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Teen Yavru Tiffany Star Fena A Mature Man To Dump His Hot Seed Inside Of Her
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Words to
Rhyme With
WILLARD R. ESPY
UPDATED BYORIN HARGRAVES
Words to
Rhyme With
A RHYMING DICTIONARY
THIRD EDITION
Including A Primer of Prosody O A List of More Than
80,000 Words That Rhyme \> A Glossary Defining
9,000 of the More Eccentric Rhyming Words O
And a Variety of Exemplary Verses, One of Which
Does Not Rhyme at All
WILLARD R. ESPY
Updated by Orin Hargraves
12 Facts On File
An imprint oflnfobase Publishing
WORDS TO RHYME WITH, A Rhyming Dictionary, Third Edition
Third edition copyright © 2006 by Louise M. Espy
Original edition copyright © 1986 by Willard R. Espy
All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical,
including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the
publisher. For information contact:
Facts On File, Inc.
An imprint of Infobase Publishing
132 West 31st Street
New York NY 10001
Library of Congress Cataloging-in-Publication Data
Espy, Willard R.
Words to rhyme with: a rhyming dictionary: including a primer of prosody, a list of more than 80,000 words that rhyme,
a glossary defining 9,000 of the more eccentric rhyming words, and a variety of exemplary verses, one of which does not
rhyme at all / Willard R. Espy. — 3rd ed. / updated by Orin Hargraves,
p. cm.
Includes index.
ISBN 0-8160-6303-6 (acid-free paper)
1. English Language — Rhyme — Dictionaries. 2. English language — Versification. I. Hargraves, Orin. II. Title.
PE1519.E87 2006
423'.1 — dc22 2005051122
Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions,
or sales promotions. Please call our Special Sales Department in New York at 212/967-8800 or 800/322-8755.
You can find Facts On File on the World Wide Web at http://www.factsonfile.com
Cover design by Cathy Rincon
Text design adapted by James Scotto-Lavino
VB FOF 10 987654321
Printed in the United States of America
This book is printed on acid-free paper.
Contents
You’d Be a Poet, But You Hear It’s Tough?
Author’s Note
To Charles F. Dery: A Dedication
Acknowledgments
Foreword to the New Edition
Preface
Introduction 1
Rhythm and Meter 3
Rhyme 4
The Stanza 7
The Metric Line 10
Forms of Lyric Verse 16
Word Play in Rhyme 31
Caution: Identicals Do Not Rhyme 41
How to Use the List of Rhyming Words 45
Step 1 : Determine the Sort of Rhyme You Need 45
Step 2: Determine the Vowel Sound Your Rhyme
Begins With 46
Step 3: Determine the Sound Pattern That Follows
the Stressed Syllable of Your Source Word 46
Finer Points 48
Single Rhymes 53
Double Rhymes 157
Triple Rhymes 409
Glossary 533
How Dreka’s Blotting-Case Fathered a Glossary 533
To Use the Glossary Effectively, Remember That 535
Appendix A: Meaning of the Number Keys 669
Appendix B: Additional Words Ending in -mancy 670
Appendix C: Additional Words Ending in -mania 672
Appendix D: Additional Words Ending in -phobia 673
Index of First Lines of Verses 677
Quotations on Rhyme, Rhythm, and Poetry 681
You’d Be a Poet, But
You Hear It’s Tough?
You’d be a poet, but you hear it’s tough?
No problem. Just be strict about one rule:
No high-flown words, unless your aim is fluff;
The hard thought needs the naked syllable.
For giggles, gauds like pseudoanti-
disestablishment fulfill the purpose well;
But when you go for guts, the big words miss:
Trade “pandemonic regions" in for “hell. ”
. . . Important poems? Oh . . . excuse the snort . . .
Sack scansion, then — and grammar, sense, and rhyme.
They only lie around to spoil the sport —
They’re potholes on the road to the sublime.
And poets with important things to say
Don’t write Important Poems anyway.
Author’s Note
I t is not unusual for the writers of handbooks like this one to slip
in a few verses of their own making. I have gone a bit further than
that. In this book I resurrect no moth-eaten old lines from such has-
beens as Shakespeare or Milton. With the exception of one borrowed
quatrain from the Latin and a contributed verse consisting of lines, all
the verses are my own. Most of those in the early chapters have been
published before (some appear here in slightly modified form); most
of those in the rhyming list, and I think all those in the glossary, were
written specially for this book.
Mind you, these are not Poems. They are jingles — nominies —
doggerel — amphigories. They should serve to remind you that one
need not be a Poet with a capital P to have a capital time putting
rhymes together. They should also challenge you to prove that at least
you can rhyme better than that.
