In regard to form, there are two kinds

(1) Masculine, between words ending in an accented sylla* ble, as —

Le nuage éclatant qui le cache à nos yeux Conserve en sillons d'or sa trace dans les cieux . . .

(2) Féminine, between words ending in a mute syllable, as —

Salut, bois consacré ! Salut, champ futiéraire, Des tombeaux du village humble dépositaire.

(3) Words must not only rhyme to the ear, but also in gênerai to the eye. Thus the following rhymes would not be allowed : —

mûr, purs; bleu, peux; content, récents. But eux, bleus; paix, fais; banc, rang, etc., are good.

(4) The rhyme is perfect when syllable or syllables that rhyme are exactly alike in form : as, compagnes, campagnes, p. 109.

(5) The rhyme is sufficient when there is a resemblance in Sound though not in form : as, clartés, sentez, p. 109.

3. In regard to order of occurrence there are many varieties.

(1) The successive rhyme is the most common, always employée! in heroic verse (see p. 35), and is a pair of masculine lines followed by a pair of féminine H nés, and this order repeated îndefinitely.

(2) The altemate rhyme, the first line with the third and the second with the fourth, one pair masculine and the other féminine (see p. 101).

(3) The repeated rhyme, one masculine and one féminine rhyme recurring through a complète period or poem (see p. 77, bottom).

(4) Thèse may ail be combined and varied in many ways.

In the following sélections the most fréquent arrangements are the following : a a b b, pp. 30-5 1 [pp. 89, 92-93, 104-1 14] ; a b a b, pp. 1-7 [pp. 13, 25-27, 52-53, 61-65, 84-88, 89, 93, 100-103, 134-135]; abba, pp. 18-24 [pp. 28, 54, 56-77, 79-80,82-83, 124-130] ; aabccb, pp. 7-12 [pp. 17, 55, 78, 80-82, 1 15-123, 131-133] ; ababcedeed, pp. 14-15 [90, 92, 95, 100]; abaab, p. 15 ; abbaaab, p. 16 [56] ;abbabccb, p. 28; aababba, p. 57; a b ab a, p. 57 ; aab c cb edd ee d d, p. 28 ; abbacdcd, p. 56; abbabeded, p. 54; ababceddeffe, p. 56; aabab cedd e e f fg g h gh, p. 29.