{"id":17,"date":"2015-03-01T13:15:00","date_gmt":"2015-03-01T12:15:00","guid":{"rendered":""},"modified":"2026-07-12T09:00:36","modified_gmt":"2026-07-12T07:00:36","slug":"poesie-commen-etudier-la-versification","status":"publish","type":"post","link":"https:\/\/maprofdelettres.fr\/index.php\/2015\/03\/01\/poesie-commen-etudier-la-versification\/","title":{"rendered":"Po\u00e9sie : Comment \u00e9tudier la versification ? (I) La Rime"},"content":{"rendered":"
\n
\n<\/a><\/div>\n

<\/b><\/span><\/span>
\n
<\/b><\/span><\/span>
\n
<\/b><\/span><\/span>
\nCOMMENT \u00c9TUDIER LA VERSIFICATION<\/b><\/span><\/span><\/div>\n

<\/p>\n

\nIl convient d\u2019analyser cinq \u00e9l\u00e9ments :<\/span><\/span><\/div>\n
\n<\/div>\n
\n     I – LA FORME<\/b> : sonnet<\/span><\/span><\/div>\n
\n                                  ode, pantoum, etc.<\/span><\/span><\/div>\n
\n<\/div>\n
\n    II – L’ORGANISATION STROPHIQUE<\/b><\/span><\/span><\/div>\n
\n                                 – L’unit\u00e9 strophique : quatrain, tercet, distique<\/span><\/span><\/div>\n
\n                                 – La formule de l’unit\u00e9 strophique : vers isom\u00e9trique (12 – 12 …)<\/span><\/span><\/div>\n
\n                                                                                          vers h\u00e9t\u00e9rom\u00e9triques (10 – 8 …)<\/span><\/span><\/div>\n
\n<\/div>\n
\n    III – LE M\u00c8TRE<\/b> : alexandrin, d\u00e9casyllabe, etc.<\/span><\/span><\/div>\n
\n<\/div>\n
\n    IV – LA RIME<\/b><\/span><\/span><\/div>\n
\n                                 – La disposition : plate<\/span><\/span><\/div>\n
\n                                                             crois\u00e9e<\/span><\/span><\/div>\n
\n                                                             embrass\u00e9e<\/span><\/span><\/div>\n
\n                                 – Le genre : masculine<\/span><\/span><\/div>\n
\n                                                    f\u00e9minine<\/span><\/span><\/div>\n
\n                                 – La qualit\u00e9 : pauvre<\/span><\/span><\/div>\n
\n                                                       suffisante<\/span><\/span><\/div>\n
\n                                                       riche<\/span><\/span><\/div>\n
\n<\/div>\n
\n     V – LE RYTHME<\/b> (i.e l’\u00e9tude de la place des accents et les cons\u00e9quences)<\/span><\/span><\/div>\n
\n                                 – La c\u00e9sure : enjambante<\/span><\/span><\/div>\n
\n                                                      \u00e9pique<\/span><\/span><\/div>\n
\n                                                      lyrique<\/span><\/span><\/div>\n
\n                                 – La coupe :  enjambante<\/span><\/span><\/div>\n
\n                                                      \u00e9pique<\/span><\/span><\/div>\n
\n                                                      lyrique<\/span><\/span><\/div>\n
\n                                 – Cons\u00e9quences de cette accentuation sur la syntaxe (donc sur le sens du vers).<\/span><\/span><\/div>\n
\n                                                       Deux cas :<\/span><\/span><\/div>\n
\n                                                                        1 – concordance i.e co\u00efncidence entre l’accent m\u00e9trique et la pause syntaxique.<\/span><\/span><\/div>\n
\n                                                                  2 – discordance entre l’accent m\u00e9trique et la pause syntaxique :<\/span><\/span><\/div>\n
