False. A poem can have internal rhyme (rhyme within a line) without necessarily following a structured rhyme scheme. Internal rhyme adds to the musicality and flow of a poem, but it is not a requirement for a specific rhyme scheme.
Some examples of feminine rhyme in the poem "The Raven" by Edgar Allan Poe are: "dreary" and "weary" "token" and "spoken" "burden" and "word in" "betook" and "forsook"
STANZARhymes within lines are simply called internal rhymes. Internal rhymes generally enrich the sonorities of the poem, and may emphasise comparison or contrast between the rhyming words of the internal rhyme. Internal rhyme might also be present to maintain the versification or structure of the poem; the line does not break after the internal rhyme because the whole line maintains the structure of the poem, or a certain number of syllables are needed in the whole line. Internal rhymes are generally considered to relax the rigidity of verse with strict metre and rhyme between lines.
"The Raven" by Edgar Allan Poe features end rhyme, internal rhyme, slant rhyme, and a consistent rhyme scheme (ABCBBB). "Stopping by Woods on a Snowy Evening" by Robert Frost contains end rhyme, internal rhyme, and a structured rhyme scheme (AABA). "The Waste Land" by T.S. Eliot utilizes slant rhyme, end rhyme, and internal rhyme throughout the poem, with varied rhyme schemes in each section.
In John Hansen's poem "Bigfoot's Complaint," examples of rhyme schemes include AABB, ABAB, and ABCB. These rhyme schemes indicate the pattern in which the end words in each line rhyme with each other. The specific examples of rhyme schemes in the poem contribute to its overall structure and musicality, enhancing the reader's experience of the text.
The line "Open here I flung the shutter" from The Raven does not have internal rhyme.
An internal rhyme occurs when the middle sound of two words rhymes, e.g., boat / goal (medial sound is /O/). An end rhyme occurs when the final sound of two words rhymes, e.g., boat, beat (final sound is /t/).
Yes, the poem "Spring and Fall" by Gerard Manley Hopkins contains internal rhyming. Hopkins uses techniques such as alliteration, consonance, and assonance to create internal rhyme within the lines of the poem, contributing to its musicality and poetic effect.
The rhyme scheme of Gwendolyn Brooks' poem "We Real Cool" is not traditional; it features a more subtle, internal rhyme scheme that creates a rhythmic musicality to the poem. The repeated use of the word "we" at the end of each line contributes to the overall impact of the poem.
The rhyme scheme of "I Know Why the Caged Bird Sings" by Maya Angel is mainly free verse, with no consistent rhyme scheme. Angelou's poem often uses internal rhyme and slant rhyme to emphasize key themes and emotions.
internal rhyming
One example of a poem that does not rhyme is "The Waste Land" by T.S. Eliot. This modernist poem explores various themes without adhering to a rhyme scheme.