Consonant and assonant Rhymes

Autor del texto editado: Hallam, Henry
Título de la obra: Introduction to the Literature of Europe, in the Fifteenth, Sixteenth, and Seventeenth centuries, vol. 1
Autor de la obra: Hallam, Henry
Edición: London: John Murray, 1837
Paginación: p. 165

Fuentes

Transcripción realizada sobre el ejemplar de la Biblioteca Pública de Nueva York Hallam NAB. Digitalización disponible en (texto completo)

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Encoding: Carmen Calzada Borrallo
Transcriptor: Clara Piedad Ramírez Pérez
Revisor: Mercedes Comellas Aguirrezábal

Edición preparada para el Proyecto I+D "BIOGRAFÍAS Y POLÉMICAS: HACIA LA INSTITUCIONALIZACIÓN DE LA LITERATURA Y EL AUTOR" (SILEM II) RTI2018-095664-B-C21 y C22 http://www.uco.es/investigacion/proyectos/silem/index.php

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Sevilla, 4 febrero 2021

Consonant and assonant Rhymes

The Castilian language is rich in perfect rhymes. But in their lighter poetry the Spaniards frequently contented themselves with assonances, that is, with the correspondence of final syllables, where in the vowel alone was the same, though with different consonants, as duro and humo, and boca and cosa. These were often intermingled with perfect or consonant rhymes. In themselves, unsatisfactory as they may seem at first sight to our prejudices, there can be no doubt but that the assonances contained a musical principle and would soon give pleasure to and be required by the ear. They may be compared to the alliteration so common in the northern poetry, and which constitutes almost the whole regularity of some of our oldest poems. But though assonances may seem to us an indication of a rude stage of poetry, it is remarkable that they belong chiefly to the later period of Castilian lyric poetry, and that consonant rhymes, frequently with the recurrence of the same syllable, are reckoned, if I mistake not, a presumption of the antiquity of a romance

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