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http://www.english.illinois.edu/maps...t/birdsong.htm
Figure of speech
Notice how Frost mixes and matches different kinds and shapes of words (e.g. the reared-stressed disyllabic "believe" with the monosyllabic "Eve," and the monosyllabic "round" with the trisyllabic "oversound") and mixes and matches different parts of speech (e.g. the adjective "soft" with the adverb "aloft," and the pronoun "same" with the verb "came"). Notice as well how Frost, in joining "round" with "oversound," fuses a sense of breadth with one of height, and how, in chiming the line ending in "crossed" with that ending in "lost," he hints at the arresting thought that nothing better preserves a thing than a beneficial alteration to it. (It is also interesting that, though "crossed" and "lost" are both participial adjectives, they are formed by different suffixes—one by "-ed," the other by "-t.")
This is not to suggest that poets carefully calculate all their rhymes, any more they pre-plan all their rhythmical effects. Good poets learn how to use the tools of their trade and then concentrate on their subject matter. Paradoxically, intuition and instinct operate most freely in a poem's technical aspects. And it's usually only when things are not working out that a poet will turn his or her undivided attention to the nature of a cadence or the characteristics of a rhyme. At the same time, however, any poet will profit from developing tact and sensitivity with regard to rhyme.
بـــــــــآلتوفيــق ~..
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