\n                                                                                                  rejet<\/span><\/span><\/div>\n
\n                                                                                                  contre-rejet<\/span><\/span><\/div>\n
\n                                                                                                  enjambement<\/span><\/span><\/div>\n
\n<\/div>\n
\nCONCLUSION<\/b><\/span><\/span><\/div>\n
\n<\/div>\n
\nDeux remarques s’imposent :<\/span><\/span><\/div>\n
\n<\/div>\n
\n1 – Le syst\u00e8me de la versification donne une disposition nouvelle qui remet en cause la syntaxe et donc le sens.<\/span><\/span><\/div>\n
\n2 – Il y a cr\u00e9ation d’un nouveau langage dont la fonction ne peut \u00eatre de d\u00e9signer l’univers r\u00e9f\u00e9rentiel ordinaire du langage commun : au lieu de d\u00e9noter, les mots connotent et nous autorisent \u00e0 une analyse symbolique.<\/span><\/span><\/div>\n
\n<\/div>\n
\n<\/div>\n
\nLA RIME<\/b><\/span><\/span><\/div>\n
\n<\/div>\n
\nD\u00c9FINITION<\/span><\/b><\/span><\/div>\n
\nDeux mots riment ensemble quand leur derni\u00e8re voyelle sonore, et \u00e9ventuellement les consonnes qui la suivent, ont le m\u00eame timbre :<\/span><\/span><\/div>\n
\nespoir \/ soir <\/span><\/span><\/div>\n
\nbarbu \/ pointu<\/span><\/span><\/div>\n
\nIl s’agit donc ( entre deux ou plusieurs mots ) d’une homophonie de leur derni\u00e8re voyelle tonique ainsi que de tous les phon\u00e8mes qui, \u00e9ventuellement la suivent.<\/span><\/span><\/div>\n
\n<\/div>\n
\nREMARQUES<\/span><\/b><\/span><\/div>\n
\n<\/div>\n
\n1 – Bien qu’un \u00ab\u00a0e\u00a0\u00bb muet en fin de vers ne compte pas pour une syllabe, on n’admet pas qu’un mot de terminaison sonore (rime masculine) rime avec un mot de terminaison muette.<\/span><\/span><\/div>\n
\n\u00ab\u00a0clerc\u00a0\u00bb ne peut rimer avec \u00ab\u00a0claire\u00a0\u00bb<\/span><\/span><\/div>\n
\n\u00ab\u00a0chair\u00a0\u00bb ne peut rimer avec \u00ab\u00a0ch\u00e8re\u00a0\u00bb<\/span><\/span><\/div>\n
\nLes partisans du vers libre ont protest\u00e9 contre cette r\u00e8gle arguant du fait que le \u00ab\u00a0e\u00a0\u00bb muet final ne se pronon\u00e7ant pas, \u00ab\u00a0clerc\u00a0\u00bb et \u00ab\u00a0claire\u00a0\u00bb ont exactement le m\u00eame son. Mais on sait qu’une prononciation artificielle du \u00ab\u00a0e\u00a0\u00bb muet est maintenue en vers. De plus, les finales muettes, quand les vers sont mis en musique, comptent pour un temps :<\/span><\/span><\/div>\n
\n\u00a0\u00bb J’ai du bon tabac dans ma tabati\u00e8-re\u00a0\u00bb<\/span><\/span><\/div>\n
\n2 – On estime que la rime f\u00e9minine a un effet \u00ab\u00a0suspensif\u00a0\u00bb alors que la rime masculine (surtout vocalique) a un effet \u00ab\u00a0conclusif\u00a0\u00bb :<\/span><\/span><\/div>\n
\n\u00ab\u00a0J’ai du bon tabac, tu n’en auras pas\u00a0\u00bb<\/span><\/span><\/div>\n
\nCes valeurs sont exploit\u00e9es dans la c\u00e9l\u00e8bre chanson :<\/span><\/span><\/div>\n
\n\u00ab\u00a0Plaisir d’amour ne dure qu’un moment<\/span><\/span><\/div>\n
\nChagrin d’amour dure toute la vi-i-e\u00a0\u00bb<\/span><\/span><\/div>\n
\n3 – Les rimes sont la m\u00e9moire interne du po\u00e8me. Par leur position privil\u00e9gi\u00e9e, en fin de vers, elles soulignent le rythme, rapprochent ou opposent des mots-cl\u00e9s.<\/span><\/span><\/div>\n
\n<\/div>\n
