Phonological Parallelism

When seeking alternatives to rhyme, for writing and composing rhyming free verse or lyricist poetry, looking for a method to add extra potency - or gaining fuller grasp of base rhyming aspects for formal rhyming or metric poetry - attention to phonology and the interaction of sonic nuance between words and verses is possibly the most important element to consider.

What is Phonological Parallelism?

Phonological Parallelism is the occurrence of similar (or repeated) sonic qualities within and/or between lines of poetry ( = assonance, alliteration, consonance and rhyme). There are monosyllabic phonological parallelisms and disyllabic phonological parallelisms to be taken into consideration separately, or used partially in alternation – and naturally, to the same extent polysyllabic phonological parallelisms.

_________________________________________________


Schematic monosyllabic and disyllabic phonological parallelisms

Schematic here intends a specified location of one such syllable in a word (and recurring) – or a specified method for use in the parallelism. Rhyme is too general a term and we’d do well to break it into the component possibilities that it offers: reverse rhyme, frame rhyme, rich rhyme and common rhyme. It is also important to understand what it is that constitutes rhyme as a concept. Beyond rhyme, as mentioned already, there are also assonance, alliteration, and consonance. For rhyme in any form to occur, there only needs to be a joint phonological parallelism of alliteration, assonance and/or consonance between the accented syllables of the word(s) in question. If the unaccented syllable(s) don’t share this same word(s)’s architecture of phonology – then the rhyme is termed a monosyllabic rhyme, even if the word is disyllabic. Disyllabic phonological parallelisms can only be considered to occur if that architecture carries over both syllables – likewise if it carries over 3+ syllables for polysyllabic phonological parallelism.

I’m a strong believer in visual aids – so, below are pseudo-tabled elaborations of the concepts mentioned plus examples:

Monosyllabic schemes

• Alliteration: a serial use of words beginning with the same consonant (or fused consonant sound, “th”, “ch”, “sh” etc.) – "ball", "bug", "boat", "bent"
• Assonance: a serial use of words using the same vowel (or accented vowel sound) – "tag", "bat", "sad", "can"; “lord”, “corn”
• Consonance: a serial use of words ending with the same consonant (or fused consonants) – "tag", "bug", "pig", "dreg"
• Reverse rhyme: words using alliteration and assonance – "bat", "bag", "ban", "back"
• Frame rhyme: words using a consonant frame (alliteration + consonance) around the accented portion (the vowel, but which does not contribute to the phonology) – "bat", "bait", "bite", "boat"
• Rich rhyme: words that have the same sound but different spelling; applies to individual portions within words rather than the phonological correlation of the entire word (as opposed to other rhyme types) – "vein", "vain", "vane"
• Common rhyme: words using consonance and assonance – “mail”, “bail”, “trail”, “snail”

Disyllabic schemes

• Disyllabic alliteration – "priceless", "piglet", "padlock", "poplar"
• Disyllabic assonance – "manhole", "lactose", "tax code", "backbone"
• Disyllabic consonance – "mandate", "turncoat", "sunlight", "rainsuit"
• Disyllabic reverse rhyme – "brainless", "bracelet", "brakeless"
• Disyllabic frame rhyme – "mansion", "mention", "moonshine"
• Disyllabic rich rhyme – "sighting", "citing"
• Disyllabic common rhyme – "maddest", "saddest", "gladdest"

_________________________________________________


Partial phonological parallelism

This is where the poet can really come out to play. Making use of the schemes of phonological parallelism previously mentioned, yet not meeting them exactly, or mixing one with the other, or when the phonology of independent words in series or repetition is only partially correct. I will handle systems of phonological parallelism in the next post which will add another possible dimension for partialism and experimentation.

For each syllabic scheme or method, the possibilities for partial phonological parallelism are endless, for all concepts excluding rich rhyme – as soon as rich rhyme becomes partial it defaults to one of the other schemes mentioned.

To elaborate, I’d like to take by example consonance and alliteration.

Partial alliteration

She seeks a shoreline

Partial consonance

Light bends inside as contrasted art

mixed alliteration and consonance (both partial):

She sells ceaseless lessons
of love sought in lightless seas
and lesser loss on sunken shorelines

_________________________________________________


A good understanding of these offers the poet to create systems of nuance and alternatives to the commonly encountered end-rhyme and opens the door to using rhyme in free verse to full potential.

I'd like to use this thread for the experimentation of custom partial phonological parallelisms (anyone wanting to play about with what I've discussed is welcome to do so) - also for discussion on the possibilities available through partial schemes, and the conceptualization of rhyming alternatives for use in free verse etc.

More on rhyme in general

Perscribo said:

You usually lead by example. Can we have one?

