internal rhymes

a note on burr’s intellect and how it’s portrayed musically

i’m only going to be talking about burr’s short verse in my shot bc otherwise this would be ten miles long, but let me just say: lin-manuel miranda is a fucking genius. (warning, this is going to be a long post.)

as far as i recall, this is the only time burr raps in the narrative. and it’s 4 measures to tell hamilton and crew to shut up, in a language they’ll understand (rap), after being asked in the previous song to rap a bit.

just for a second, let me talk about internal rhyme.

internal rhyme is a component of rap that’s exactly what it sounds like: the rhymes within a verse that don’t fall in line with the ends of the phrases. they can still rhyme with the ends of the phrases too, but they aren’t on the ends of the phrases. (most of the time, you’ll notice internal rhymes because there’ll be emphasis on the rhymed syllables.)

now, hamilton’s verses are laden with internal rhyme: i could cite a billion examples, but i’ll only pull one for now.

“older”, “colder”, and “shoulder” are grouped together in the same rhyme scheme, with “shoulder” being the main source of internal rhyme.

similarly, “(disad)vantage”, “manage”, “brandish”, and “famished” are all in the same rhyme scheme, with “manage” being the main source of internal rhyme (although it can be argued that “brandish” is too because of the way it plows through the end of the phrase there with the straight sixteenth notes.) (also, shoutout to those polysyllabic rhymes for showcasing hamilton’s intelligence.)

now we’ll take a look at hamilton’s crew’s verses. start with lafayette:

there’s not really internal rhyme in here. because of his accent, lafayette can pull rhyming “france” and “’on(archy)”, but that’s about it. not surprising; he’s not unintelligent, it’s just that he’s still figuring out english.

then mulligan:

mulligan’s got a bit of internal rhyme going on with “chance”, “(ad)vance”, and “pants”. the “so(cially)” and “sew(in’)” could be argued too, but the fact that the emphasis is placed on the “ly” of socially and not on the “so” makes it hard to argue.

then of course, laurens:

laurens, getting up there with hamilton and bringing in some polysyllabic rhymes! we’ve got “truly free” and “you and me”; “you and i” and “do or die”; “sally in”, “stallion”, and “battalion”. that’s three different rhyme schemes, so good for you– but then, we’d expect a good command of the english from someone who helped hamilton write essays.

now, finally, we get to burr:

“gen(iuses)” and “keep”. “trouble” and “double”. “with” and “sit(uation)”. that’s already three internal rhymes, completely separate from the end rhyme. (he fits a polysyllabic rhyme in there too with “trouble” and “double”.)

and then the internal rhyme that goes with the end rhyme?

“fraught”, “got”, “taught”, “talk”, and “shot”.

that’s five instances of rhyming in two measures. let me repeat that: five instances of rhyming in two measures. the example i cited has hamilton doing four instances of rhyme in three measures.

burr’s intelligence and command of the english language is at least on par with hamilton’s, if not greater, as evidenced later by their partnership as lawyers; but lin-manuel miranda manages to portray that just in four measures.

that’s how to develop a character musically.

youtube

For today’s special Digital #Ham4Ham show, Ron Chernow, author of Alexander Hamilton, sings the opening number of the show to congratulate Lin-Manuel on winning the Pulitzer Prize! #Ham4Ron

“Chernow said in an email interview that he was initially “intrigued, if a little skeptical” about the idea of telling Hamilton’s story through hip-hop and R&B. “Lin promised to educate me, and boy, did he succeed,” he said. “To give but one example, he pointed out that hip-hop contains lots of internal rhyme, and that you can pack masses of information into its dense lyrics.” The show’s opening song, less than five minutes long, “accurately distills” the first 40 pages of the book, according to Chernow.” [x]

There isn’t much more I can possibly take
I’m a fraying rope that’s about to break
I’m tired of fighting; I’m tired of being strong
Happiness is short-lived and the days feel long
When my opponent is me – there’s no way to win
I’m stuck fighting this battle I don’t want to be in
I’m at war with myself and it all feels so wrong
Mind, Body, Spirit… why can’t we just get along?
—  Ranata Suzuki  |  Mind, Body, Spirit
The lunar waves take control as my thoughts start to unfold. Moonlit literature slips from my fingertips. I take a few more sips… it’s as if I knew I was constructing my own demise. I fear only for the longing of lonely nights like this. I hate it when I write like this. My mind drifts until I’m sober, stuck with love’s hangover. Wished on a four leaf clover that pain as heavy as a boulder… would be lifted from my shoulders but yet it remains. I want to keep it off my brain but I can’t refrain from wanting to give romance a try. I can no longer deny, I guess a twinkle in her eye is just a twinkle in her eye. Looks like another love TKO. My bulletproof soul couldn’t save me. Thought it was half on a baby but now my mind’s gone half crazy. Oh.. I wanna be cold but I overflow with emotions. My thoughts often opposing, it gets deep as the oceans. I don’t know where I’m going…
—  01:15|Reflection Internal

