In fact, the submission guidelines of some of the more popular poetry publications clearly state that rhyming poetry will not be considered. Most of the poems I write rhyme…That is just how I like to write poetry.
I liked this article, to me it is so true. Otherwise it nothing but a story. All I have written is rhyme. It makes me feel good when I read it, and I have had good comments. Rhyming poetry is so much more palatable to the ear than free verse. I think that literary journals would lure more readers if they accepted poetry that rhymes. I guess high-brow editors must think that poetry that rhymes is too simplistic.
The truth is, to make a poem rhyme while also having the poem make sense is extremely difficult. I think writing a good poem that rhymes is far more difficult than writing free verse where you can choose any word you want to convey your point. Cutler, A. On the role of sentence stress in sentence processing.
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On derived domains in sentence phonology. Solso, R. Cognition and the Visual Arts. Stumpf, C. Musikpsychologie in England. Tsur, R. Brighton and Portland: Sussex Academic Press. Turner, F. The neural lyre: poetic meter, the brain and time. Poetry Van Peer, W. The measurement of metre: its cognitive and affective functions. Instead of a glaring clang highlighted by an open silence after, we get a light clash within the rhythm of the whole band. Do "Hondas" rhyme with "Khmers"? The second "uh" vowel does, depending on differing regional pronunciations of these non-English-origin words.
So this is a half-rhyme, and doubly halved by the rhyming syllable being the shorter, unstressed syllable of "Hondas" and few readers being able to pronounce "Khmers" accurately on first viewing Or if it does attend, we may not tell how mind or heart should turn its meaning but where it will.
And some there are who have denied us all fellowship and identity reserved their rank in the national roll. But should you read these lines, and if they move, I would you share their longing with a friend, our people, and all who love. The rhymes appear, but not in every line, only the 2nd and 5th of each stanza.
Separated by three lines, the ear struggles to hear them with the same regularity, especially with the absence of a strict meter to regulate the repetition. And as further diversion, each of the stanzas is a single sentence, eliding the ripple of each rhyme into the wave of the long run-on.
The rhyme becomes even less obvious when it loses the open vowels, and retains only the percussion of the consonants—closer to the rhythmic "chck" of a closed high-hat. Who would notice the eye-rhymes of "body" and "melody", or "breakfast" and "past"? The last is even less noticeable as it enjambs into the next sentence—reading this poem out loud, one barely hesitates on the line break at "The past" to ruminate on that subject, before the poetic line sweeps on into a disavowal of what the present is.
Even where Tay adopts perfect rhyme with "raw" and "law", with two end-stopped sentences, he prevents them from being predictable by breaking the line in the middle with a caesura after "Shells crack on rim" and "was never like that". Instead of head-wagging, five-beat lines of iambic pentameter, the end-stopped full rhymes come after fragmentary sentences in a series of enjambed interjections. I liken this to rhythmic syncopation the sharp emphasis of the down-beat happening not where you predict it, carrying past each bar into the next with a sense of off-balance surprise.
In the first six lines of this sonnet there isn't a single end-stopped line—every line runs on! Not content with breaking the sentence across the poetic line, he breaks a word - "ex-cellence" across the first two lines so he can rhyme "ex-" with "lax. Rather than the subtlety of enjambment, this technique calls attention to itself, and deliberately so!
Does "salarymen" rhyme with "monuments"? Both have "men" in them, so should we call this consonance or assonance or half-feminine rhyme?
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