Thús said the Níghtingale
Tó his loved Róse,
are not harsh, because in this case the unaccented syllable which bears the rhyme is separated from the accented syllable by a thesis. A variety of the unaccented rhyme is called the accented-unaccented; examples have been quoted before in the chapter treating of the alliterative-rhyming long line (§§ [61], [62]). In the same place some other verses of the above-quoted song of Moore are given, showing the admissibility of rhymes between gliding or trisyllabic and masculine rhyming-syllables or -words (mélodý: thée, Róse bè: thée). In these cases the subordinate accent of the third syllable in mélody or the word bè in the equally long Róse bè is strong enough to make a rhyme with thee possible, although this last word has a strong syntactical and rhythmical accent. As a rule such accented-unaccented rhymes, in which masculine endings rhyme with feminine endings, are very harsh, as is often the case in Wyatt’s poems (cf. Alscher, pp. 123–6), e.g.
So chánced mé that évery pássión
Wherebý if thát I láugh at ány séason.
p. 7.
§ 218. C. According to the third principle of classification, by the position of the rhyming syllable, the varieties of rhyme are as follows:
1. The sectional rhyme, so called because it consists of two rhyming words within one section or hemistich.[184] This kind of rhyme occurs now and then even in Old English poetry, but it is usually unintentional (cf. §§ 40–2), e.g. sǣla and mǣla; þæt is sōð metod Beow. 1611; in Middle English literature it is frequent, as in Barbour’s Bruce: and till Ingland agayne is gayne i. 144, iii. 185; That eftyr him dar na man ga iii. 166. In Modern English poetry this kind of rhyme is more frequent, and often intentionally used for artistic effect:
Then up with your cup, | till you stagger in speech,