The mirror., 1916-11-16


cause in the works of the older poets such rhymes
frequently and the beginner often at less
to know whether they mistakes perhaps cor
rect rhymes. They were correct rhymes when they
were written but the language has changed since
Shakespeare time. There is, however, silly con-
ceit among would be "li,erary poe,s of the present
time that the word wind" should still be rhymed
on its ol l pronunciation, and we often SET examples
such as the following
Perfumes of many kinds
Were waited to our bower on gentle winds'
This is merely affectation, a very proper
frery for the poet who still considers it necessary
his hair long.
Rhymes may be used not only at the ends of
lines-lhat s end rhyme-but very beautiful effects
can he secured by internal rlyme-rbymes used in
the middle Of line Poe used double internal
rhyme and end rhyme in The Raven'':-
Though thy crest be shorn and shaven, thou,'
l said, art no craven,
Ghasty, grim. and ancient raven, wandering from
the Nightly shore''-
Internal rhyme is also one of the distinctive
characteristics of Irish poetry. Used sparingly, it
gives melody to verse, but If carried extremes the
verses become little than doggerel, no matter
what the subject matter.
Beginning rhyme is sometimes used as an orna-
mentaion to verse, usually in connection with end
rhyme. 1t consists of fret syllable. or first word,
rhymes in succeeding lines. Thomas Hood made ef.
f-c,ive of it in his passionate poem The Bridge
Of Sishs':-
The bleak wind of March
Made her ,remble aud shiver
But not the dark arch,
Or the swift flowing river;
Mad from lif-s history
Glad to deaths mystery
Swift to be hurled
Any~ here. anywhere
Out of the world!
And again.
Spurned by contumely
Burning ineanty.
the second, ouly first syllables.
In choosing rhymes should be exercised to
prevent the frequent occurrence of identical or
similar vowel sounds in different rhyme groups.
Much of the pleasure derived from rhyme in verse
may be traced to the meodic i'm preston of strongly
contrasted vowel sounds in succeeding rhyme
groups. The following specimens to be TAX.
examples of poetry; write them merely to il
lusrate the faults pointed out above:-
His feeble fingers bndly grope
Along the smooth, forbdding stone;
The family glowing spark of hope
Dies, aud he stands alone.
Here the alternate rhymes which should be
contrased, repeat the vowel sound, long SOP
and the effect is monotonous tiring the ear aud dis
tracing the readers mind from the conte xt. Such
repe,tions show lack of imagination. little invent
i've ability on the part of the wrer who uses them
more than occasionally. The use of closely related
sounds has the fault; as witness:-
lie knew now why the other said
So pointedly. Some go, some stay,
Who pass beyond the mountain head
Where broods the God of Day."
Those s'arkey tow'ring peaks above
No power of man could ever move;
And yet from what little shove
He'd slipped into the groove.
The Precipce
Willie the vowel sounds in the above rhymes
are not dentical still they closely related to
form a satisfactory contrast. Note The gain iu pow
er and beauty of the rhymes in these lines. where
the "a" aud so are con,ras,ed:-
Their MONDAY never knows
What names immortal are;
Tis night alone that shows
How star surpasse1h star