Assonance

Assonance is the repetition of identical or similar phonemes in words or syllables that occur close together, either in terms of their vowel phonemes (e.g., lean green meat) or their consonant phonemes (e.g., Kip keeps capes ). However, in American usage, assonance exclusively refers to this phenomenon when affecting vowels, whereas, when affecting consonants, it is generally called consonance. The two types are often combined, as between the words six and switch, which contain the same vowel and similar consonants. If there is repetition of the same vowel or some similar vowels in literary work, especially in stressed syllables, this may be termed "vowel harmony" in poetry (though linguists have a different definition of "vowel harmony").

A special case of assonance is rhyme, in which the endings of words (generally beginning with the vowel sound of the last stressed syllable) are identical—as in fog and log or history and mystery. Vocalic assonance is an important element in verse. Assonance occurs more often in verse than in prose; it is used in English-language poetry and is particularly important in Old French, Spanish, and the Celtic languages.

Examples
English poetry is rich with examples of assonance and/or consonance:

It also occurs in prose:

Hip hop relies on assonance:

It is also heard in other forms of popular music:

Assonance is common in proverbs:

Total assonance is found in a number of Pashto proverbs from Afghanistan:
 * La zra na bal zra ta laar shta. "From one heart to another there is a way."
 * Kha ghar lwar day pa sar laar lary. "Even if a mountain is very high, there is a path to the top."

This poetic device can be found in the first line of Homer's Iliad: (Μῆνιν ἄειδε, θεά, Πηληϊάδεω Ἀχιλῆος). Another example is Dies irae (probably by Thomas of Celano):


 * Dies iræ, dies illa
 * Solvet sæclum in favilla,
 * Teste David cum Sibylla.

In Dante's Divine Comedy there are some stanzas with such repetition.


 * così l’animo mio, ch’ancor fuggiva,
 * si volse a retro a rimirar lo passo
 * che non lasciò già mai persona viva.

In the following strophe from Hart Crane's "To Brooklyn Bridge" there is the vowel [i] in many stressed syllables.


 * How many dawns, chill from his rippling rest
 * The seagull’s wings shall dip and pivot him,
 * Shedding white rings of tumult, building high
 * Over the chained bay waters Liberty—

All rhymes in a strophe can be linked by vowel harmony into one assonance. Such stanzas can be found in Italian or Portuguese poetry, in works by Giambattista Marino and Luís Vaz de Camões:


 * Giunto a quel passo il giovinetto Alcide,
 * che fa capo al camin di nostra vita,
 * trovò dubbio e sospeso infra due guide
 * una via, che’ due strade era partita.
 * Facile e piana la sinistra ei vide,
 * di delizie e piacer tutta fiorita;
 * l’altra vestìa l’ispide balze alpine
 * di duri sassi e di pungenti spine.

This is ottava rima (abababcc), a very popular form in the Renaissance that was first used in epic poems.


 * As armas e os barões assinalados,
 * Que da ocidental praia Lusitana,
 * Por mares nunca de antes navegados,
 * Passaram ainda além da Taprobana,
 * Em perigos e guerras esforçados,
 * Mais do que prometia a força humana,
 * E entre gente remota edificaram
 * Novo Reino, que tanto sublimaram;

There are many examples of vowel harmony in French, Czech, and Polish poetry.