A Quote by Austin Clarke
Assonance is not the enemy of rhyme. It helps us to respect rhyme, which has been spoiled by mechanical use.
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Rhyme to kill, rhyme to murder, rhyme to stomp,
Rhyme to ill, rhyme to romp,
Rhyme to smack, rhyme to shock, rhyme to roll,
Rhyme to destroy anything, toy boy.
On the microphone:
I'm Poppa Large, big shot on the East Coast.
I prefer assonance and internal rhyme to end rhyme. I mean, the sonnet already looks like a box. Best not to get too boxed in, though.
This is what rhyme does. In a couplet, the first rhyme is like a question to which the second rhyme is an answer. The first rhyme leaves something in the air, some unanswered business. In most quatrains, space is created between the rhyme that poses the question and the rhyme that gives the answer - it is like a pleasure deferred.
Some rhyme a neebor's name to lash;
Some rhyme (vain thought!) for needfu' cash;
Some rhyme to court the countra clash,
An' raise a din;
For me, an aim I never fash;
I rhyme for fun.
In 1967, in DeKalb v. DeSpain, a court (255 F.Supp. 655. N.D.Ill. 1966.) took a 4-line nursery rhyme used by a K-5 kindergarten class and declared the nursery rhyme unconstitutional. The court explained that although the word 'God' was not contained in this nursery rhyme, if someone were to hear the rhyme, he might think that it was talking about God - and that would be unconstitutional!
Generally speaking, rhyme is the marker for the end of a line. The first rhyme-word is like a challenge thrown down, which the poem itself has to respond to.
There seems to be no rhyme or reason for Aleister Black and Bobby Lashley to collide, because the world teaches us that sometimes there is no reason or rhyme for conflict.
A glance at the history of European poetry is enough to inform us that rhyme itself is not indispensable. Latin poetry in the classical age had no use for it, and the kind of Latin poetry that does rhyme - as for instance the medieval 'Carmina Burana' - tends to be somewhat crude stuff in comparison with the classical verse that doesn't.
A glance at the history of European poetry is enough to inform us that rhyme itself is not indispensable. Latin poetry in the classical age had no use for it, and the kind of Latin poetry that does rhyme - as for instance the medieval Carmina Burana - tends to be somewhat crude stuff in comparison with the classical verse that doesn't.
When I began rapping, I only had one form at my disposal. All I had, all I needed was a rhyme verse; sixteen bar, thirty-two bar, whatever it was. If I had an idea it came out as a rhyme. When I challenged myself to think beyond that, my first thing other than a rhyme that I wrote was a play.
The earliest English attempts at rhyming probably included words whose agreement is so slight that it deserves the name of mere 'assonance' rather than that of actual rhyme.
At first I was laboring under the impression that Chinese lyrics didn't rhyme. That turned out to be untrue - they don't rhyme in translation.
I mean, when it's time to rhyme rhyme, I can get down for mine.
I thought of rhyme alone,
For rhyme can beat a measure out of trouble
And make the daylight sweet once more.
In mockery I have set
A powerful emblem up,
And sing it rhyme upon rhyme
In mockery of a time
Half dead at the top.
I love poetry. I love rhyming. Do you know, there are poets who don't rhyme? Shakespeare did not rhyme most of the time, and that's why I do not like him.
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