— W R. E.
To Charles F. Dery:
A Dedication
S ome sleepers, myself included, occasionally dream in color; but
of my acquaintance, only Charles F. Dery admits to dreaming
regularly in puns. In the example he described most recently, a young
woman turns down his offer of a canoe ride: “I hear,” she explains,
“that you are a big tipper.”
That Charles, in his eighties, continues to pun even when asleep is
itself enough to justify this dedication, but I have a defensive reason
for it as well. He is a person of deadly critical faculties, sometimes
loosely leashed; a few appreciative words written now may save me
from having to read a twenty-page letter, with footnotes, listing just
the more egregious errors he has uncovered in his first half-hour with
Words to Rhyme With.
The preceding paragraph was a joke, Charles, I owe you this
dedication because when it comes to choosing the right word for the
occasion you are the quickest draw in the West. You are, moreover,
the person who provided me with not one rhyme for “purple” but
two, both from Scotland — first hirple, meaning “gimpy,” and then
the glorious curple, meaning “horse’s ass.” Language for you is both
a mistress to embrace and a divinity to worship. I have found you a
peerless guide to the magical world of words at play, and count you
a dear friend to boot.
Thank you, Charles.
— W. R. E.
Acknowledgments
' YU'7'ords to Rhyme With aches from every ill a rhyming guide
W produced by an amateur, more or less single-handedly, is
heir to. Misspellings, missed rhymes, misplaced stresses, and the like
abound. I should have hired a crew.
Still, others were present, or almost so, at the creation, most of
them without realizing it. I cannot think of a way to blame them for
my errors, but at least they should share the credit for any redeeming
features you find here.
Steven Wortman, for instance, turned over the first earth for this
book back in 1981. I gave him as many different rhyming dictionar-
ies as I could find in the bookstores, and he tirelessly and expertly
collated the rhymes.
So the authors of those rhyming dictionaries are in some
measure the authors of this one. I do not remember who they all
were, but I do recall Burges Johnson, who wrote New Rhyming
Dictionary and Poet’s Handbook (1931); Clement Wood, author of
The Complete Rhyming Dictionary and Poet’s Craft Book (1934);
and Frances Stillman, whose The Poet’s Manual and Rhyming
Dictionary appeared in England in 1966. More recently I found
unexpected words in The Penguin Rhyming Dictionary (1985), by
Rosalind Fergusson.
I next leafed through The American Heritage Dictionary (1969), a
top-drawer reference at university level. From there I proceeded to
four unabridged dictionaries: The Encyclopaedic Dictionary (1896),
which is less comprehensive than today’s mastodons but lends comfort
by its admirably simple phonetic system; Webster’s New International
Dictionary, Second Edition (1959); Webster’s Third New International
Dictionary (1961, with addenda in 1981); and The Oxford English
Dictionary (1970, with supplements through SCZ).
I watched for additional words in the course of my general
reading. Since many were too new on the scene to show up in my regular
ACKNOWLEDGMENTS
Words to Rhyme With
references, I checked their bona fides in The Barnhart
Dictionary of New English Words since 1963 and The
Second Barnhart Dictionary of New English Words,
both by Clarence L. Barnhart, Sol Steinmetz, and
Robert K. Reinhart; The Morrow Book of New Words,
by N. H. and S. K. Mager; and MerriamWebster’s
9,000 Words, a supplement to the Third.
Three teeming sources of outre terms were
Words, by Paul Dickson; Mrs. Byrne’s Dictionary
of Unusual, Obscure, and Preposterous Words, by
Josefa Heifetz Byrne; and Hobble-de-hoy, The Word
Game for Geniuses, by Elizabeth Seymour. The
extra words ending in -mancy in Appendix B are
from Words. Those ending in -mania and -phobia
(Appendixes C and D) are from a remarkable
collection, still unpublished as I write, by Rudy
Ondrejka.
Richard E. Priest volunteered over drinks one
day the elegant locution sesquitricentennial, mean-
ing “four hundred and fiftieth.” I owe to William
Cole a persuasive rationale for taking all the trouble
this book required. He pointed out that tens and
tens of thousands of poets nowadays shun rhyme
as if it were herpes. They will need Words to Rhyme
With to know which words to avoid.
Jan McDonald typed the glossary. The speed
of her word processor matches that of the space
shuttle, and she appears incapable of hitting the
wrong key. Recalcitrant words ( hippopotomonstro -
sesquipedalian is a minor example) flowed flaw-
lessly from her fingers, along with their phonetic
equivalents (in this instance, hip.o.pot'o.mons'tro.
ses kwi.pi.dal'yun).
