Rhyme may be almost considered a modern invention; it is seldom met with in Greek or Latin, and was unknown to the Saxon poets. This repetition of the same sound at the ends of verses was introduced into England by the Anglo-Norman ballad-writers at, or soon after, the Conquest. Since that time it has been regarded as one of the greatest embellishments of poetical expression, and it is now used in almost every form of poetry except blank verse. There is no doubt that it deserves this reputation, though here, as in other decorations, much of the effect depends on the judgment and taste with which it is applied. Many a beautiful thought has been probably sacrificed to the rigid requirements of rhyme; at the same time many so-called rhymes are so unlike each other in sound as scarcely to deserve the name.
The effect of rhyme is materially heightened when there is a real or fancied connection in meaning between the rhyming words; such as ‘wine’ and ‘divine,’ ‘life’ and ‘strife,’ ‘fish’ and ‘dish,’ ‘lone’ and ‘moan,’ &c. It is also curious to observe how often familiar proverbs are formed upon this principle. We have ‘Birds of a feather flock together;’ ‘’Twixt cup and lip there’s many a slip;’ ‘Fast bind, fast find;’ ‘No pains, no gains;’ &c. And this is not confined to English proverbs. In the same way the Italians have, ‘Chi va piano, va sano, e va lontano;’ and the Germans, ‘Morgenstund hat Gold im Mund;’ ‘Ueber Nacht ist wohl gedacht;’ ‘Wer neidet, der leidet,’ &c. The object in these cases was, probably, to produce a pleasing effect, and, at the same time, to assist the learner’s memory.
Another proof of the popularity of rhyme may be found in many double terms which are evidently formed on that principle. These, though not often met with in the higher styles of composition, are legitimate words in every-day and familiar conversation, and have every right to be so considered. Such are ‘helter-skelter,’ ‘namby-pamby,’ ‘hoity-toity,’ ‘roly-poly,’ ‘harum-scarum,’ ‘willy-nilly,’ ‘nolens-volens,’ ‘hugger-mugger,’ and a host of others.
A particularly ludicrous effect is frequently presented by double rhymes, which properly belong to the comic or burlesque in verse. Here there is often as much wit and humour in the rhyme as in the sentiment; and here, also, the rhyme frequently approaches to the nature of a pun.
Butler was distinguished for his double rhymes, and in his ‘Hudibras’ he displays a positive genius for comic rhyme, some specimens of which follow:—
As if religion were intended
For nothing else than to be mended.
Madam, I do, as is my duty,
Honour the shadow of your shoe tie.