The meter of Mickiewicz`s sonnet is the Polish alexandrin (tridecasyllable, in Polish “trzynastozg`oskowiec”): 13 (7-6) and its rhymes are women: [anu] and [odzi]. The perfect rhymes can be categorized according to the number of syllables contained in the rhyme, which is dictated by the position of the last claimed syllable. Eye rhymes or pertines or spelling rhymes refer to similarities in spelling, but not to sound, where the last sounds are written identically, but are pronounced in different ways. [6] Examples in English are cough, branch and love, movement. Rhyme was introduced to Russian poetry in the 18th century. The popular poet had generally not been rounded and relied more on the ends of the type line for effect. Two words, which end with an accented vowel, are considered a re-inseration only if they share a previous consonant. Voice couples rhyme — even if non-Russian loops don`t see them as the same sound. Consensual couples rhyme when both are unscried. As in French, formal poetry traditionally alternates between male and female rhymes. The most important “silent” letter is the “silent e.” In spoken French, the definitive “e” is now omitted in some regional accents (z.B.

in Paris) according to consonants; but in classical French prosody, it was considered an integral part of the rhyme, even if one followed the vowel. “Play” could rhyme with “mud,” but not “hole.” The rhyme words that ended with this silent “e” are supposed to make a “double rhyme,” while words that don`t end with this silent “e” form a “unique rhyme.” It was a principle of the formation of the verses that the single and double rhymes had to succeed each other in the verse. Almost all the French pieces of the 17th century follow one another in male and female verses Alexandrin Couplets. The poetry of the early 18th century required perfect rhymes, which were also grammatical rhymes – that the names end with nomads, degenerates and verbs, and so on. Such rhymes, which rely on morphological endings, are much rarer in modern Russian poetry and closer rhymes are used more. [17] Portuguese classifies rhymes as follows: Nordic poetry is dotted with rhymes such as “s`3l … sunnan.” “Creation” rhymes with “integration” and “station.” In French poetry, unlike English, it is customary to have identical rhymes, where not only the vowels of the last syllable of the lines rhyme, but also their consonants that occur (“support consonants”). For the ear of someone who is used to English verses, it often sounds like a very weak rhyme.

For example, a perfect English rhyme of homophones, flour and flower, seems weak, while a French rhyme of homophones finger (“finger”) and Doit (“must”or dot and dot” and dot (“not”) is not only acceptable, but quite common. As German phonology presents a wide range of vocal sounds, some imperfect rhymes are widely recognized in German poetry. These include the rhyme of `e` with `O` and `O`, the rhyme of `i` with `o`, the rhyme of `ei` with `eu` (written in a few words`) and the rhyme of a long vowel with its short equivalent.