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The ABABCC rhyme-scheme is one of the most important forms in European poetry. It can be found in Thomas Campion 's and Emma Lazarus 's poetry. Juliusz Słowacki wrote his poem A Voyage to the Holy Land from Naples with the famous The Tomb of Agamemnon in ABABCC stanzas.
Chaucer first used the rhyme royal stanza in his long poems Troilus and Criseyde and the Parlement of Foules, written in the later fourteenth century.He also used it for four of the Canterbury Tales: the Man of Law's Tale, the Prioress' Tale, the Clerk's Tale, and the Second Nun's Tale, and in a number of shorter lyrics.
A rhyme scheme is the pattern of rhymes at the end of each line of a poem or song. It is usually referred to by using letters to indicate which lines rhyme; lines designated with the same letter all rhyme with each other. An example of the ABAB rhyming scheme, from "To Anthea, who may Command him Anything", by Robert Herrick:
The poem is written in 13 stanzas in an ABABCC rhyme scheme. Raleigh begins with an energetic determination to expose the truth, especially in the socially elite, although he knows his doing so will not be well received. Go, Soul, the body's guest, Upon a thankless errand; Fear not to touch the best; The truth shall be thy warrant:
The first four lines are an alternating rhyme ABAB, like in German folk songs. [3] This is followed by two lines of a third rhyme C, a couplet rhyme. The last line, as conclusion, is again the second rhyme B or does not rhyme X, an orphan. [4] Thus it consists of a quatrain and a tercet. The scheme is related to rhyme royal ABABBCC in English ...
Consisting of three, six line stanzas of iambic tetrameter with occasional exceptions, "There is a Garden in Her Face" is a lyric poem beginning with an ABABCC rhyme scheme. With notable imagery all throughout the work, Campion's poem begins by providing readers with a template of a woman's face.
The third, "Farewell, O sun, Arcadia's clearest light", is the first rhyming sestina in English: it is in iambic pentameters and follows the standard end-word scheme, but rhymes ABABCC in the first stanza (the rhyme scheme necessarily changes in each subsequent stanza, a consequence of which is that the 6th stanza is in rhyming couplets ...
The bar form has a Stollen of two lines, and an Abgesang of two lines, with a rhyming scheme ABABCC. [5] The text is given as in GL 149, and in Winkworth's translation: Liebster Jesu, wir sind hier,