Let's move on to assonance rhyme. And now, we're really getting down to that end of the spectrum, towards the end of the spectrum. Because an assonance rhyme is always unstable. It's always unstable. Whereas in additive and subtractive rhyme, we're kind of dealing with the E in the bass and the C major triad. [music] Ba da, da, da dum. [music] Ba da, da, da dum. [music] Depending on how much you add or subtract. Now, when we move on to assonance rhyme, now it's always going to be unstable, as though we were now taking the C out of the right hand, putting the E in the bass and then singing the, singing the C. Ba da, da, da, dum. [music] Ba da, da, da, dum. [music] So there we have something like an assonance rhyme. It's always going to feel unstable. Always going to feel unstable. Assonance rhyme works like this. The only thing that the words or the syllables have in common is their vowel sound. And in assonance rhyme, as opposed to additive and subtractive and perfect. In assonance rhyme, all of the syllables that you're rhyming do have ending consonants. But the ending consonants belong to different phonetic families. Belonged to different phonetic families. So that, for example, we have something like life and tide. Where life, of course, ends with the un-voiced fricative and tide with the voice plosive. Life and tide is always going to feel unstable. Consequently, it won't give you a full rhyming effect. If what you are trying to do with the rhyme is accelerate, it will diminish the feeling of acceleration. It will diminish the feeling of resolution. And if you are talking about something that is diminished, that is unstable, that maybe exactly what you want. Note that using rhyme types, of course, gives you much more in the way of opportunities to say what you mean and still rhyme. But it does something else that's I think even more important. What it does is it gives you the possibility of using rhyme. Expressively, of using your rhyme types to at the end of a sequence make it feel open the gate. Open the gate. And let some of the emotion hang out. So that it doesn't feel shut tight. So assonance rhyme you can do blood rush. Blood rush. That's going to open the gate. You will have a connection. It feels like there's some connection, but the connection isn't strong enough to say, I'm done and I feel very stable about it. Fool rude. Fool. Rude. Note the vowel sound is the same. Fool. Rude. But again, it's a kind of squishy connection which if you're talking about a fool, because a fool is rude, maybe exactly what you want to do. Fire. Smile. That's hardly and contact at all. Depending on how long you hold the vowel. But still, fire and smile isn't going to give me much, other than that sonic bonding between vowels. As a side note right here, I would just like to say fire and smile would work very nicely inside a line to create a kind of voice leaning of vowels, as you go through the line. But as an in-line rhyme, it's going to feel pretty unstable. So assonance rhyme is always going to feel unstable.