i just want everyone to love this line of hamilton as much as i do: 

like the internal rhyme, the assonance and dissonance???? the fact that almost every single word is involved in this ninefold masterpiece: “complicit in” “kissin’ it” “isn’t gon’” “listen to” “disciplined” “dissidents” “this is the” “difference” “this kid is” 

every time i hear this line i want to cry with the sheer beauty of it, if you can hear this line and not be impressed to tears you must have a rock for a heart idk what to tell you

if ur trying to get ur friends into hamilton here are some good reasons to convince them:

  • it’s about treasury secretary alexander hamilton but get this………he was actually really badass?????
  • non-white actors playing white ass founding fathers
  • WOMEN???? IN /MY/ AMERICAN HISTORY?????
  • the coolest dancing on broadway since newsies closed
  • the best song for a female trio since heathers closed
  • the slickest internal rhymes EVER (”i’m the oldest and the wittiest and the gossip in new york city is insidious”)
  • the saddest song in broadway history is in this musical
  • lyrics such as: “turn around bend over i’ll show you where my shoe fits” “sit down john you fat motherBLEEEEEEEP” and other choice selections
  • cabinet rap battles CABINET RAP BATTLES
  • just get them to listen to helpless + satisfied it will do the trick
  • john laurens
  • beyonce watched it one time
  • just do it

lessthansix  asked:

rime of the ancient mariner

And all averred, I had shot the bird
That made the breeze to blow


I really like the internal rhyme in this line, and the strength of the meter. My most quoted line, however, is definitely:
Oh sleep! It is a gentle thing,
Beloved from pole to pole!

(And I have special love for all the bits where the Wedding Guest tries to escape the old dude and just to go the wedding.)

One day, one rhyme- Day 1000

Erom’s used to belonging nowhere
He’d always been that way.
There’s a strange sense of comfort in that,
That’s what Erom would say.
Throughout life he did not fit in,
He was always apart
But always he thought he’d find his home,
He knew it in his heart.
Around countries, along streams he searched
But it was all in vain.
That is, it was all in vain until
The day he met Lorraine.
Though he’d sought and sought through all those years
He’d never reached his goal
Because he’d been looking for a place,
But his home was a soul.

3

Songwriters are not poets. Or songs are not poems, I should say. In fact, songs are often bad poems. Take the music away and what you’re left with is often an awkward piece of creative writing full of lumpy syllables, cheesy rhymes, exhausted cliches and mixed metaphors. But of all those writing lyrics today, Turner is among the most poetic. His use of internal rhyme exists to be admired and envied. And where some songwriters are never able to get beyond the drama of their own lives and diaries, Turner is more than capable of sidestepping his own experience and producing telling little mini-dramas populated by keenly observed characters. [x]

06.01.86

Inkskinned (National Poetry Month Day 18)

I have been a poet long enough
to learn all of the tricks.
I know the font game,
where a graphic takes simple words
and transforms them
into a typographical masterpiece.
I know the game of internal rhymes
and metaphors that destroy hearts,
and I know the art of using
sugar-coated imagery
which is the only way you can begin
to twist lying memories
into something vaguely true.

I see you do it every day.
You take others’s secrets
that have been concealed for years
and performed the impossible task of expression,
turning nightmares into metaphors
that soften a harsh past,
and I am never not impressed.
You are a poet for the people
and I say as one speaking for all,
we are so goddamn grateful.

If you know that the early bird gets the worm, I’m sure you also know to stop and smell the roses, that an apple a day keeps the doctor away, and variety is the spice of life. Or maybe not, because those are all completely contradictory and made up by who, exactly? Some sort of internal rhyme shaman or sarcastic centuries-old grandmother?

Where the hell did we get all these idioms from? A stitch in time saves nine? Turns out we’ve been saying that one wrong, there should be a comma in there. Don’t put all your eggs in one basket? Well, I only have two hands, how many baskets should I be carrying?

These situational little quips make us feel better in very specific moments, but the amount of them that seem to be direct opposites lead us to believe maybe none of them are worthwhile.

THIS WEEK: Jack O'Brien is joined by Michael Swaim to pore through the dozens of axioms that, when you think about them for a little bit, don’t really give the best advice. Later they open up Poor Richard’s Almanack, the 18th century source for many of these proverbs, and go through some of the sayings that didn’t quite make it to the 21st century.