I extend warm thanks to Steven Wortman; to
Burges Johnson and Clement Wood (though they
can scarcely be still alive); to Frances Stillman,
Rosaline Fergusson, and Elizabeth Seymour; to
the compilers of the rhyming dictionaries I have
forgotten; to those responsible for the other stan-
dard dictionaries on my list; to Messrs. Barnhart,
Steinmetz, Reinhart, and Mager (though I have
only initials for the given names of the Magers; per-
haps they are Madams or Mademoiselles); to Mrs.
Byrne, Mr. Dickson, and Mr. Ondrejka; to Richard
Priest; to Bill Cole; and to Jan McDonald.
And especially, to Louise. For better or worse,
she once said. For better or worse, this book could
not have been completed without her.
Espy Verses from Earlier Books
My thanks to the following publishers for per-
mission to use the verses indicated:
Bramhall House, The Game of Words: A Dream
of Couth; Applesauce; Drinking Song; Looking
Glass Logic; New Words for an Old Saw; Noel,
Noel; Oops! You Almost Picked up the Check; On
an Aging Prude; Passion’s a Personal Perception;
Singular Singulars, Peculiar Plurals; The Cry of
a Cat’s a Meow; Venereally Speaking; Words in
Labor.
Doubleday & Company, Say It My Way:
Although Informal Speech Is Free; Get That “Get”;
Grammatical Usage for Stompers; Graveyard
Square; I’d Say in Retrospect; My Idol, Your Idle;
On a Distinguished Victorian Poet Who Never
Pronounced His Name the Same Way Twice;
On the Correct Use of Lie and Lay; Polonius to
Laertes: a Grammatical Farewell; The Heaving of
Her Maiden Breast; To a Young Lady Who Asked
Me to “Do” Her in a Thumbnail Sketch.
Clarkson N. Potter, An Almanac of Words
at Play: A Classical Education; A Mouse of
My Acquaintance; A Positive Reaction; Bless
These Sheep; E Pluribus Unum; Facsimile of a
Love Song; Forecast, Chilly; Haikus Show IQ’s;
Identity Problem in the Mammoth Caves; I Love
You to Infinity; In-Riddle; I Scarce Recall; Love’s
a Game; Macaulay Tells Us; My Amnesty to All;
Never Emberlucock or Impurgalize Your Spirits
with These Vain Thoughts and Idle Concepts;
Pre-Parental Plaint; Some May Promise Riches;
The Mrs. kr. Mr.; There Are Numerous Locutions
Words to Rhyme With
ACKNOWLEDGMENTS
to Express the Idea of Never; The Susurrant
Schwa; To a Praying Mantis; To a Young Poetess;
Typesetting Tarradiddle; When Charon Ferries
Me Across the Styx; Wild Boars and Lions Haul
Admetus’ Car.
Clarkson N. Potter, Another Almanac of Words
at Play: A Pest Iamb, Anapest Rick Ballad Was;
Brooklyn Love Song; Centripetal, Centrifugal;
Charles Dickens and the Devil; Concede, My
Own; Consider Now the Quark; Elegy for My
Late Friend and Tailor, Canio Saluzzi; For Isaac
Asimov; For Planets Forsaken; Grammar in
Extremis; Had I Butt Nude; I Have a Little
Philtrum; I Was a Stranger; I Was Prodigal with
Time; Kitchy-koo; Larva, Pupa, Imago; Let Us
Wonder, While We Loiter; Love Song; Manon?
Mais Non; My Chinese Miss; Now, a Little
While; Ode to an Elevator; On Joseph Brodsky’s
Contention; On the Hermit Crab; Our Love Will
Never Dwindle, Being Never; Resquiescat in Pace;
Round (a Roundelet); Scratch That Mudblower —
One Love-Maiden to Go; The Active and the
Passive Voice; There Ought to Be a Law; There’s
Seldom Been a Man I Knew; They Were as Fed
Horses in the Morning; To God the Praise; Up-
and-Down Counting Song.
Clarkson N. Potter, A Childrens Almanac of
Words at Play: The Pygmy Race Were Little Guys;
Incident in a World’s Series Game.
Harper & Row, The Garden of Eloquence:
Alliteration’s Artful Aid; Don’t Tell Me No
Grammatic Rules; If Love Be Fine, As Some
Pretend; O Mangy Cat, O Scruffy Cat.
Simon & Schuster, Have a Word on Me: A
Man in Our Town, Cal Y-clempt; A Certain Paris
Avocat; Bactrian Camels Have Two Humps; Don
Juan at College; Forgotten Words Are Mighty
Hard to Rhyme; God Argues Constantly with Me;
I Find It Curiositive; I Would I Were a Polyglot;
Jogger, Jog; Veritas Mutatur.
