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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References in periodicals archive ?
By contrast, masculine rhymes are predominant in English, feminine rhymes in Italian and Polish.
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.
In every draft of the songs, as in the published version, the longest syllable in every one of the twenty-four lines is the 'e muet' of the feminine rhyme.
The rhyme alternation of masculine and feminine rhymes is a symbol of the two sides of Pushkin's personality.
As for the selection of masculine and feminine rhymes, there is no real equivalent ready to hand in English.
In the feminine rhyme, by contrast, this clear-cut ending is followed by an unstressed syllable rendering the halt more gradual, more fuzzy-edged.
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.
Although the feminine rhyme is not in itself necessarily comic, it is a generally accepted principle that the shorter the line, the less pronounced the rhymes may be if a serious tone is to be maintained.
Although from the Renaissance onwards, French verse was largely unstressed, early French verse was accentual, with stress falling primarily upon the last syllable of a word, a tendency that facilitated the transition from assonance to end-rhyme and led to a preference for masculine over feminine rhyme in Old French and Provencal verse.
Three rhymes are recognized by purists as "true rhymes": masculine rhyme, in which the two words end with the same vowel-consonant combination (stand/land); feminine rhyme (sometimes called double rhyme), in which two syllables rhyme (profession/discretion); and trisyllabic rhyme, in which three syllables rhyme (patinate/latinate).
Feminine rhyme, like the female speaker herself, is made peripheral in the poem, implying only a limited opportunity for a woman to participate in the discourse of science, as well as poetry.
This is not to say that Labe always uses /a/ as part of a feminine rhyme, and /e/ as a masculine one.
Since Pushkins Eugene Onegin is considerably longer than the two other poems, the contrast between masculine and feminine rhymes is more noticeable.
Robic's third chapter, "Les Jeux de la versification a la parodie," also refers to poets who subvert the tradition of alternating feminine and masculine rhymes to serve homosexual or lesbian themes, as we see in Banville's "Erinna" which is written in feminine rhymes only.
This was a collective effort, though Ronsard proved the strongest voice and his definition prevailed: metric and strophic regularity and the alternation of masculine and feminine rhymes for the sake of singing, and Pindar as well as Horace as models.