyss - I will disappear" (the second rhyme is also ideal, the adverb is a noun). Here the verb in the first form is absolutely consonant with the noun. This is the sound you should strive for. A few more examples, because you can’t explain in words, you need to read:

I’m not looking for harmony in nature,
Reasonable proportion began
Neither in the bowels of the rocks, nor in the clear sky
I still, alas, did not distinguish.
(N. Zabolotsky)

There is light and heat outside the window, window sills are bright,
The last days are serene and hot,
Fly, hum - and in a dried Tatar woman,
On a red pillow, fall asleep.
(I. Bunin)

And so on. Thousands of examples could be cited.

b) Verb-adjective. As in the first case, a very good, complex and beautiful combination. But it is much less common because of its complexity. I would even say that it is very rare. With some difficulty I found this rhyme in Tsvetaeva:

Dear ships are taking away,
The white road is taking them away...
And a groan stands along the whole earth:
"My dear, what have I done to you?"

The fact is that verbs and adjectives usually do not consonant, such rhymes are not regular in poetry, but random. Although I will note that the use of these most random, author's rhymes is the highest art.
There are also "pitfalls". When rhyming participles with adjectives, one may accidentally stumble upon a weak rhyme, similar to the rhyme "adjective - adjective in the same form. " On the other hand, the rhyme "hidden - green" is very good, because the words are of different types.

c) Verb - pronoun. This is a "stylish" rhyme, quite rare, but beautiful. At the same time, I do not mean rhymes like “kuya - I will be” - this is already a different type, when one word rhymes with two or more (composite, will be discussed below). The canonical example of the rhyme "verb - pronoun":

Bobo is dead, but the hat is not off.
How to explain that there is nothing to console yourself with.
We will not pierce a butterfly with an Admiralty needle
- we will only mutilate it.
(I. Brodsky)

This rhyme is absolutely flawless and amazing in originality and beauty - like almost everything in Brodsky, by the way. Along with Tsvetaeva, I highly recommend reading.

d) The verb is an adverb. From the same poem ("Bobo's Funeral") I quote another stanza:

You were everything. But, because you are
Now dead, my Bobo, you have become
Nothing - more precisely, a bunch of emptiness.
Which is also a lot, as you might think.
(I. Brodsky)

There are no "pitfalls" in the last three cases: almost all rhymes built on this principle are very good.

e) The verb is a numeral. The rarity of such rhymes is due to the limited possibility of using numerals. In poetry, numerals are probably less common than all other parts of speech; the more refined their use can be. They rhyme with verbs very easily: “three - look”, “six - eat”, and so on. I note that the rhyme "five - crucify" is not good because of the "hackneyed".

g) Verb - conjunction, particle, interjection.
Of course, full-fledged rhymes with conjunctions and particles are very difficult, because these parts of speech are not complicated. There are very few unions and particles available for rhyming. To be honest, I did not find full-fledged examples in the classics (not counting compound rhymes - but this is a separate conversation, about them later) of such rhymes. But you should still try.
With interjections, you can rhyme with due desire and skill - whatever your heart desires. But the verb refers to those parts of speech that do not like to rhyme with interjections.

When peace and quiet
The phone vomited,
I flowed like a river to the receiver,
Trying to answer “hello!”…

True, “hello” is an artificial interjection. More naturally, something like “ah!”, “eh!”, “wow!”, “apchi!”. For example:

The captain fell silent, - everything is clear without words, -
Having crouched to the periscope with a silver lens,
He had a premonition: "bang-bang" will begin soon:
We will appear in the newspapers for this number ...

NOUNS.
a) Noun - adjective. The rhyme is simple and beautiful, but there are some reservations. It is not recommended (although not forbidden) to rhyme with adjectives those nouns that actually originated from adjectives. For example, “a scientist is baptized” is a so-so rhyme. Although it is perfectly acceptable.

Like a conquistador in an iron armor,
I set off and walk merrily,
Now resting in a joyful garden,
Now leaning towards abysses and abysses.
(N. Gumilyov)

Rhymes of this type are found all the time, but do not become hackneyed due to their extraordinary diversity.

b) The noun is a pronoun. Also quite simple and natural rhyme. Actually, the noun is the most “diverse” part of speech, that is, there are thousands of nouns that differ in form and sound, from which you can choose a rhyme for almost any word in Russian or even a foreign language.

We always only remember about happiness.
And happiness is everywhere. Maybe it's
This autumn garden behind the shed
And clean air pouring through the window.
(I. Bunin)

c) The noun is an adverb. In general, such a rhyme is not much different from noun-adjective rhymes. It is less common, but it is not technically difficult.

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