uu27itu: emo love quotes and poems

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It is often stated that ancient Hebrew poetry contains almost no rhyme. This assertion is understandable because the ancient texts preserved in the Hebrew Bible were written over a period of at least a millennium. Over that length of time, the pronunciation of every language changes. Words that were rhyming pairs at the beginning of that period may no longer rhyme at the end of that period. Further, different tribal groups or other groups of Hebrew speakers undoubtedly pronounced words differently in one and the same era. Using English as an example, we would be hard-pressed to find rhyme or even meter in the opening verses of Chaucer's Canterbury Tales, written in Middle English, if we were to pronounce the words of that poem as we pronounce their direct descendants in Modern English. Even within contemporary English, some speakers rhyme "again" with "rain" while others rhyme "again" with "pen."

Emo love quotes and poems

The phonological phenomena that obscure the rhymes of Chaucer only 600 years after his death, are also to be found in Biblical Hebrew texts which spanned a millennium. One fine example of rhyme and meter in ancient Hebrew texts is found in the Book of Proverbs, 6:9, 10. As Hebraist Seth Ben-Mordecai (author, The Exodus Haggadah) points out, these two verses, split into four lines of poetry, demonstrate both internal rhyme (common to Biblical Hebrew texts) and end-of-line rhyme (less common in Hebrew but the norm in English rhyming poetry), as well as noticeable meter. Thus, the last word of the first line ('AD maTAI 'aTZEL tishKAV) rhymes with the last word of the last line (me'AT khibBUQ yaDAYM lishKAV). In the third line, the second and fourth words create an internal rhyme with each other (me'AT sheNOT, me'AT tenuMOT). Finally, the first word of the second line (maTAI taQUM mishshenaTEksgha) is identical to the first word of the first line, linking those two lines even without obvious rhyme. Similar rhyming verses within the Hebrew Bible ought to put to rest the [question]. It is sometimes stated that ancient Hebrew texts demonstrate assonance more often than rhyme. Indeed, assonance is prominent in ancient Hebrew texts - as are other forms of "sound matching." An example of assonance is found in the first song mentioned above (Exodus 15:1-19), where assonance occurs at the ends of the lines, as in "anwehu" and "aromemenhu" (15:2). It is, of course, true that consonance of "hu" (= "him") can occur frequently in the Hebrew, because the language allows speakers to affix object-case as suffixes to verbs. The relatively greater use of assonance and consonance in Hebrew poetry than rhyme does not disqualify the ancient works from qualifying as poetry: Shakespeare is very sparing in his use of rhyme. Indeed, as noted, much of what now appears to be assonance or consonance in Hebrew poetry may in fact have been rhyme at earlier stages of the language or among different dialects of the language. What is notable when comparing ancient Hebrew poetry to contemporary English poetry is the playfulness of the authors, and their evident willingness to use multiple sound-matching schemes, rather than limiting themselves to simple rhymes at the end of verses, as in English.

emo love quotes poems. emo

The employment of unusual forms of language cannot be considered as a sign of ancient Hebrew poetry. In the sentences of Noah the form "lamo" occurs. But this form, which represents partly "lahem" and partly "lo", has many counterparts in Hebrew grammar, as, for example, "kemo" instead of "ke"; or "emo" = "them"; or "emo" = "their"; or "clemo" = "to them"—forms found in passages for which no claim to poetical expressions is made. Then there are found "ḥayeto" = "beast", "osri" = "tying", and "yeshu'atah" = "salvation"—three forms that probably retain remnants of the old endings of the nominative, genitive, and accusative: "u(n)," "i(n)," "a(n)."