Her poems were inclined to be short (she was keenly influenced by haiku), and were often organized around unobtrusive — and therefore highly effective — rhyme or half-rhyme, the prosodic device in which two words are united by a shared final sound.
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In this , there are four seven-syllable lines that half-rhyme with each other (half-rhyme means that the final consonants agree).
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The chain half-rhyme . In this version there are four lines of seven syllables. The first and third lines rhyme and the second and fourth half rhyme on the same vowel sound as the full rhyme syllables.
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An englyn on a gravestone in Christ Church, Bala: Price anwyl, pur ei wasanaeth... ' (; plural ) is a traditional Welsh and Cornish short poem form. It uses quantitative metres, involving the counting of syllables, and rigid patterns of rhyme and half rhyme. Each line contains a repeating pattern of consonants and accent known as .
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There is a clear rhyming scheme of couplets, with a nice half rhyme towards the end which rounds the poem off properly. In the poem, the fire the Old Mother lights in the morning is meant to represent the Old Mother herself, waking up when the fire is blown, and resting when the fire grows both "cold" and "feeble". The rhyming style of the poem represents that of childish songs and nursery rhymes. The simplicity touches the reader.
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Pararhyme is a half-rhyme in which there is vowel variation within the same consonant pattern. "Strange Meeting" (1918) is a poem by Wilfred Owen, a war poet who used pararhyme in his writing. Here is a part of the poem that shows pararhyme: :Too fast in thought or death to be bestirred. :Then, as I probed them, one sprang up, and stared :With piteous recognition in fixed eyes, :Lifting distressful hands, as if to bless.
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Irish bards formed a professional hereditary caste of highly trained, learned poets. The bards were steeped in the history and traditions of clan and country, as well as in the technical requirements of a verse technique that was syllabic and used assonance, half rhyme and alliteration known as Dán Díreach. As officials of the court of king or chieftain, they performed a number of official roles. They were chroniclers and satirists whose job it was to praise their employers and damn those who crossed them.
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The bards were steeped in the history and traditions of clan and country, as well as in the technical requirements of a verse technique that was syllabic and used assonance, half rhyme and alliteration, among other conventions. As officials of the court of king or chieftain, they performed a number of official roles. They were chroniclers and satirists whose job it was to praise their employers and damn those who crossed them. It was believed that a well-aimed bardic satire, , could raise boils on the face of its target.
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There are commonalities to the Holy Trinity in regard to the man, woman, and flea. The speaker attempts to make his argument respectable when he suggests the flea's action makes the couple married, despite using a half rhyme instead of a complete one as if to undermine his argument because he knows it's false. The conclusion is full of images of death: “make thee apt to kill me”, and “self-murder” as the lady purples her finger when squashing the creature. Primarily throughout the Jacobean period —and occasionally used today— phrases about death are euphemisms for orgasm, the petit mort, or little death.
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Austin Clarke Bridge in Templeogue Austin Clarke (Irish: Aibhistín Ó CléirighAuthor name given for Clarke's book Filíocht na Linne Seo/Poetry in Modern Ireland, Mercier, (undated).) (9 May 1896 – 19 March 1974), born in 83 Manor Street, Stoneybatter, Dublin, was one of the leading Irish poets of the generation after W. B. Yeats. He also wrote plays, novels and memoirs. Clarke's main contribution to Irish poetry was the rigour with which he used technical means borrowed from classical Irish language poetry when writing in English. Effectively, this meant writing English verse based not so much on metre as on complex patterns of assonance, consonance, and half rhyme.
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Beeching's poetry is considered moving, original, clear- sighted, compressed, and funny. This was a view expressed by the editor of Qualm in 2003, a high opinion shared by the editors at Penguin circa 1970, and reflected in his obituary in The Independent thirty years later, whose author speaks also of Beeching's 'disciplined metre, subtle half-rhyme and a luxuriant syntax which expressed at times distinctly "difficult" metaphysical concerns'.Mary Corbett, The Independent, 2002 His writing in old age was perhaps at least as strong and trenchant as that of any of his peers of a similar age. Although he continued to write until his death, during the second half of his life his work fell into neglect.
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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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According to the Uraicecht Becc in Old Irish Law, bards and filid were distinct groups: filid involved themselves with law, language, lore and court poetry, whereas bards were verifiers. However, in time, these terms came to be used interchangeably. With the arrival of Christianity, the poets were still giving a high rank in society, equal to that of a bishop, but even the highest-ranked poet, the ollamh was now only 'the shadow of a high-ranking pagan priest or druid.' The bards memorized and preserved the history and traditions of clan and country, as well as the technical requirements of the various poetic forms, such as the dán díreach (a syllabic form which uses assonance, half rhyme and alliteration).
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Bilbo follows the "Road ... with eager feet", hoping to reach the peace of Rivendell, to retire and take his ease; whereas Frodo sings "with weary feet", hoping somehow to reach Mordor bearing the Ring, and to try to destroy it in the Cracks of Doom: diametrically opposed destinations and errands. He notes that Rivendell was the home of Elvish song, among other things citing Tolkien's statement that the song invoking Elbereth was a hymn. Shippey writes, too, that Bilbo wrote and sang the Song of Earendil in Rivendell, making use of multiple poetic devices – rhyme, internal half-rhyme, alliteration, alliterative assonance, and "a frequent if irregular variation of syntax" – to create a mysterious Elvish effect of "rich and continuous uncertainty, a pattern forever being glimpsed but never quite grasped." Shippey remarks that Tolkien, a Christian, was extremely careful with dates and timelines, but that hardly any readers notice that the Fellowship sets out on its quest on 25 December, the date of Christmas, and succeeds, destroying the Ring and causing the fall of Sauron, on 25 March, the date in Anglo-Saxon tradition for the Crucifixion.
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