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Excerpt from Irradiations Sand and Spray
The system which demands that the end of every line of poetry must rhyme with the end of some one preceding Or following it, has not even the merit of high antiquity or of civilized adherence. In its essence it is barbarous; it def rives from the stamping of feet, clapping of hands, pound/ ing of drums, or like devices of savage peoples to mark the rhythms in their dances and songs. And its introduction into European poetry, as a rule to be invariably followed, dates precisely from the time of the break/up of the Latin civilization, and the approach of what the historians know as the Dark Ages. Since it has come into common use among European peoples, every poet of eminence has tried to avoid its fatiguing monotony, by constructing new stanza/ forms. Dante, Petrarch, Chaucer, Spenser, all these wéxre inf novators or developers of what may be known as formal metre. But let us not forget that the greatest of all, Shake/ speare, used rhyme in his plays, only as additional decora.
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