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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 serpent had a head at each end of its body and therefore was able to move forwards and backwards. In its simplest form the amphisbaenic rhyme consists of the same word spelled backwards (step/pets). Less obvious variations match the sound of one or more syllables of a rhyme mate with the sound of an inverted word or syllable (day/masquerade).
[1] [2] By contrast, rhyme between line endings is known as end rhyme. Internal rhyme schemes can be denoted with spaces or commas between lines. For example, "ac,ac,ac" denotes a three-line poem with the same internal rhyme on each line, and the same end rhyme on each line (which does not rhyme with the internal rhyme).
Grave words that end in a single same vowel can be asonante rhymes for example compró (he/she bought) and llevó (he/she carried), tendré (I will have) and pediré (I will ask), perdí (I lost) and medí (I measured). rima esdrújula (odd rhyme): The rhyming words are accented on the antepenult. For example, mácula (stain) and báscula ...
English-language haiku is an example of an unrhymed tercet poem. A poetic triplet is a tercet in which all three lines follow the same rhyme, AAA; triplets are rather rare; they are more customarily used sparingly in verse of heroic couplets or other couplet verse, to add extraordinary emphasis.
That is the true beginning of our end. Consider then we come but in despite. We do not come as minding to content you, Our true intent is. All for your delight We are not here. That you should here repent you, The actors are at hand and by their show You shall know all that you are like to know. —ACT V, Scene i
Towards the end of the 2nd century AD [19] a verse-summary of the plot was added to each of the plays of Plautus. Each of these has an acrostic of the name of the play, for example: Conservam uxorem duo conservi expetunt. Alium senex allēgat, alium filius. Senem adiuvat sors: verum decipitur dolis. Ita ei subicitur pro puella servolus
The terms masculine ending and feminine ending are not based on any cultural concept of masculinity or femininity.Rather, they originate from a grammatical pattern of French, in which words of feminine grammatical gender typically end in a stressless syllable and words of masculine gender end in a stressed syllable. [2]