RHYME.--When two or more words correspond from their accented vowel on, they are said to rhyme: _Pferde--Erde_. The rhyming syllable must carry at least a secondary accent: _Héiligkèit--Zéit_. Rhymes of one syllable are called masculine, of two syllables feminine. According to their degree of perfection rhymes are classified as pure and impure. Thus _geboren--geschworen_, _bestellt--Welt_ are pure, _gesehn--schön_, _gerissen--Füßen_, _Lied--Gemüt_, _sprach--Gemach_, _Wiesen--fließen_ are impure. Impure rhymes are not of necessity poor, but may be used to enhance the musical effects of a poem. Heine was a master in this respect. The modern school, however, tends to avoid impure rhymes. Rhymes within a verse are called internal rhymes. ALLITERATION--two or more accented syllables beginning with the same consonant or with a vowel: _Von weißen Wolken umwogt_, 59, 2--is used to enhance the rhythmic-melodic character of a poem, as is also assonance--the agreement of vowels in two or more accented syllables, 36. Often assonance is practically a form of impure rhyme, _Grunde--verschwunden_, 41, _Himmel--Schimmer_, 44. STANZA--a union of two or more verses. In a stanza itself the individual verses may either stand apart or two or more verses may form larger units. Thus the structure of the various stanzas may be made to differentiate and the rhythmic-melodic character of the poem be thereby modified (44 and 56 and notes). Similarly, stanzas may form larger units (2). If the end of a verse breaks into a syntactic unit, we have what is called an enjambement. This tends to put a special stress on the last word. Notice for example the onomatopoetic effect in 13, 7 and 8: Aus dem bewegten Wasser rauscht Ein feuchtes Weib hervor. REFRAIN.--This is a repetition of one or more verses, either exactly repeated or slightly modified, at the end of a stanza or less frequently at another fixed place (4, 10, 34). Aside from its rhythmic-melodic effect the refrain helps to center the attention on a certain idea or motif. STANZA AND VERSE FORMS.--Only a few need any special discussion. 1. _Blank Verse_. This is the verse of Shakspere and was introduced into Germany from England. It is an unrhymed iambic verse of five feet (19). 2. _Freie Rhythmen_. An unrhymed verse that does not follow any fixed form; the rhythm may vary even within the verse. The number of accented syllables usually does not exceed four (15, 16 and 59). 3. _The Rhymed Couplet_ (_vierhebige Reimpaare_) was introduced from the _Volkslied_. The verse ending is always masculine. Best adapted to a rapidly progressing action, every stanza marks a forward step, portrays a new scene (28, 29, 74). 4. _The Sonnet_, an Italian verse form, is composed of fourteen iambic lines of five feet each. The rhyme for the first eight lines, called the octave, is always _abbaabba_; for the last six, called the sestette, the rhyme may be _cdcdcd_, _ccdccd_, or _cdecde_ (69 and 77).