Foreword to the
New Edition
I t has been a pleasure and a privilege for me to spend these past
few months updating Willard Espy’s Words to Rhyme With. The
process of combing through the lists and enjoying Mr. Espy’s clever
and imaginative poems along the way has earned me an acquaintance
with what must surely be one of the 20th century’s most nimble and
adept minds in the world of words. You cannot spend much time in
this book without concluding that Mr. Espy’s wit was a source of
delight to all of those around him.
Since this book was first published, technology has developed
many new and useful ways to slice and dice large volumes of text. A
benefit arising from this facility is that the computer can now come
to the aid of the seeker of rhymes: Databases of phonetically marked
words can be queried to yield up all the known rhymes to a given
combination of sounds. This not only yields up unlikely rhymes that
conventional seekers would not have known to look for ( Cornwallis
and Gonzalez; checksum and Wrexham; Olestra and Clytemnestra ), it
also spares the eyes and fingers of the compiler who, in earlier years,
would have to page laboriously through wordlists to insure that all
the pertinent matches had been found.
Technology has also added many new words to English, and
continues to do so daily. In choosing the hundreds of new addi-
tions to this book, however, my emphasis has been on usefulness.
Technological, medical, and scientific terms have been added if they
are (1) relatively short (and therefore conducive to use in rhyme); (2)
reasonably well known; or especially (3) if they supplied a rhyme
or a category of rhymes that did not formerly exist in English. My
main intention in readying this book for writers of the 21st century
has been to add words that are in the mainstream vocabulary of
FOREWORD TO THE NEW EDITION
Words to Rhyme With
American speakers today, and therefore likely to
be considered candidates for rhyme in song, rap,
and poetry.
I have combed the latest editions of the American
college dictionaries and numerous other new word
sources, both published and unpublished, for entries
that may supply fodder for rhymers these days: This
has yielded up such neologisms as clawback, feebate,
and prebuttal. Additionally, I have also been able to
fill many gaps in Mr. Espy’s lists with older words
that his searches had overlooked, such as apogamy,
hat trick, measle, and snarly. Trademarks are used
with increasingly frequency as pop culture referenc-
es, so I also added many more of these to the lists:
among them Bake-Off, Faberge, and Winnebago.
Acronyms and initialisms are an ever-increasing
form of shorthand for most speakers, and they
also fit handily into poetry, nearly always finding
a simple rhyme with the final letter — so I added
a number of these to the single rhymes, including
ASAP, DVD, and P2P. I also added many more
biographical and geographical names than appeared
in the earlier editions; these are of great value to
limericists, and wherever a name could be found to
fill a gap under a mother rhyme, it has been added:
thus, such additions as Bristol, Donizetti, Hormuz,
Jackson, and Tristan. Poets, songwriters, and rappers
today draw from a much wider field of reference
that the one encompassed by standard English, and
my intention has been to supply as much useful
material for them as could be found. Toward that
end, I have also added many words from informal
English and a number of “pronunciation spellings”
(e.g., lemme, gotta, shouldd).
Many new cross-references have been added to
direct the user to words that, for most Americans,
constitute perfect rhymes — even though by the
lights of Mr. Espy’s more precise diction, they
contained different vowels. Speakers today make
little distinction between vowels that Espy cat-
egorizes separately: A and O, for example. Cross-
references between entries based on these vowels
can now lead the user to many more useful
rhymes if the first category consulted does not
yield a desirable one.
In addition to all these improvements, many
users of this book, old and new, will appreciate the
completely rewritten “How to Use” section of the
book (beginning on page 45). Mr. Espy’s guide to
the book, while elegant and witty, presumed an
acquaintance with both phonetics and English
prosody that went beyond what would be reason-
able for many poets and rhymsters today, especially
younger ones. I have, however, attempted in rewrit-
ing the guide to retain as much of Mr. Espy’s style
and wit as was possible, in the hope that this repre-
sents the best of both worlds.
In one other respect we have made a con-
cession to modernity that was not counte-
nanced by Mr. Espy: We have added “Rhyming
Dictionary” to the subtitle of this book. As he
pointed out in his introduction, a dictionary
is, in the minds of most people, a book that
contains both words and definitions. However,
since so many people today buy their books
online, we did not wish to risk the possibility of
not being found by people searching for “rhym-
ing dictionary,” since nearly all other books that
systematically compile lists of rhyming words go
by that name. Besides that, modern technology
has also changed ideas about what a dictionary
is: Among today’s definitions is “a computer-
ized list used for reference,” a
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