It happens that the rhyme is born by itself, as if some muse whispers a verse to the poet. However, it is often difficult for novice poets to find a suitable rhyme: versification is accompanied by real torments of creativity.
Do poets need technique?
Good non-trivial rhymes are almost a prerequisite for writing a poem, especially if the author intends to create a masterpiece. The poems enchant the reader not only with their content, but also with their form: with a clear elegant rhythm, the words and phrases used to the place, and, of course, well-chosen rhyme.
In fact, the principles of rhyming are very simple. First of all, the reader wants to meet non-trivial, unusual rhymes. Banal combinations like "tears-frost" and "love-blood" have long been sore. In order to avoid such vulgar platitudes in his work, a novice author should study some theoretical foundations.
Varieties of rhymes
Some poets believe that poetic art is an impulse of the soul, it is irrational and illogical. In fact, versification has its own laws, and even rhymes lend themselves to classification. Knowing the different types of rhymes can help a poet find a good harmony.
Parallel rhyme - when the poet rhymes the same parts of speech: "suffer-dream", "cold-hungry", "sea-sorrow". It is not difficult to find a parallel rhyme, but the reader often perceives it as banal and uninteresting. Of course, such rhymes have a right to exist, but they should be used as little as possible.
Dissimilar rhyme - when, in contrast to parallel rhyme, consonant words are different parts of speech: "faster days", "kill people".
Pantorhyme - when all the words rhyme in a verse, and not just the last lines:
Instead of having been washed
Pronouns "you", "we", "you".
There are no poems built using exclusively pantorithm; in poetry, they are found only in fragments. It is rather difficult to find such a rhyme, so that the poet is unlikely to be reproached for banality for using pantorhyme in verse.
Cross rhyme (ABAB) - when a poet rhymes lines one by one, as, for example, in the work of A. Akhmatova:
And you thought I was like that too (A)
That you can forget me (B), And that I will throw myself, praying and sobbing (A), Under the hooves of a bay horse (B).
This is one of the most common variants of rhymes, which does not lose its relevance.
A pseudo-rhyme is an imprecise rhyme. The stressed vowels coincide in the words, the post-stressed syllables are only consonant: "joy - old age." There are many varieties of pseudo-rhymes. For example, a rearranged rhyme is a rhyme built on a rearrangement of syllables: "sharper - through". Such rhymes are used extremely rarely, but they should not be abused: one might get the impression that the poet is chasing originality of form to the detriment of content.
Another type of imprecise rhyme is prefix rhyme, which is based on common endings of words and the rhythmic consonance of prefixes: "shouts are patterns."
The pre-stressed rhyme is a pseudo-rhyme in which the stressed vowel and the pre-stressed syllables coincide: “proletarian - flies by”. The more syllables match in words, the better such a rhyme sounds.
Receiving rhyme is a type of pseudo-rhyme when there are differences in the endings of words, but they are consonant: "herring-copper", "fruit-pound".
Five rhyme - when a poet rhymes five lines in his poem.
A hyperdactylic rhyme is one in which the stress falls on the fifth syllable from the end: "worried - loving."
Equosyllabic rhyme - when the rhyme is based on the consonance of words with the same number of post-stressed syllables. An example is a poem by F. Tyutchev:
You can't understand Russia with your mind, A common yardstick cannot be measured, She has a special become -
You can only believe in Russia.
Poetic tricks
The main rule in the selection of rhymes is the coincidence of the stressed vowel. The words "mark-slide" do not rhyme, although the last letters are exactly the same.
The use of combinations like "love-take off" is permissible: such rhymes are called assonance rhymes and are popular in modern poetry.
The verse is perceived by ear, not visually. If the spelling of the word differs from the pronunciation, the rhyme may look bad on paper, but still sound clear. An example of such a rhyme can be found in Pushkin: "boring and stuffy."
It is worth, if possible, to abandon too complete repetition of words used in rhyme. Words should be consonant, but not repeated almost completely.
If you can't find a good rhyme, you can put the problem word in the middle of the line.
