reasoning rhyme
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One question that arises for the new terminology is whether it can cover rhyme practice in languages other than English adequately. It ought to be able to, as it’s based on phonetic/phonemic correspondence rather than any single tradition of what does or doesn’t constitute a rhyme. In this post, I start to test it out
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I closed my first post on Tiel Aisha Ansari’s criticism of my new rhyme terminology by saying that the mention of structure brought me to her most fundamental objection. She is bothered that my nomenclature risks broadening the definition of “rhyme” to the point where it loses all usefulness. This comment grows out of her
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It’s good to see Tiel Aisha Ansari’s critique of my Reasoning Rhyme posts on her Knocking From Inside blog. This is the first time anybody has taken me to task on any elements of my rhyme terminology and analysis, and it’s envigorating. Ansari says there is a lot she likes about my terminology. However, she’s
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On last week’s edition of The Verb, Paul Farley opined that “we” are “in denial about rhyme” because, when “we” rhyme, “we” use relative rhyme*. If you’ve read my Reasoning Rhyme posts, it won’t surprise you to learn that this is, in my opinion, utter tosh. Far from being a denial of rhyme, relative rhyme
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The previous post in this series examined the role of the onset in Wilfred Owen’s poetry. In this post, I’ll consider the subtle ways in which the onset participates in the rhyme scheme in a couple of poems by Simon Armitage. “Poem”Many contemporary poets exploit a wide variety of rhymes, often within a single poem.
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As I stated in the first main post in this series, the traditional conception of rhyme doesn’t allow for syllable onsets to play any role in rhyming, except in identical twin rhyme. The problem is that this analysis can’t account for much 20th century and contemporary rhyme practice, in which the onset muscles in on
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Throughout the Reasoning Rhyme posts, I refer to the features of segments. These are the aspects of each consonant or vowel that make it the sound it is. This post and its companion on vowels attempt to explain the basics of feature theory in fairly non-technical language, but I’m afraid they’ll remain pretty dry! (Remember
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Last time, I introduced the basics of my new terminology for rhyme. This post applies that terminology to the examination of more complex phenomena in rhyme. Remember that you can find a key to the symbols I use to indicate individual sounds here. You should be familiar with the use of slashes round a symbol
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In the previous post in this series, I briefly explored why rhyme terminology was ripe for revision. In this post, I set out the basics of a revised terminology. At one point, this entails using a wee bit more involved terminology from linguistics, which I’ll explain in a supplementary post so that this one doesn’t
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This post concerns itself with brief definitions of the basic rhyme phenomena and a quick critque of the traditional terminology. Throughout this series, it’ll be necessary to use some technical terms from linguistics and literary studies, but I’ll explain them as I go along. Rhyme involves a correspondence between two or more elements, usually, but
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Back in the dim and distant past, as a Linguistics student, I wrote an Honours dissertation on rhyme. It grew out of my reflection on rhyme practice as a reader and nascent writer of poetry and developed into a critque of a PhD thesis on rhyme by a Dutch linguist, Astrid Holtman. It struck me
Amy Jo Philip 