Click to expand...

Yes -- I was building up to that. The first post is intended as an intro (or a brush up on general concepts) to what I will be discussing next. I will handle classic and familiar systems of phonological parallelisms and then illustrate how experimentation can be used to flavour those and eventually move on to more experimentalism by way of partial phonological parallelisms in both ideologically metered poetry and free verse.

So, watch this space.

Systems of Phonological Parallelism

“System” refers here to a designed or pre-designated use of phonological parallelism. The most commonly encountered is, of course, end-rhyme (more often than not using common rhyme or partial rhyme) – further referred to as end-line rhyme. There are other systematic uses of rhyme to consider also: in-line rhyme, start-line rhyme, line-mirror rhyme and syllable rhyme. Below are these concepts handled individually – and before anyone decides to slate me on the treatment of “mist/shift” as rhyme. Remember what it is that constitutes rhyme in theory and practice. The examples and elucidations below handle largely monosyllabic schemes, but the same principles apply for disyllabic and polysyllabic.

End-line rhyme: the final syllable(s) of each intended verse rhyme

her spectral imprint shifts
in folds of ghostly mist

Start-line rhyme: the first syllable(s) of each intended verse rhyme

shifted spectral imprints,
misted through ghostly folds

Syllable rhyme: the same syllable of each verse (but not final or first) rhymes

her mist folds – spectral
in shifts and imprints

In-line rhyme: where rhyme is featured in a single verse or across multiple verses (but not as the final or first syllable in repetition)

her imprint shifts as it drifts in mist and fog

Line-mirror rhyme: where the syllable(s) immediately before and after the caesura rhyme (caesura must occur directly central to the verse, i.e. a verse of 8s features the rhyme at the 4th and 5th syllable having been split at the caesura directly after the 4th syllable)

her spectral form shifts mist in ghostly folds

the concept of line-mirror rhyme itself offers an interesting take on rhyme if the line is broken at caesura (as is common in non-ideological metered verse) – offering, again, an alternative to end-line rhyme and something usable in free verse:

her spectral form shifts
mist in ghostly folds


As far as rhyme goes these same systems can be applied to all rhyming concepts (frame, reverse, rich) and to good effect. A few examples:

Syllable frame rhyme

within the dregs of moonlight
I sip the drugs of cloudscapes

Line-mirror reverse rhyme

her spectral form, forged in shadow


Combined Systems

There is no reason why combinations of systems can’t be used in either ideologically metric poetry or free verse, unless the use leads to an overly apparent regularity in the case of the latter. See here an example of syllable rhyme + end-line rhyme and in-line rhyme:

her imprint shifts as it drifts
in ghostly mist and fog that twists

And even the varieties of rhyme can be combined along with a range of systems:

Her spectral mist and chased whimpers -
winter's haste or slowing pace, milled
in ghostly shifts as ceased whispers, missed.

_________________________________________________


There are further systems to consider with regards to other parallelisms that work as appealing alternatives. In-line alliteration, assonance and consonance are common place, but in theory we can apply almost any phonological parallelisms to the same systems mentioned for rhyme. A few examples (and I’m sure you can think of a few more yourselves):

End-line alliteration

her spectral form
hides ghostly folds

Syllable consonance

within the begging moonlight
I clasp the shrugging cloudscape

Start-line assonance

born in lesser moments –
lord of inner nightfall

_________________________________________________


I’ve updated the initial post with a brief example of how partial phonological parallelisms can be made and mixed – and will handle the integration of such concepts into the systems mentioned here in my next post.

We’ve handled schemes and systems and I’ve already touched, lightly, upon partials with a few lesser examples. We’ve also looked at how we can experiment with schemes through using partials and combinations of partials – also reviewing, briefly how systems can be combined and schemes such as rhyme (and related concepts) can be substituted with alternatives such as assonance, alliteration etc. I’ll now move on to partial schemes and experimentation with combined systems.

_________________________________________________

Partial Phonological Parallelisms

A partial phonological parallelism is a scheme that does not meet the exact requirements or that deviates slightly from the concept, or that uses disyllabic words where the parallelism occurs on the second syllable but not the first whilst meeting monosyllabic parallelism elsewhere in the line/verse. I’ll handle each scheme individually first for clarity:

Partial alliteration

Pallid input boards the palace boat

The consonant “p” is a partial match with “b” and alliteration occurs in the second syllable of “input” whilst in the first of each other monosyllabic word (apart from articles) and final disyllabic word, “palace”. We also see full disyllabic alliteration in “pallid” and “palace” and the presence of in-line reverse rhyme. It is a common method to use some form of reverse rhyme in combination with partial alliteration in order to keep a degree of originating resonance and to steer the partial parallelism.

