Rhyming sex

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In verse doctrine, the distinction between monosyllabic and polysyllabic rhyme is called the rhyme gender . The monosyllabic rhyme is called masculine and the two-syllable rhyme is feminine. In the accent metric which the corresponding male and female end of a verse , ie the completion of the verse with a stressed syllable (heave, male cadence) or an unstressed syllable (decrease, female cadence).

The rhyme gender is of particular importance in the metric of the Romance languages, where the alternance des rimes ( French "change of rhyme") describes the regular change of the rhyme gender in the stanza .

Finally, three-syllable rhymes are also possible in German, for example. These are known as sliding or rich . Any further polysyllabic rhyme is called extended rhyme or double , multiple or combo rhyme .

Concept history

The designation of the rhymes as "male" or "female" comes from the terminology of French poetry: because in the development from Vulgar Latin to Old French in the two most important types of declination, the male o-declension (type servus ) and the (mostly) female a-declension ( pink type ), the vowels of the final syllables of the o-declension fell silent early, while those of the a-declension were continued as unstressed / e / still spoken in Old and Middle French, have grammatically feminine forms in French As a rule (though not always and not exclusively) an unstressed final syllable, which only becomes silent in New French. Even in French, the grammatical gender cannot be deduced from the rhyme gender - the masculine homme (“man, man”) is feminine according to the rhyme gender, and also connections without gender like parle, parlent rhyme feminine - but it is still true in France since the 16th century - there occasionally with the charming reason that the / e / is so weak, so imbecile and yet so difficult for the poet to control as a woman ( Thomas Sébillet , 1512–1589) - and in Germany Widely naturalized since Opitz to designate ending-stressed rhymes and half-cadences before the caesura as masculine and not ending-stressed as feminine, although in German, because of the completely missing relationship between grammatical gender and syllable stress, the alternative designations "blunt" (masculine ) and "sounding" (female) were introduced.

According to the general definition of (final and full) rhyme as the consonance of two words from the last stressed vowel onwards, if the previous syllable sound is inconsistent , female rhymes are at least two-syllable, with a stressed and a subsequent unstressed syllable, which is linguistically mute in modern French, but there it can still influence the pronunciation of the following verse sound. Since in German the last stressed syllable is not necessarily the main tone, the female rhyme can also end proparoxytonal with two unstressed (or one unstressed and one secondary) syllables, for example: shuttled / shook , also in Italian the rima sdrucciola and in Spanish the rima esdrújula .

The French distinction between male (blunt) and female (sounding) rhymes or cadences is not to be equated with the more complicated classification systems developed in ancient German studies, where, in connection with Andreas Heusler, under rhythmic aspects and including the length of syllables and pauses, male Cadenzas can be differentiated as blunt or full and then monosyllabic or two-syllable, female cadences in turn as two-syllable full and two- or three-syllable sounding.

Examples

Male or blunt, monosyllabic:

A donkey with a pricked ear stood in front of a house gate .

Feminine or sounding, two-syllable:

Which one because their object was ,
is that the donkey fret should .

Sliding or rich, three-syllable:

Suffice henceforth no longer graceful Klingendes ,
Sky Only wrestling , Geschickbe mandatory .

Extended, polysyllabic:

Sweeping the streets with a journeyman
Plagues the scene -
However, a negro with a gazelle
never hesitates in the rain!

literature

Individual evidence

  1. ↑ a b Wilhelm Busch : It stood in front of a house gate ... In: Critique of the Heart . In: Historical-critical complete edition in four volumes. Volume 2, p. 506
  2. ↑ Friedrich Rückert The wisdom of the Brahmin. Vol. 6. Leipzig, 1839, [XIX, 6] p. 233, online
  3. ↑ Georg Kreisler Two old aunts dance the tango (1958)