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 liked my name pronounced by your lips in a grateful, happy accent.
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.
Part a of scene from 'Bitterblue' between Madlen (Bitterblue's medicine woman) and Bitterblue: Madlen came to sit beside her [Bitterblue] on the bed. "Lady Queen," she said with her own particular brand of rough gentleness. "It is not the job of the child to protect her mother. It's the mother's job to protect the child. By allowing your mother to protect you, you gave her a gift. Do you understand me?
I don't even correct people when they mispronounce my name now.
Give lettered pomp to teeth of Time, So "Bonnie Doon" but tarry; Blot out the epic's stately rhyme, But spare his "Highland Mary!"
This was the man, this Balaam, I say, was the man, who desired to die the death of the righteous, and that his last end might be like his; and this was the state of his mind when he pronounced these words.
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.
The story depicts also the troubled part of the hero's life which precedes and leads up to his death; and an instantaneous death occurring by 'accident' in the midst of prosperity would not suffice for it. It is, in fact, essentially a tale of suffering and calamity conducting to death.
Constantly risking absurdity and death whenever he performs above the heads of his audience, the poet, like an acrobat, climbs on rhyme to a high wire of his own making.
I couldn't bear to have people mispronounce my name. But the person I was was this person who was called Chloe.
Human stories are practically always about one thing, really, aren't they? Death. The inevitability of death. . . . . . (quoting an obituary) 'There is no such thing as a natural death. Nothing that ever happens to man is natural, since his presence calls the whole world into question. All men must die, but for every man his death is an accident, and even if he knows it he would sense to it an unjustifiable violation.' Well, you may agree with the words or not, but those are the key spring of The Lord Of The Rings
A name pronounced is the recognition of the individual to whom it belongs. He who can pronounce my name aright, he can call me, and is entitled to my love and service.
There is no such thing as a natural death: nothing that happens to a man is ever natural, since his presence calls the world into question. All men must die: but for every man his death is an accident and, even if he knows it and consents to it, an unjustifiable violation.
I liked Augustus Waters. I really, really really liked him. I liked the way his story ended with someone else. I liked his voice. I liked that he took existentially-fraught free throws.
He raised his eyes. "Sister. See. This time I knew you." Asha's heart skipped a beat. "Theon?" His lips skinned back in what might have been a grin. Half his teeth were gone, and half those still left him were broken and splintered. "Theon," he repeated. "My name is Theon. You have to know your name.