Partial assonance

Only yellow foals fall under fuller categories

The vowels marked in green are partial matches. You will also see frame rhyme. As with reverse rhyme and partial alliteration, it is a common method to combine frame rhyme with partial assonance for the same reasons, resonance (a controlled echo) and direction.

Partial consonance

Sandwiched, birthed between hushed Birches

The consonants marked in green are partial matches. Partial consonance works well with either alliteration or frame rhyme, or both.

Partial reverse rhyme - “bag/pan”; “cane/gate”; “doll/top”; “full; thumb”

Partial frame rhyme – “whisper/whimper”; “pull/bell”; “gun/gem”; “thug/fig”

Partial common rhyme – “mist/drift”; “whisper/winter”; “form/thrown”; “cane/game”

_________________________________________________

Combined & Broken systems

When writing to ideological meter, we’re pretty much bound by the acknowledgement of the following concepts: accentuated metric feet, persistent rhyme and consistent rhyme. I’m not going to go into metric feet as there are plenty of threads which handle those (very comprehensive resource).

Persistent Rhyme: where the exact same rhyme (not the scheme but actual rhymed phonological parallelism) is used in the exact same place in every occurrence; most commonly end-line rhyme

e.g. (where x = syllable, letter = rhyme)

xxxxxxxx A
xxxxxxxx A
xxxxxxxx A
xxxxxxxx A

Consistent Rhyme: where a recurrent rhyme scheme (in our current terms, system) features a rhyme in a consistent location within the stanza construct; most commonly end-line rhyme, but can occasionally feature additional syllable rhyme as the B rhyme, or C rhyme

e.g. (where x = syllable, letter = rhyme)

xxxxxxxx A
xxxxxxxx B
xxxxxxxx B
xxxxxxxx A

But just because we are using an established system of parallelism does not mean we can’t introduce other parallelisms or partials by way of broken or combined systems. That is, as long as these don’t disturb the metrics or for so far as they actually add to the accentuation as they do with, for example trochaic meter.

_________________________________________________

Free-verse embraces the natural cadence and recurring patterns in speech to formulate rhythmic flow without strict meter, and because of this is where broken and combined systems come into their own – in fact, they can be used to add the textured quality that you would expect from highly architectured ideological metric poetry and yet still be irregular and free. To use rhyme in free verse we need to acknowledge the avoidance of the regularity in persistent rhyme and consistent rhyme and instead make use of occasional rhyme or incidental rhyme.

Occasional Rhyme: where the rhyme is used in an inconsistent (sometimes hap-hazard) manner – think here aversion to end-line rhyme and the use of line-mirror rhyme, in-line rhyme and syllable rhyme as basic systems.

Incidental Rhyme: where rhyme is practically invisible and occurs seemingly very rarely – think here the subtleties of reverse rhyme and frame rhyme in either full or partial form, or using such systems as the previously mentioned line-mirror system where the verse was broken at the caesura.

I’ve already mentioned using other schemes in systems to substitute the various rhyming concepts – this is one way to either supplement rhyme in ideological meter or avoid end-line rhyme or the regularity of persistent/consistent rhyme in free verse. Other ways would be to break the convention of system or combine/merge systems. To do this effectively, it is useful to have a decent understanding of line structures and their purpose. A good, if somewhat incomplete, resource can be found here. Or a general and short overview of the terms and concepts here. A few examples, and there are more possibilities when considering the combinations of rhyming concepts and other schemes (partial and full) that can be used as alternatives to any repetition:

End-line + syllable rhyme = broken end-line rhyme

her spectral imprint shifts
in folds of ghostly misted fog

End-line + syllable + in-line rhyme

I see her drift amidst
the early mist

start-line + in-line rhyme = broken start-line rhyme

shifted spectral imprints,
as misted through drifting folds

(broken)line-mirror + end-line + in-line rhyme

her spectral form shifts
mist in folds amiss

As I’ve already mentioned and exampled in a previous post– most schemes can be substituted with any other either partial or full – whether doing so is effective or not, is entirely a result depending on the poet.

There are also methods that use a degree of conceptualization with regards to established systems and schemes. Such a conceptualized system is referred to as a Harmony (not an official term, but one used by poets to name stylizations and applied experimentations). A favourite method of mine is one known as 'cross harmony' which uses consonance and alliteration offset by line-mirror rhyme broken at the caesura - the concept of the caesura being the mirror of the line is here used as a conceptual marker to reverse the consonance and alliteration preceding it in the verse that follows:

Cross Harmony

seminal seasons in sin sift
drifts of necessary nastiness

There is much more that could be added to this - think frame rhyme or a further incorporation of reverse rhyme. I'm sure you could invent similar methods, extend any already mentioned, or create your own harmonies.

