Johnston keeps up a strict rhyme scheme throughout the poem - aabbccbb, etc. However, the speaker's somewhat fourth wall breaking exclamation here tips that rhyme scheme on its head. Blin', in the Scots dialect, is a near rhyme with the word him, though that rhyme is lost some in other accents. Beyond the loose rhyme here, the outburst also changes the otherwise even flow of the rhythm through the poem.

The thought of her child falling to the floor forces the speaker out of her careful patterns, highlighting the mother's love and care for her children.

Each stanza follows a specific rhyming pattern. In each stanza, the end words of the first and third lines rhyme and the second and fourth also rhyme. The rhyme scheme of the poem results in an up-beat cadence when the poem is read aloud. The cadence really juxtaposes the serious tone of the content.

rhyme

rhyme

rhyme

rhyme

rhyme

Her and the last two lines of the poem are the only lines that do not rhyme. Most of the poem remains consistent with a rhyme scheme, however, the end of the last two stanzas through that off. This forces the reading to slow down and actually let the poem sink in. It is all about what occurred at Flanders fields, and that's where the poem slows down

One ought to ask what purpose this Rhyme serves?

• Providing emphasis of the material in the chapter;
• scaffolding for hanging the rest of the material of the book upon, and
• potentially meant to be memorized as a sort of outline of the book and the material.

did I miss the "rhyme" in this section or is he using a more figurative sense (as in "rhyme or reason")?

Ha! Didn't get far enough, it's on page 36, but also works the other way as well.

rhyme perfect

Rhyme scheme for The Good-Morrow is A B A B C C C, and it's persistent throughout every seven-line stanzas.

We can sense a slight transition in tones or subject between the quatrain(ABAB) and tercet(CCC).

In the first stanza, the quatrain is composed of a list of rhetorical questions, while the tercet isn't. Oppositely, in the second stanza, the tercet is grouped with anaphora, while the quatrain isn't. Finally, in the third stanza, the last three lines incorporate a slightly concerning tone compared to the preceding lines and the rest of the poem, implying transition.

Repetition of 'World(s)', creating an Internal rhyme

Internal rhyme through repetition of "love"

The unusually frequent use of slant rhyme (4 in total) in a relatively short poem might be a sign of purposeful errors that John Donne makes to implicitly express the excitement and satisfaction that the speaker is experiencing that he doesn't bother about strictly keeping the formality.

The poem contains four slant rhymes, which is an imperfect rhyme with similar, but not identical sounds. Most slant rhymes are formed by words with identical consonants and different vowels, or vice versa.

lines 1 and 3 - "I" and "childishly"

lines 9 and 11 - “fear” and “everywhere”

lines 12 to14 - “gone,” “shown” and “one”

lines 19 to 21 - “equally,” “I,” and “die”

Rhyme scheme, Ear & Here rhyme.

Rhyme of second and last line, soul & toll. This is also the only fourth line which does not end with a dash.

The next three stanzas follow the pattern of having the second and last line rhyme. In this stanza, drum & numb rhyme.

Poem VII has unknown authorship. Scholars have noted that its 6-line stanzas bear resemblance to Shakespeare's Venus and Adonis. Its rhyme scheme (A-B-A-B-C-C) also resembles that poem.

'Abhor thee' and 'adore thee' create an internal rhyme. Unlike the previous internal rhymes however, they use an identical rhyme with 'thee' and offset it with the rhyme between 'abhor' and 'adore'.

'Bold' and 'cold' create an internal rhyme.

'Sport' and 'short' create an internal rhyme.

The first line of the stanza can be said with either 10 or 11 syllables, due to varying pronunciations of the word 'fire'. The rest are 11 syllables each. This stanza follows the rhyming pattern of its predecessors

The syllables in this stanza alternate between 10 and 11 for the lines that alternate rhymes (10-11-10-11), and the final rhyming couplet has 11 syllables in each line.

Each line in this stanza has 11 syllables. The final word in the first 4 lines (which alternate rhymes) has two syllables, while the rhyming couplet at the end of the stanza rhymes the final two words together.

Tennyson uses end rhyme throughout the poem as a way of connecting the lines and establishing a flow/melody to the poem.

Internal rhyme of long "I" vowel

The short "I" vowel frequently appears in these lines creating an internal rhyme(assonance) between "it", "if", "fit", and "unfit."

Assonance, internal rhyme, insistingly negative.

This part stands out due to it's almost verse-like rhyme and meter structure.

I lay on the floor / in the front parlor / watching her door.

It emphasizes the narrator's obsession with the girl and highlights the absurdity of the daily routine, as well as the playful nature of childhood romance.

Useful for not only framing, but likely works for memory and repetition as well.

The words that rhyme in this verse seem to push the themes of this poem forward, (death-breath, murder-further, truth-youth

second stanza is a sestet, rhyme scheme cdedce

italian sonnet, first stanza is an octet First stanza rhyme scheme abbaabba

B

A

• • / - / - / - /<br> As virtuous men pass mildly away,

Iambic Tetrameter- This meter is consistent (as well as the Rhyme Scheme ABAB) throughout the poem in order to covey the message to Anne More that Donne's love for her is constant and never changing; this is used in order to comfort the upset More.

B

A

courante, lente, violente

face, passe, lasse

demeure dans le deuxieme ligne

rhyme avec la peine dans la quatrieme ligne

Rhyme Scheme: line1) a slave line2) b pleasure L3) a crave L4) b leisure L5) c beck L6) d liberty L7) c cheque L8) d injury L9) e strong L10) f time L11) e belong L12) f crime L13) g hell L14) g well