Enjambment and rhyme placement tone down jangling rhymes

Rhyming poetry often gets criticized for bringing readers to a full stop at the end of a line where words loudly jingle-jangle. The effect works well in nursery rhymes and humorous verse as reverberations add to the sense of play, levity, and humor, but in serious poetry, jingles seem to annoy free verse lovers and poetry critics!

To retain your rhymes but tone them down, a couple of workable options depend on how you break the lines.

1. Change the placement of rhyming pairs from end-line rhymes to internal rhymes. Making this happen is just like it sounds. i.e., Move lines around until the rhyming words appear inside a line, rather than at the end. Here’s an example from my Speaking Peach chapbook:


Accent
by Mary Harwell Sayler

Maybe it's my low voice, slow drawl, or way
of saying, "Y'all," (meaning, of course, a choice
of two or more individuals), but for some reason,

most people – male or female – think I need
some help. "Here let me do that for you," they
say, just trying to be kind. Most of the time,

I do not mind the opportunity to be cradled,
even coddled, by bolder folk than I –
those who feel best when they assist, but
perhaps I should resist the temptation

to be babied, even though I must persist
in a voice too hushed to sound insistent.


If you read the poem aloud, you’ll hear the rhymes – hopefully echoing without jangling – within the lines and also within some of the words – for example, voice/choice, way/say, drawl/y’all, assist/resist/persist/insistent.


2. Use enjambment to soften the ring of rhymes. This technique lets you place rhymes at the end of the lines for couplets or other traditional forms such as sonnets or villanelles that have a distinctive rhyme scheme pattern. Instead of coming to a full stop on each end-line rhyme, however, you keep the sentence going onto the next line or beyond. As an example of enjambment, here’s a poem from my Winning the Wars chapbook.


Postcard after the Scene
by Mary Harwell Sayler

In straight lines strung with golden light, the sun-
washed houses make a pleasing sight – the ones

still left, that is. Some stores stay open if they can:
sidewalk café, hair dresser, and vegetable stand,

but what I’ve seen seems pitiful and bleak.
Someone said five officers were killed last week

by a rifle. I didn’t hear the gun explode,
but I saw stone-silent shadows as we rode

through town in trucks. Our camp sits on a hill,
overlooking a village: so beautiful before blood spilled.


In that poem, “can” and “bleak” come to a full stop, but for the other lines, enjambment wraps the sentence around a rhyme before slowing down to a softened sound.

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© 2012, Mary Harwell Sayler, all rights reserved.

 
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Good times to write in rhymes

Steady rhyme and rhythm with no variations usually produce boringly predictably poems with a sing-song beat and end-line ping that sometimes prejudice readers (and other poets!) against rhyming poems of any kind. Nevertheless, rhymes have been popular for many, many centuries, and their echoing sounds continue to expand our options as poets, writers, readers, and people ready to learn.

Repetitive sounds help readers to remember the poems they like. Strong rhymes and a lively beat also help people of all ages to learn, relearn, or retrieve information. Therefore, poems with rhythmic rhymes can be very useful in helping children to learn new information or helping elderly patients and stroke victims to retrieve information and recover memories.

Effective rhymes emphasize thoughts and feelings. If rhymes happen to be key words at the end of the lines, the emphasis increases – again, making a poem easier to recall.

Sometimes poems with regular rhymes and rhythm readily sing their way into song lyrics and hymn ballads.

Poets with a strong sense of musicality – and poets who fret over where to break a line in free verse – may find traditional forms useful to study and liberating to write.

Poets who enjoy writing humorous poetry can often bump up humor with the drum roll of a strong beat and sound of true rhymes. If those rhyming words have three or more syllables, so much the funnier.

Amusing or not, end-line rhymes work best when active verbs and strong nouns add sense to each sentence.

Conversely, end-line rhymes usually do not work well when they consist of abstract concepts or weak words that cannot be pictured such as love/of/above.

End-line rhymes can become problematic, too, when they hinder creativity or the flow of ideas, locking a poet into rhyming words that torture syntax (sentence structure) or thwarting poets from developing their unique voice.

If you like to write in true rhymes but don’t like end-line jingles, enjambment will often soften the sound as you wrap a sentence around one line onto the next.

To vary sound echoes, slant rhyme and alliteration provide interesting substitutes for true rhymes.

For more help with rhymes, see these articles on The Poetry Editor blog:

• Rhyme, rhythm, and reality: traditional English verse
• Unlocking clockwork rhyme



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© 2011, Mary Harwell Sayler, all rights reserved. Please do not use the above without permission.

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