\nRIMES F\u00c9MININES \/ RIMES MASCULINES<\/span><\/b><\/span><\/div>\n
\n<\/div>\n
\nI – Rimes f\u00e9minines<\/span><\/span><\/b><\/div>\n
\nRimes en \u00ab\u00a0e\u00a0\u00bb muet-que celui-ci soit apr\u00e8s consonne (\u00ab\u00a0monde\u00a0\u00bb) ou apr\u00e8s voyelle <\/b>(\u00ab\u00a0nue\u00a0\u00bb).<\/span><\/span><\/div>\n
\nII – Rimes masculines<\/span><\/span><\/b>
\n
<\/span><\/span><\/div>\n
\nRimes sans \u00ab\u00a0e\u00a0\u00bb muet final.<\/span><\/span><\/div>\n
\n
\nREMARQUE<\/span><\/span><\/div>\n
\nIl n’y a pas \u00e0 consid\u00e9rer le genre grammatical des mots int\u00e9ress\u00e9s.<\/span><\/span><\/div>\n
\n<\/div>\n
\nLA DISPOSITION DES RIMES<\/span><\/b><\/span><\/div>\n
\n<\/div>\n
\nI – RIMES PLATES<\/span><\/b><\/span><\/div>\n
\nAppel\u00e9es aussi rimes \u00ab\u00a0suivies\u00a0\u00bb ou \u00ab\u00a0jumelles\u00a0\u00bb.<\/span><\/span><\/div>\n
\nSch\u00e9ma : AA BB<\/span><\/span><\/div>\n
\n<\/div>\n
\nII – RIMES CROIS\u00c9ES<\/span><\/b><\/span><\/div>\n
\nAppel\u00e9es aussi rimes \u00ab\u00a0altern\u00e9es\u00a0\u00bb.<\/span><\/span><\/div>\n
\nSch\u00e9ma : ABAB<\/span><\/span><\/div>\n
\n<\/div>\n
\nIII – RIMES EMBRASS\u00c9ES<\/span><\/b><\/span><\/div>\n
\nSch\u00e9ma : ABBA<\/span><\/span><\/div>\n
\n<\/div>\n
\nIV – RIMES REDOUBL\u00c9ES<\/b><\/span><\/span><\/div>\n
\nQuand le m\u00eame son est reproduit plus de deux fois, la rime est dite \u00ab\u00a0redoubl\u00e9e\u00a0\u00bb.<\/span><\/span><\/div>\n
\nSch\u00e9ma : AAAB CCCB CCCD<\/span><\/span><\/div>\n
\n<\/div>\n
\nV – RIMES M\u00caL\u00c9ES<\/span><\/b><\/span><\/div>\n
\nQuand les po\u00e8tes recourent successivement aux diff\u00e9rentes dispositions sans autre r\u00e8gle que leur fantaisie, ou leur sens de l’effet \u00e0 produire.<\/span><\/span><\/div>\n
\nLes meilleurs exemples se trouvent dans les Fables<\/i> de la Fontaine.<\/span><\/span><\/div>\n
\n<\/div>\n
\nVI – QUELQUES RIMES PLUS RARES<\/span><\/b><\/span><\/div>\n
\n<\/div>\n
\n1 – Rime annex\u00e9e<\/b> : elle reprend la syllabe de rime au d\u00e9but du vers suivant.<\/span><\/span><\/div>\n
\n\u00ab\u00a0Par trop aimer mon pauvre c\u0153ur lamente<\/span><\/span><\/div>\n
\n                      Mente qui veut, touchant moi je dis voir (vrai).\u00a0\u00bb Marot<\/span><\/span><\/div>\n
\n<\/div>\n
\n2 – Rime fratris\u00e9e<\/b> : elle reprend non seulement la syllabe de rime mais le mot entier.<\/span><\/span><\/div>\n
\n\u00ab\u00a0Cretin n’entend en combats ou tournois<\/span><\/span><\/div>\n
\n                 Tournois gagner pour Molin emp\u00eacher.\u00a0\u00bb G. Cretin<\/span><\/span><\/div>\n
\n(\u00ab\u00a0tournois\u00a0\u00bb : ancienne monnaie frapp\u00e9e \u00e0 Tours)<\/span><\/span><\/div>\n
\n<\/div>\n
\n3 – Rime encha\u00een\u00e9e<\/b> : elle reprend la base lexicale du mot de rime ou d’un mot voisin pour l'\u00a0\u00bbencha\u00eener\u00a0\u00bb \u00e0 la suite.<\/span><\/span><\/div>\n
\n\u00ab\u00a0Dieu des amans, de mort me garde;<\/span><\/span><\/div>\n
\n        Me gardant donne moy bon heur;\u00a0\u00bb Marot<\/span><\/span><\/div>\n
\n<\/div>\n
\n4 – Rime batel\u00e9e<\/b> : fait rimer la fin du vers avec la fin de l’h\u00e9mistiche suivant.<\/span><\/span><\/div>\n
\n           \u00ab\u00a0Nymphes des bois, pour son nom sublime<\/span><\/span><\/div>\n
\n  Et estimer, sur la mer sont all\u00e9es :    <\/span><\/span><\/div>\n
\n         Si furent lors, comme on doit pr\u00e9sumer,<\/span><\/span><\/div>\n
