| Abstrakt: |
In the early periods of Estonian literary poetry, rhyme was almost an integral aspect of verse. However, since the late 1950s, its significance in written poetry has gradually diminished, relegating it to a marginal position by the end of the 20th century. Contemporary acclaimed poetry collections of the 21st century predominantly feature free verse, while rhyme remains prominent in popular poetry styles like pop music lyrics, stage poetry, social media poetry, and hip-hop. Consequently, the theoretical discourse on rhyme has also resurfaced as a relevant issue. This article has two objectives. The first objective is to provide an overview of the language-based issues related to Estonian rhyme, previous approaches to rhyme, and the development of Estonian rhyming poetry from the 17th century to the present day. The second objective is to establish a new methodology for studying the formal structure of Estonian rhyme, analyzing it at the phonemic, prosodic, and word boundary levels. This methodology is applied to the statistical analysis of end-rhyme poetry by authors from various periods, ranging from the second half of the 19th century to contemporary popular poetry. The research reveals two different operational directions in poetry - on the one hand, the aspiration towards perfect rhyme, accurate in both phonemic and durational structure, and on the other hand, resistance to automation and the use of "worn-out" rhymes, employing all possible freedoms in rhyming techniques. It is noteworthy that in the popular poetry of the new era, strategies found in the poetry of the 19th century are being revived. Rap poetry, in particular, is rich in rhyming techniques, incorporating all previously established diversification strategies, from full rhymes to various modernist experiments. [ABSTRACT FROM AUTHOR] |