Words Of Wisdom That Are Complete Bullsh!t

Made with SoundCloud
little things in "say no to this" that are amazing

(I know I should hate this song on principle but I CAN’T.)

* the ominous cello at the beginning
* “there’s nothing like summer in the city” (!!!!)
* that little string solo during burr’s narration which just gives me CHILLS
* the melody on “you’re too kind, sir” BECAUSE IT MAKES SO MUCH SENSE ONCE YOU’VE LISTENED TO THE WHOLE THING
* internal rhyming!! “she led me to her bed/let her legs spread/and said…”
* “staaAAYYY” “HEEeeyyy”
* “lo-ord” (yaknow how lmm’s voice goes all husky there)
* the kind of familiarity of the “lord show me how to say no to this” line like you can INSTANTLY recognise that as the theme
* helpless!!! ahhhHHH!
* “no!” “NO!”
* how the fuck did lmm rhyme cuckold and unbuckled who even has the mental capacity to DO THAT
* Jasmine Cephas Jones’ AMAZING voice I can’t get over it
* “if you pay, you can STAAAAAAAAAY!”
* it’s just!! such!! a tightly-wound and well-composed and melodically sound song and I feel like it’s underappreciated because of its subject matter
* (plus I hear it’s done SO WELL on stage with the turntable)

  • what she says: I'm fine
  • what she means: do you really have appreciation for the absolute linguistic beauty of some of the verses in hamilton? do you? do you really? appreciate the word play? the internal rhymes? the assonance and dissonance? because i dont think you do. i dont think anyone does. what a gorgeous display of the complexity and beauty of the english language and how the interweaving of meaning and sound and rhythm can produce something truly spectacularly moving. i dont think you understand how emotional this makes me. every aspect of this show is so inspiring i cant deal with this

if all roads lead to Rome
why am i always stuck round
dead end homes and always stoned
seeing monochrome tones in every
pair of eyes that meet my own
why do i take two pills daily to
make my reality bend to the wills
of spending and writing checks so
i can pay off bills i checked off
months ago or was it days ago? it
might have been yesterday though
i’ve been festering in the fright
that i never paid them off and the
dollar signs i thought i’d find
hopped out of my mind in the ides
of march and marched to the sides
of every arch enemy i spent years
thinking were really friends to me
i figure roads really configure barely
a fraction of what must be a lack of
backbone and not just a quick way home

I recall you as apple

sin. To unpeel you
from you is to be stung sudden

by sweetness. I’ve longed
so long for you, unrhymed, I live

in two time zones. The before
is now our after, long past

our laughter, the tower of tears.
We’ve been so long together

it was like we were apart. Now
it’s time to wend and wind back

to the field, the tent and want
of the wind. Let me lie down

in you, unsplit, as you
devour my mouth.

Philip Metres, from “Entre Naranjos” The Book of Scented Things: 100 Contemporary Poems about Perfume, ed. Jehanne Dubrow and Lindsay Lusby (Literary House Press, 2014)

Honeyed Hallelujah

Honey-colored trees release their leaves
in a slow, sweet drip, and two egrets dip
their delicate beaks in the creek.

I’m softly savoring the churning
essence of this land so wide and grand.
Release… ahhh. Find your hallelujah.

Find your inner songbird, your
buried peace, and then cease
to worry. There is no hurry.

There is only the dulcet honey
of time-worn trees, the deepening crease
of our hands, and this beauty unmanned.

3

Lin-Manuel Miranda, Creator and Star of ‘Hamilton,’ Grew Up on Hip-Hop and Show Tunes (NYT):

And, he said, he also thought hip-hop was the perfect musical style for describing the American Revolution, because it is “the language of youth and energy and of rebellion.”

“There’s been lots of theater that uses hip-hop in it, but more often than not it’s used as a joke — isn’t it hilarious that these characters are rapping,” he said. “I treat it as a musical form, and a musical form that allows you to pack in a ton of lyric.”

Alex Lacamoire, the orchestrator and musical director of “Hamilton,” said Mr. Miranda was especially fond of ’90s hip-hop, “because that’s what he grew up with, and he loves anything that’s syncopated and rhythmic.” Frequent collaborators, the two can go on at length about the difference between the pure rhymes of musical theater, the assonance and internal rhyming of hip-hop, and the virtues of each.

Hip-hop is used heavily in “Hamilton” — the title character raps in wordy, dense sentences, but some other characters have different sounds: Thomas Jefferson, for example, has songs inspired by Gil Scott-Heron and Lambert, Hendricks & Ross, positioning him in an earlier generation than the other characters.