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Chapter J RHYME-ELEMENT CONTRASTS Introduction ...... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 34 I-A. Class I: Rhyme-element contrasts and constraints: non-phonetic .. . . . . . . . . . . . . .. 36 I-A.!, Vowel. ........................................................ 37 J-A.!'1. Vowel: tonic (stressed; corresponds to ictus) ...................... 38 I-A!.!.!. Vowels. tonic: e-leJ ande-(o] ............................. 38 I-A.I.!'2. Vowels, tonic: miscellaneous (others)....................... 47 I-A.!.!.3. Vowels, tonic: totals .................................... 52 I.A.!.2. Vowel: Post-tonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 54 l-A.I.2. I. Post-tonic terminal yj-oj (respellable as oj-oj) ................ 55 l-A.I.2.2. Other non-orthographic post-tonic vowel contrasts (all but yj-oj). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 57 I-A.I.2.3. Post-tonic orthographic vowel contrasts ..................... 67 I-AI.2.4. Total post-tonic vowel contrasts ........................... 79 I-A!.3. Vowels: totals .............................................. 82 l-A.2. Consonant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 84 l-A2.!' Orthographic consonant contrasts, neutralized v-uv . . . . . . . . . . . . . . . .. 85 l-A2.2. Orthographic contrasts: rhyme-element clusters, silent consonant in one: s(t)n...................................... 88 I-A.2.3. Other orthographic contrasts: alternative pronunciation.............. 89 l-A2.4. Other orthographic contrasts: usual pronunciation. . . . . . . . . . . . . . . .. 101 I-A.2.5. Nonorthographic contrasts: alternative form (and also, for some, alternative pronunciation) .................. 106 1-A.2.6. Totals: Class I consonant contrasts ............................ III l-A3. Consonant-and-Vowels: ova-ogo (ago OS) ........................... 114 l-A4. Totals: Class I ................................................. 116 I-B. Class 2: Rhyme-element contrasts: open masc.(OM), and j-O fern. pairs ......... 118 I-B.!. Open masculine (OM) consonant contrasts . . . . . . . . . . . . . . . . . . . . . . . . . .. 119 1-B.2. j-O feminines (consonant [usually consonant-glide j] vs. 0)............... 131 I-B.3. Totals: Class 2: OM consonant contrasts, plusj-O feminincs.............. 143 Chapter I 33 I-C. Class 3: Rhyme-element contrasts: orthographic and phonetic. . . . . . . . . . . . . . . . .. 145 I-C. I. Class 3 vowel contrasts ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 147 I-C.U. Vowel contrasts in CM pairs: stressed vowel ..................... 147 l-C.l.2. Vowel contrasts in F pairs: post-tonic vowel . . . . . . . . . . . . . . . . . . . . .. 148 I-C.1.3 Totals: Class 3 vowel ....................... see editor's note, pg. 154 I-C.2. Class 3 consonant contrasts ........................................ 154 I-C.2.l. Consonant contrast in CM pairs ................................ 155 I-C.2.2. Consonant contrast in F pairs .................................. 163 I-C.2.3. Totals: consonant contrasts.................................... 174 I-C.3. Totals: vowels plus consonants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 175 I-D. Rhyme-Element Contrasts: Totals........................................ 177 I-D. I. Totals: Poets ................................................... 177 I-D.2. Totals: ASP-PL Genres. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 179 I-D.3. Totals: ASP-L and ASP-PL Periods ................................. 181 I-E. Conclusion.......................................................... 183 Tables .............................................................. 187 34 Rhyme-Element Contrasts INTRODUCTION This chapter will deal with rhyme-element (RE) contrasts and constraints in rhyme pairs: that is, with rhyme pairs that do not meet all expectations for rhyme-element "flawlessness"-lack of technical imperfections-as interpreted in Pu~kin's day. As has often been noted, those expectations, at the time Pu~kin published Ruslan i Ljudmila in 1820, were stringent. (For a detailed examination of the polemics on RL upon its appearance, including its rhymes, see Tomasevskij, PuSkin, 1, 350-380). For a rhyme to be judged as being without flaw, there would be "sameness" in both the orthography and phonetics of the rhyme-elements of the two rhyme partners of the pair-and without any use of variant orthography or any variant pronunciation. For example, N.F. Ostolopov in a book published by the Imperial Russian Academy in 1821 defines rhyme as follows: "Rifmoju nazyvaetsja soglasie zvukov kone~nogo slova v stixe s kone~nym ze slovom drugogo stixa," but calls a rhyme "nepolnaja iii bednaja: kotoraja zvukami i bukvami nesoversenno soglasuetsja s drugim slovom, kak na pr.: naS, straZ; sosed, obet; slov, Ijubov· i pr." (Ostolopov, Slovar' drevnej i novoj poezii, 3: 17). He objects not only to hard-soft pairs, but also to neutralized terminal voiced-unvoiced rhymeword pairs. A further important matter: when there was orthographical "sameness" of the rhymeelements of a pair-with usual or alternative orthography-there was then sensed to be no contrast in the phonetics of the rhyme-elements as regards rhyming. Furthermore, if there is contrast in phonetics in the rhymes, there is also contrast in orthography. Chapter 1 will attempt to classify and deal with all the rhyme pairs that have rhymeelement contrasts and constraints. Some such rhyme pairs have contrasts both in phonetics and orthography. However, the largest groups of Class I contrasting rhyme pairs have no contrast in the phonetics of their rhyme-elements, but differ in pronunciation unless variant pronunciations are used, or that vary in orthography unless variant orthography is used, or both. They...

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