\n                           Sans \u00e9cumer les vagues raval\u00e9es (aplanies).\u00a0\u00bb Marot<\/span><\/span><\/div>\n
\n<\/div>\n
\n5 – Rime bris\u00e9e<\/b> : fait rimer les vers par la c\u00e9sure.<\/span><\/span><\/div>\n
\n\u00ab\u00a0Chacun doit regarder \/ \/ selon droit de nature<\/span><\/span><\/div>\n
\n                   Son bien propre garder \/ \/ ou trop se d\u00e9nature.\u00a0\u00bb G. Cretin<\/span><\/span><\/div>\n
\n<\/div>\n
\n6 – Rime couronn\u00e9e<\/b> : r\u00e9p\u00e9tition d’une ou plusieurs syllabes de la rime.<\/span><\/span><\/div>\n
\n\u00ab\u00a0Dieu tout puissant, prince d’honneur donneur,<\/span><\/span><\/div>\n
\n        Vrai r\u00e9dempteur, homme seul parfait fait.\u00a0\u00bb Destr\u00e9es<\/span><\/span><\/div>\n
\n<\/div>\n
\n7 – Rime \u00e0 double couronne<\/b> : r\u00e9p\u00e9tition d’une ou plusieurs syllabes de la rime et de la c\u00e9sure.<\/span><\/span><\/div>\n
\n\u00ab\u00a0Molinet net \/ \/ ne rend son canon, non<\/span><\/span><\/div>\n
\n                         Trop de vent vend, \/ \/ et met nos \u00e9bats bas\u00a0\u00bb G. Cretin<\/span><\/span><\/div>\n
\n<\/div>\n
\n8 – Rime emperi\u00e8re (imp\u00e9riale)<\/b> : elle triple la syllabe de rime.<\/span><\/span><\/div>\n
\n\u00ab\u00a0Qu’es-tu qu’une immonde, Monde, onde ?\u00a0\u00bb<\/span><\/span><\/div>\n
\n<\/div>\n
\n9 – Rime \u00e9quivoqu\u00e9e<\/b> : une m\u00eame rime est r\u00e9alis\u00e9e par des mots diff\u00e9rents.<\/span><\/span><\/div>\n
\n\u00ab\u00a0J’ai tel regret de mon adversit\u00e9         <\/span><\/span><\/div>\n
\n                  Que j\u00e0 mon coeur se rend \u00e0 vers cit\u00e9.\u00a0\u00bb G. Cretin<\/span><\/span><\/div>\n
\n<\/div>\n
\n10 – Rime sen\u00e9e<\/b> : tous les mots d’un vers commencent par le m\u00eame phon\u00e8me que le mot \u00e0 la rime (cette figure ne repose pas sur la syllabe).<\/span><\/span><\/div>\n
\n\u00ab\u00a0Fausse Fortune, fragile, fantastique,<\/span><\/span><\/div>\n
\n                    Folle, fumeuse, folliant, follatique.\u00a0\u00bb J. Bouchet.<\/span><\/span><\/div>\n
\n<\/div>\n
\n<\/div>\n
\nLA QUALIT\u00c9 DE LA RIME<\/b><\/span><\/span><\/div>\n
\n<\/div>\n
\nIl s’agit d’\u00e9tudier la qualit\u00e9 phonique de la rime. <\/b><\/span>Pour l’analyse, on fondera la hi\u00e9rarchie des rimes sur le nombre seul des homophonies. Il est bien entendu qu’il s’agit des homophonies r\u00e9elles et que ne doivent compter, en Fran\u00e7ais moderne, ni les consonnes purement graphiques, ni dans les rimes f\u00e9minines, les \u00ab\u00a0e\u00a0\u00bb finals muets :<\/span><\/span><\/div>\n
\ndoux \/ cailloux 1 homophonie<\/span><\/span><\/div>\n
\n  usage \/ partage 2 homophonies<\/span><\/span><\/div>\n
\n       g\u00e9nie \/ monotonie 2 homophonies<\/span><\/span><\/div>\n
\n<\/div>\n
\nI – La rime pauvre.<\/span><\/b><\/span><\/div>\n
\n On note une seule homophonie, celle de la derni\u00e8re voyelle tonique ( = accentu\u00e9e ) du vers, non suivie de consonne :<\/span><\/span><\/div>\n
\nmoi \/ roi<\/span><\/span>
\n           ma mie \/ la scie<\/span><\/span><\/div>\n
\n<\/div>\n
\nII – La rime suffisante<\/span><\/b><\/span><\/div>\n
\nOn note deux homophonies i.e une voyelle identique suivie d’une consonne identique :<\/span><\/span><\/div>\n
\n– voyelle tonique + consonne suivante : r\u00eave \/ ach\u00e8ve mer \/ fer<\/span><\/span><\/div>\n
\n– consonne d’appui + voyelle tonique finale : incendie \/ hardie<\/span><\/span><\/div>\n