Over the course of my next few posts, I'll be constructing a poem using the breadth and depth of everything mentioned up until now (annotated process) - using as many combinations of partial and full phonological parallelisms by schemes and system as I can imagine. I hope you'll stop by and join in - who knows maybe even critique.

Examples already written:

to form/ideological meter; free verse

Magdalen said:

Shall we also consider the "Perps" (perpendicular) to the "rhyme" sound ? Those jarring, contrasting sounds, sometimes rudely interspersed, and to me a hallmark of "modern poetry", such as it is, regardless of what you, I or others maintain as "modern poets"!?!

Click to expand...

You could - but I was handling parallels here - was hoping to start a new resource thread on 'phonological obliques and perpendiculars' as they are something quite different. But hey, guess you can do that if you feel strongly enough about the dry nature (I'm guessing this means one-sided/biased?) of this thread and the immediate need to.

Magdalen said:

Well, I thought I'd throw something out there and see if it sticks. Dry, as in Martini, is good. I printed out the definitions, actually, and really appreciate your efforts to discuss the minutiae of interest to us poets, et al.

Click to expand...

No - no -- thank you for reading and thinking along with me. I will be moving on to obliques, but I thought if I did one huge thread covering everything it may be information overkill... these are some pretty big terms for tiny things - hence why I've tried to structure my posts in a linear fashion and link elsewhere wherever possible.

Smirkin said:

I am pulling up a chair in the back of the class

Click to expand...

No need to go to the back with all the naughty boys and girls - come down to the front row.

I've edited my previous post (#6re: partial schemes and combined/broken systems) to include information on Harmonies, which I forgot to put in last night.

Smirkin said:

How does caesura relate to meter?

Click to expand...

Caesura is a natural pause/breath within the line and commonly where a line is broken. Most poets incorporate caesura by writing to a uniformed metric layout. e.g. if you are writing a poem in iambic tetrameter, then the easiest way to integrate caesura central to the verse would be to write each 8 syllable verse as 2 separate 4 syllable verses first:

written to caesura

as folds of fog
she drifts amiss

Verse as implemented as tetrametric line

As folds of fog, she drifts amiss.

In the example above, the caesura is further denoted by a comma, this is not always the case. You will nearly always find caesura as close to the middle of the verse as possible, especially in longer metric constructs - as it allows room to breathe without disrupting the rhythm established by recurrent metric feet, as is the goal in ideological metric poetry. Lines written beyond end-stop breaking methods will also use end-line caesura to break naturally before continuing on into the next verse, unless, enjambment is used - in such cases it's customary for caesura to occur earlier in the latter enjambed verse.

I don't really want to get into meter - and would rather stick to parallels etc. I have linked elsewhere for further explanation of line structures and meter/metric feet. I mention them here, because line breaks are an essential part of where and how words occur - so with disregard for meter, as such, and looking solely at lines and how/where we break and why, the use of parallelisms and redirecting systems or schemes becomes a clearer concept.

You could also view this as something to be put in after you compose - I generally write what I call a splash, just a rough straight out of my head raw list of words and phrase. I then edit and revise, cut and trim - perfect and tighten. These concepts can be added in then, why not? I may also, if writing to form, intentionally use the aspects and elements discussed here as my starting pint - then again, also with free verse -- I guess it depends on my mood.

It may seem I've been neglecting this thread -- but I've been busy. I will be posting very soon.

Debbie V said:

I think I need the guided workshop/hands on version myself. Perhaps I'll take a class.

Click to expand...

The idea of this thread is that not only do I post the info and annotated processes, but I've also invited anyone/everyone who would like to get into this to get involved. By all means, post something and I'll work on it with you -- the guided hands on method.

Ambrosia said:

Interesting reading and much to consider. I do hope you will continue with your teachings.

Click to expand...

Debbie V said:

I think I need the guided workshop/hands on version myself. Perhaps I'll take a class.

Click to expand...

I think this is actually a better idea - possibly a better direction for the thread and resource. Why don't we make this a workshop? Post your pieces in whichever form, ideological meter, or free verse at any stage of composition (you wouldn't even need to post entire pieces, an excerpt r segment that you intend for use with these ideals would be enough) and I'll assist in the use of phonological parallelisms and harmonies - I hope others will also, with their individual takes on the methods available and which are best suited or offer the best results in the given circumstance/concept/context of the pieces being workshopped. Also, this way I can handle somewhat more in depth other concept mentioned and previously brought up in questions.