assonance

—assonant, adj., n. —assonantal /as'euh nan"tl/, assonantic, adj.

/as"euh neuhns/, n.

1. resemblance of sounds.

2. Also called vowel rhyme. Pros. rhyme in which the same vowel sounds are used with different consonants in the stressed syllables of the rhyming words, as in penitent and reticence.

3. partial agreement or correspondence.

[1720-30; < F, equiv. to asson(ant) sounding in answer (see AS-, SONANT) + -ance -ANCE]

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▪ prosody

      in prosody, repetition of stressed vowel sounds within words with different end consonants, as in the phrase “quite like.” It is unlike rhyme, in which initial consonants differ but both vowel and end-consonant sounds are identical, as in the phrase “quite right.” Many common phrases, such as “mad as a hatter,” “free as a breeze,” or “high as a kite,” owe their appeal to assonance. As a poetic device, internal assonance is usually combined with alliteration (repetition of initial consonant sounds) and consonance (repetition of end or medial consonant sounds) to enrich the texture of the poetic line. Sometimes a single vowel sound is repeated, as in the opening line of Thomas Hood's “Autumn”:

I saw old Autumn in the misty morn

      Sometimes two or more vowel sounds are repeated, as in the opening lines of Shelley's “The Indian Serenade,” which creates a musical counterpoint with long i and long e sounds:

I arise from dreams of thee

In the first sweet sleep of night

      Assonance at the end of a line, producing an impure, or off, rhyme, is found in La Chanson de Roland and most French verses composed before the introduction of pure rhyme into French verse in the 12th century. It remains a feature of Spanish and Portuguese poetry. In English verse, assonance is frequently found in the traditional ballads, where its use may have been careless or unavoidable. The last verse of “Sir Patrick Spens” is an example:

Haf owre, haf owre to Aberdour,

It's fiftie fadom deip:

And thair lies guid Sir Patrick Spence,

Wi' the Scots lords at his feit.

      Otherwise, it was rarely used in English as a deliberate technique until the late 19th and 20th centuries, when it was discerned in the works of Gerard Manley Hopkins and Wilfred Owen. Their use of assonance instead of end rhyme was often adopted by such poets as W.H. Auden, Stephen Spender, and Dylan Thomas.

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