\nva \/ trouva<\/span><\/span><\/div>\n
\n<\/div>\n
\nIII – La rime riche<\/span><\/b><\/span><\/div>\n
\nA partir de 3 phon\u00e8mes identiques i.e 3 homophonies :<\/span><\/span><\/div>\n
\n– consonne + voyelle + consonne vers \/ divers<\/span><\/span><\/div>\n
\n                                                      \u00e9chine \/ machine<\/span><\/span><\/div>\n
\n– consonne + consonne + voyelle partie \/ ortie<\/span><\/span><\/div>\n
\n                                                      ardu \/ perdu<\/span><\/span><\/div>\n
\n– consonne + consonne + voyelle pr\u00e9 \/ diapr\u00e9<\/span><\/span><\/div>\n
\n– voyelle + consonne + consonne arc \/ parc<\/span><\/span><\/div>\n
\n<\/div>\n
\nRemarque<\/span><\/b><\/span><\/div>\n
\nLes voyelles \u00e9tant plus audibles que les consonnes, la rime est \u00e9galement riche si la voyelle tonique est pr\u00e9c\u00e9d\u00e9e d’une \u00ab\u00a0voyelle d’appui\u00a0\u00bb identique :<\/span><\/span><\/div>\n
\n     inou\u00ef \/ r\u00e9joui<\/span><\/span><\/div>\n
\nDans la suite \u00ab\u00a0voyelle + consonne + voyelle\u00a0\u00bb, nous avons 3 phon\u00e8mes identiques dont deux voyelles : c’est une rime plus que riche. On appelle cette rime, rime \u00ab\u00a0double\u00a0\u00bb ou<\/span><\/span><\/div>\n
\n\u00ab\u00a0l\u00e9onine\u00a0\u00bb<\/span><\/span><\/div>\n
\n         vendu \/ pendu<\/span><\/span><\/div>\n
\nCette rime double ou l\u00e9onine est appel\u00e9e rime \u00ab\u00a0dissyllabique\u00a0\u00bb lorsqu’il y a deux<\/span><\/span><\/div>\n
\nsyllabes semblables:<\/span><\/span><\/div>\n
\n              sultan \/ insultant<\/span><\/span><\/div>\n
\n<\/div>\n
\nIV – La rime \u00e9quivoqu\u00e9e<\/span><\/b><\/span><\/div>\n
\nC’est une rime encore plus riche, ch\u00e8re aux grands Rh\u00e9toriqueurs et condamn\u00e9e par Du Bellay :<\/span><\/span><\/div>\n
\n\u00ab\u00a0ont du plaisir, et liesse abondance :<\/span><\/span><\/div>\n
\n                        On chante, on rit; qui le corps a bon danse\u00a0\u00bb<\/span><\/span><\/div>\n
\n                                     G. Cretin (un Rh\u00e9toriqueur)<\/span><\/span><\/div>\n
\n\u00ab\u00a0Gloire du long d\u00e9sir, Id\u00e9es,<\/span><\/span><\/div>\n
\n Tout en moi s’exaltait de voir<\/span><\/span><\/div>\n
\n La famille des irid\u00e9es            <\/span><\/span><\/div>\n
\n Surgir \u00e0 ce nouveau devoir\u00a0\u00bb  <\/span><\/span><\/div>\n
\n                                S. Mallarm\u00e9<\/span><\/span><\/div>\n
\nV – Vers holorismes ou rimes millionnaires<\/span><\/b><\/span><\/div>\n
\n\u00ab\u00a0Dans ces meubles laqu\u00e9s rideaux et dais moroses<\/span><\/span><\/div>\n
\n       Danse, aime, bleu laquais, ris d’oser des mots roses.\u00a0\u00bb<\/span><\/span><\/div>\n
\n                         (exercices chers aux po\u00e8tes parnassiens)<\/span><\/span><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":18,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[5],"class_list":["post-17","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe","tag-poesie"],"yoast_head":"\nPo\u00e9sie : Comment \u00e9tudier la versification ? (I) La Rime - Ma Prof de Lettres<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/maprofdelettres.fr\/index.php\/2015\/03\/01\/poesie-commen-etudier-la-versification\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Po\u00e9sie : Comment \u00e9tudier la versification ? 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