Both are hyperdense, fluently assonant, working with car crashes of syllables and making them sound like regal skyscrapers.
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It's a record of delicate curves and assonant murmurings, its electric pianos reverberating against what sounds like creaking baseboards and fumbled zippers.
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After all, what bizzer in his or her right mind would say no to a young nobody who sneaks the assonant "Ski mask under my hijab" into her opening track?
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I did ask my Lusophone nephew to provide an English track listing for an album he renders as A Dog in the Milky Way, an image that adds salt and substance to the assonant V's, L's, and T's of the sounded-out Portuguese.
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Edom means red, and Bossrah is assonant to Bsser, a vinedresser.
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The term is also used for a Spanish stanza form with four to seven short, partly assonant lines in a characteristic rhythm.
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Ollantay is divided into three acts. It is written predominantly in octosyllable verse alternating with hendecasyllable verse, and contains both blank verse and assonant rhyme.
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In a similar manner, all of Bécquer's poetry is collected in Rimas. The 79 poems are short, have 2,3, or 4 stanzas (with rare exceptions), generally employ assonant rhyme, and are written in free verse.
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The genus name derives from the Ancient Greek "rabdos", or “stick” with reference to the presence in many species of woody spine on the end of each twig. The specific Latin name alaternus, assonant with "alternus" or “alternate”, refers to the alternate leaves.
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The Romance of Abenámar is a medieval Spanish romance, written as a dialog between the Moor Abenámar and the Catholic King John II of Castile. The poem is a short "frontier romance" in Castilian Spanish with assonant rhyme. The historical events it describes took place in 1431, but the author and date of composition are unknown.
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The poem consists of forty-six short lines with assonant rhyme. This rhyme scheme, which matches vowels while ignoring consonants, was common in Spanish poetry of the time. Every second line participates in the rhyme by ending with the vowels ía, a stressed i followed by unstressed a. For example, the sixth and eighth lines end with the words crecida (crescent-shaped) and mentira (lie).
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In four-line stanzas, the second and fourth line are in assonant rhyme, while the first and third are free. In three-line stanzas, the assonance is between the first and the third. Some examples: ;A three-line stanza :No se me daba cuidao :me hago cargo que ha sío un ensueño :y a lo pasaíto pasao. :;Translation ::I didn't mind ::I know it was just a dream ::and past things are past.
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The pronunciation of New York City English, most popularly acknowledged by the term "New York accent", is readily noticed and stereotyped, garnering considerable attention in American culture.Labov et al., 2006, p. 233 Some well-known phonological features include its traditional dropping of r, a short-a split system (in which, for example, the a in gas is not assonant to the a in gap), a high gliding vowel in words like talk, thought, all, etc.
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She finds in his writing a quality of "tenderness", and sees a poet who "can't shake his shockability". Salter compared Kirchwey to poet Marianne Moore in terms of how the "alliterative, assonant words hang heavy as lemons from their commas" and in terms of stylistic approaches such as breaking words at the ends of lines and having a fairly "loose treatment of meter." The Engrafted Word was listed as a "notable book" of 1998 by The New York Times.
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"Out of the Question" concerns a lover's mood swings, while "The Golden Rule" is one of O'Sullivan's most musically inventive and lyrically offbeat songs, with its "assonant convolution and linguistic legerdemain." As with "But I'm Not", Fats Domino influenced the song "I'm Leaving", which opens with an octave synthesiser and features lyrics of urban claustrophobia that O'Sullivan has described as perhaps chronicling his childhood town Swindon failing to achieve city status. The album's outro song follows, where O'Sullivan bids listeners farewell.
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The fundamental melody of the plena, as in all regional Puerto Rican music, has a decided Spanish strain; it is marked in the resemblance between the plena Santa María and a song composed in the Middle Ages by Alfonso the Wise, King of Spain. The lyrics of plena songs are usually octosyllabic and assonant. Following the universal custom the theme touches upon all phases of life—romance, politics, and current events. Generally, anything which appeals to the imagination of the people, such as the arrival of a personage, a crime, a bank moratorium, or a hurricane, can be the subject of plena music.
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The "we" of the poem describes drinking the black milk of dawn at evening, noon, daybreak and night, and shovelling "a grave in the skies". They introduce a "he", who writes letters to Germany, plays with vipers, whistles orders to his dogs and to his Jews to dig a grave in the earth (the words "Rüden" (male dogs) and "Juden" (Jews) are assonant in German),Weimar (1974), p. 88. and commands "us" to play music and dance. "He" uses the phrase "your golden hair Margarete", (hair, like the "black milk" becomes a recurrent theme of the poem); this may possibly in the letter that he writes to Germany, although the wording leaves this unclear.
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Much Cretan music is improvisational, especially in terms of its "lyrics." Typically, the lyrics of Cretan instrumental music take the form of mantinadas (): fifteen-syllable rhyming (or assonant) couplets which have their origins in medieval Cretan poetry (as rhyming couplets) as well as in earlier (non- rhyming) forms of Greek verse (in the same fifteen-syllable form). Each line of a mantinada is divided into two hemistichs (), the first of eight syllables and the second of seven, and separated by a caesura. For this reason, sometimes when mantinadas are transcribed, they are broken into four shorter lines in a rhyme scheme of ABCB as opposed to the traditional form of a couplet.
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Probably the most famous cultural heritage of the Isleños are the décimas which carry back to the varied origins of the community. These songs, unlike the ten-line Spanish décima of the 16th century, a form widespread throughout Hispanic America, are usually composed in couplets using four half-lines of verse, the even verses being assonant rhymes. They have been composed as recently as during the first half of the 20th century and feature themes relating to local history, the hazards encountered while fishing or trapping, the misadventures of local personalities, and humorously exaggerated tales of fishing exploits. The Isleños of St. Bernard Parish, sing both traditional décimas and improvised décimas that are composed whilst singing.
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"Fee-fi-fo-fum" is the first line of a historical quatrain (or sometimes couplet) famous for its use in the classic English fairy tale "Jack and the Beanstalk". The poem, as given in Joseph Jacobs' 1890 rendition, is as follows: Illustration by Arthur Rackham in English Fairy Tales by Flora Annie Steel, 1918 > Fee-fi-fo-fum, I smell the blood of an Englishman, Be he alive, or be he > dead I'll grind his bones to make my bread. Though the rhyme is tetrametric, it follows no consistent metrical foot; however, the lines correspond roughly to a monosyllabic tetrameter, a dactylic tetrameter, a trochaic tetrameter, and an iambic tetrameter respectively. The poem has historically made use of assonant half rhyme.
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Other prose fragments include Florica, which takes the shape of two telephone conversations between the author and a woman named Florica Diaconescu, who shares her strange visions, and the false biography of a non-existing poet named Haralamb Olaru. Among his poems is the Spanish-language Dos hermanas ("Two Sisters"), about two women falling in love with the same man and deciding not to fight over him for lack of bullets, and the assonant French- language Catulle, l'émule de ma mulle ("Catullus, the Emulator of My Mule"), which ends with the death of a suitcase. A Romanian-language piece, titled Cântec de leagăn ("Lullaby"), reads: Ruja argued that there was an intrinsic connection between Cugler's training as a musician and the pleasant sound of his lyrics. This, he proposed, was the case of pieces where "the absurd was reached" through "the alteration of regular meanings", but where the text was nonetheless arranged with intent.
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