Impure rhyme
The impure rhyme is a form of rhyme in which the sound sequence of the rhyme syllables only roughly matches. Deviations occur in tone coloration and emphasis. Impure rhymes are often formed by similar sounding consonants ( d on t ) or with umlauts ( ä or ö is rhymed with the vowel e , also the umlaut ü with the vowel i ) as well as with similar sounding vowel connections (such as ei with eu / äu ).
Like a picture from heaven's heights ,
with cheeky , ashamed cheeks
, he sees the maiden standing before him .
Friedrich Schiller : The song of the bell , v. 63-65
to form
A distinction is made between different forms of non-conformance, which are also evaluated differently with regard to the degree of impurity:
- Vowel quantity : Differences in the vowel quantity are perceived as conspicuous and annoying: advice - has ; calls - air
- Vowel quality : Different, but similar vowels are relatively little noticeable: Blick - Glück ; Blessings - bows
- Differences in similar consonants are usually hardly noticed, especially between voiced and unvoiced : size - roar , sleep - octaves
With regard to the evaluation of impure rhymes in normative poetics and the use by individual poets, there are considerable differences depending on the epoch. August von Platen , for example , made high demands on the purity of rhyme, while Johann Wolfgang Goethe and Friedrich Schiller often used impure rhymes. The deliberately impure rhyme can also be used as an artistic device to create the impression of naivety and a folksong-like tone, for example with Heinrich Heine :
Softly
lovely peals pass through my mind .
Blade, little spring song .
Kling out into the distance .
Kling addition, up to the house ,
where the flowers sprout .
When you look at a rose ,
say I let her say hello .
In this example all rhyming pairs are impure without this being noticeable or even disturbing. Instead, an impression of loving-naive, downright authentic heartiness is created.
Sometimes rhymes may only be regarded as impure according to today's (High German) pronunciation standards, but not if the dialectic influences are taken into account. Specifically, this applies to the hardening of the final voices , the weakening of the consonants and the rounding that is widespread in Upper and Central German dialects . One example is Goethe's verse pair “Oh neige / you painful”. Goethe from Frankfurt spoke neiche . And the Swabian Schiller rhymed haste with club (he spoke wedge ) and sweet with paradise .
Likewise, rhymes can only be impure from a strict high-level or written language perspective , but represent pure rhymes in colloquial language , youth language , etc. In rap , colloquial forms of pronunciation are often used to form rhymes, for example Hammer rhymes with Mama . However, standard language unstressed are [ ɐ ] and unstressed [ a ] very similar to the sound of her.
A distinction is made between the following specific forms of impure rhymes:
- historical rhyme: was pure at the time of its creation, but is no longer due to language development
- uneven rhyme: although the rhyming syllables are consistent, the emphasis is different ( time - eternity )
- Assonance : only the vowels, but not the consonants match ( dare - laben )
- Consonance : only the consonants, not the vowels, match; the vowel quantity is retained ( dare - waves )
- End syllable rhyme: rhymes between unstressed or sub-tone end syllables
literature
- Otto Knörrich: Lexicon of lyrical forms (= Kröner's pocket edition . Volume 479). 2nd, revised edition. Kröner, Stuttgart 2005, ISBN 3-520-47902-8 , p. 244 f ..
- Christian Wagenknecht: German metric. A historical introduction. 5th edition Beck, Munich 2007, ISBN 978-3-406-55731-6 , p. 41.