double rhyme

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Related to feminine rhyme: masculine rhyme
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  • noun

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a two-syllable rhyme

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By contrast, masculine rhymes are predominant in English, feminine rhymes in Italian and Polish.
At its phonetic base lies a weakening, or reduction, of the second vowel in feminine rhymes that is characteristic of Russian pronunciation, and these feminine rhymes seem to be the bearer of the entire development.
The same is true for the uniformly feminine rhymes in classical Italian and Polish poetry, such as the Divine Comedy, Petrarch's sonnets, and the epic or lyric verse from Mickiewicz and Slowacki.
The interchange between the masculine and feminine rhymes is a technique that owes a debt to its Russian predecessor, the Pushkin stanza of Eugene Onegin, which interlocked couplets of masculine and feminine rhyme.
However, in English Brodsky often has to sacrifice more meaningful rhyme pairs, and exchange them for relatively meaningless or awkward juxtapositions for the sake of (sometimes very slant) feminine rhyme.
A writer of English poems doesn't have linguistic gender as part of his or her craft but can still evoke a feminine presence in the poem by relying on feminine characters, feminine rhyme, and more frequently, feminine images.
In the feminine rhyme, by contrast, this clear-cut ending is followed by an unstressed syllable rendering the halt more gradual, more fuzzy-edged.
Furthermore, in a quatrain that consists of feminine and masculine rhymes, it makes a considerable difference whether the masculine or the feminine rhyme occurs at the end of the unit.
But in the second stanza the so-called feminine rhymes (follows/ swallows, recapture/rapture, dower/flower) give the poem a melancholy dying fall, undoing the confident exhortation of the first stanza.
Beyond being ludicrous, the purportedly masculine dactyl lines with feminine rhymes confuse gender identities.
In addition, the pairing of the feminine rhymes is inconsistent through a blending of syllabic possibilities, fluctuating among two double-syllable words ("cherish," "perish"), di- and tri-syllabic words ("Davy," "Peccavi") and other unequal syllabic couplings ("crescent," "incandescent"), and even two words and a single word ("began it," "planet").
Indeed, the feminine rhymes of the a-lines offer a relentless challenge to the masculine rhymes of the b-lines, mirroring the assertion of female importance and vitality that appeared on the thematic plane.
This difference between masculine and feminine rhymes can be attributed to the fact that rich feminine rhymes are relatively scarce, and for that reason lines that include them, from the point of view of production of verse, allow for fewer choices between stress profiles than lines ending with rich masculine rhymes.
The loosening of structural requirements in Lermontov is simultaneously reflected in a smaller proportion of rich rhymes, less pronounced asymmetries between masculine and feminine rhymes, and a lack of perceivable interaction between rhyme and stress.
But he has also replaced the original's feminine rhymes (mira/pira) and pushed the prosaic "East" forward (in Russian, vostok is literally "rise (of the sun).