The Vorwort wants development, the notes, confined to a few words, are inadequate and verse is everywhere rendered by prose, the Saj'a or assonance being wholly ignored.
Mohammed: the Alfíyah-grammar of Ibn Málik is in Rajaz Muzdawij, the hemistichs rhyming and the assonance being confined to the couplet.
The meter is a kind of trochaic tetrameter, with a pause after the eighth syllable, and a rhyme or assonance at the end of the lines.
At present it consists of four stanzas of four lines each, having a rhyme or assonance in the middle and at the end of each line, which properly should consist of sixteen syllables.
Rime and assonance are hardly less important, but are not strictly speaking essential.
Assonance is unsuited to the genius of any language possessed of a rich vowel-system.
Cuartetas (12-syllable verse); rime in the odd verses; assonance or masculine rime in the even.
Verso de romance, printed in the form of cuartetas; assonance in á-a.
Irregular blending of 2-and 3-syllable meter; assonance and rime; the crescendo effect begins here.
Assonance is not unknown in English, especially in popular or folk verse; but we generally regard it as a faulty rime.
Assonance is the identity of sound of two or more stressed vowels and the final following vowels, if there are any.
Ballad meter or verso de romance (8 syllables) withassonance in é-a.
Through the force of assonance Ḳayîn was changed in the mouth of the people into Ḳâbil, and this form made its way at a later time into literature and became general.
Moreover, this love of assonancenatural to Arabic writers extends beyond the proper sphere of Arabic legends to foreign parts.
It is also noteworthy that the first species of assonance is to be observed not only in personal names, but also in geographical proper names, e.
But his name seems to have been chosen only on account of its assonance to Jabal (a favourite practice with the Semites), and not to belong to the ancient myth, but to owe its origin to the later legend of civilisation.
The assonance occurs not only at the end of the words, the initial syllable being indifferent, but also inversely in the first syllable, the end of the word being indifferent.
Each line must contain a fixed number of syllables, whilst the different metres vary as to the employment of internal and end rhyme, assonance and alliteration.
As to brusqueness of recital, and the use of assonance instead of rhyme, as well as the aid to memory given by reproducing speeches verbally, these are almost unavoidable in all simple poetry preserved by oral tradition.
The adjective and noun mutually exclude each other, but the rhyming assonance has joined ‘hollow’ to ‘halo.
There existed also the idea and form of the Sequence, consisting of pairs of lines which had reached assonance and some degree of rhythm, and varied in length, pair by pair, following the music of the melodies to which they were sung.
In the other hymn, also to the Cross, assonance and rhyme foretell the coming transformation of metre to accentual verse.
Moreover, a number of the Sequences of which he may have been the author show survivals of the old rhythmical irregularities, and of assonance as yet unsuperseded by pure rhyme.
The first contains occasional assonance in place of rhyme, and uses many rhymes of one syllable.
Assonance is almost equally common, and is even more strange to our taste.
Other varieties of assonance are the frequent employment of the same preposition in the same part of the foot, e.
Alliteration and assonance are the natural ornaments of poetry in a rude age.
The kind of assonance avoided was identity of final sounded consonants in successive words, e.
The rule for the avoidance of alliteration, rhyme, and assonance was extended to the foreign symbols, and to the two terms of a couplet.
In other words, assonanceis an improper or imperfect form of rhyme, in which the ear is satisfied with the incomplete identity of sound which the vowel gives without the aid of consonants.
It is not so in several literatures, such as in Spanish, whereassonance is systematically cultivated as a literary ornament.
Assonance as a conscious art, in fact, is scarcely recognized as legitimate in English literature.
Assonance appears, nevertheless, to have preceded rhyme in several of the European languages, and to have led the way towards it.
Like alliteration, assonance is a very frequent and very effective ornament of prose style, but such correspondence in vowel-sound is usually accidental and involuntary, an instinctive employment of the skill of the writer.
With its variously interwoven rhymes, both end and internal, its use of assonance and alliteration, to mention only the more obvious effects, the poem is a musical symphony.
Both rhyme and assonance were to be found in the early Latin which he had studied deeply, and may be judged from incidental fragments of the popular language never to have wholly disappeared from common use during the classical period.
Assonance is used freely, but there is not more rhyming than is usual in the poetry of the late empire.
Lope de Vega The word romancero in modern Spanish is more or less strictly applied to a special form of verse composition, a narrative poem written in lines of sixteen syllables which adhere to one single assonance throughout.
No absolute system of assonance or rhyme appears, and we are almost forced to the conclusion that the absence of this is in a measure due to the kind offices of Abbot Pedro.
In the other stanzas thus far described, assonance prevails, although consonantal rhyme is not excluded.
These lines seem to show assonance instead of rhyme.
This generally consists of four verses having the same number of syllables each (normally trochaic octosyllables), and having besides, in the alternate verses, an assonance which remains the same throughout the poem.
Generally the pages present the spectacle of an intensely irregular mosaic, or rather conglomerate, of small blocks of assonance or consonance put together on no discoverable system whatever.
Further, it so happens that this very assonance is one of the best known characteristics of Spanish poetry, which is the only body of verse except old French to show it in any great volume or variety.
Some of their rhymes recall the loose assonance of old French poetry, such as the Chansons de Geste.
In this unrhymed poem, assonance is very carefully avoided.
Not only is there no rhyme, but assonance is very carefully avoided.
The substitution of exact rhyme for assonance in his lines would double the already immense merit of his work.
But the crowning splendour of impossible assonance is attained in the "Worlds-girls" atrocity.
The rhyming is a little uneven, and in one case assonance is made to answer for true rhyme.
Mr. Chenault is a poet of the first order so far as inspiration is concerned, but his work is frequently marred by irregularity of metre, and the use of assonance in place of rhyme.
Another possible form of assonance, in which the consonants alone agree while the vowels may differ, might be called consonantal assonance as distinguished from vocalic assonance, or assonance simply.
Isolated instances of rhyme or assonance may be met with even in the oldest Old English poems.
This form of assonance is not found in English poetry, though it is employed in Celtic and Icelandic metres.
On account of theassonance of the names he was sometimes confounded with Sivû, Sibû by the Egyptians themselves, and thus obtained the titles of that god.
Its author, a monk of Weissenburg in Alsatia, is the earliest German author whose name is known and the first to employ rime or assonance in place of alliteration.
The originals frequently have assonance instead of rime and the verse is sometimes crude in other ways.