a modern spelling variant or replacement of Middle English rime, rimen, from Old French rimer, from rime "verse" (see rhyme (n.)). The Middle English word is attested from late 12c. as "poetic measure, meter," from c. 1300 as "agreement in terminal sounds of words or metrical lines; a rhyming song or ballad."
The spelling shifted from mid-17c. by influence of rhythm and Latin rhythmus, from the same Greek source, and the intermediate form rhime is frequent for a while (Dryden and Steele have rhime; Pope and Scott rhyme). Related: Rhymed; rhyming; rhymer (Middle English rimer, early 15c., from rime, also from Anglo-French rimour, Old French rimeur).
The poetaster's rhyming dictionary is attested from 1775 (in John Walker's introduction to his "Dictionary of the English Language, Answering at once the Purposes of Rhyming, Spelling, and Pronouncing. On a Plan Not Hitherto Attempted"). The phrase rhyming slang for the Cockney disguised speech in which a word is replaced by a phrase which rhymes with it is attested from 1859 (the thing itself described by 1851). Especially if the rhyming word is then omitted, which seals the reference from the uninitiated: Richard, in rhyming slang "a girl" (a couple of likely Richards), short for Richard the Third, chosen to rhyme with bird "girl."
"agreement in terminal sounds of words or metrical lines," a 16c. attempt to restore a classical spelling to Middle English ryme, rime (c. 1200) "measure, meter, rhythm," later "rhymed verse" (mid-13c.), from Old French rime (fem.), which is related to Old Provençal rim (masc.), earlier *ritme, from Latin rithmus, from Greek rhythmos "measured flow or movement, rhythm; proportion, symmetry; arrangement, order; form, shape, wise, manner; soul, disposition," related to rhein "to flow" (from PIE root *sreu- "to flow").
The persistence of rime, the older form of the word, perhaps is due to popular association with Old English rim "number" (from PIE root *re- "to reason, count"). The intermediate form rhime was frequent until late 18c.
In Medieval Latin, rithmus was used for accentual, as opposed to quantitative, verse, and accentual verse usually was rhymed, hence the sense shift. In prosody, specifically the quality of agreement in end-sounds such that the last stressed vowel, and any sounds after it, are the same, and preceding sounds differ.
Verse was invented as an aid to memory. Later it was preserved to increase pleasure by the spectacle of difficulty overcome. That it should still survive in dramatic art is a vestige of barbarism. [Stendhal "de l'Amour," 1822]
The sense of "a piece of poetry in which consonance of end-sounds is observed" is from 1610s. From 1650s as "word that rhymes with another." The phrase rhyme or reason "good sense" (chiefly used in the negative) is from late 15c. (see reason (n.)). Rhyme scheme "ordered pattern of end-rhymes in metrical composition" is attested from 1931. Rhyme royal (1841) is a stanza of seven 10-syllable lines rhymed a-b-a-b-b-c-c.
1716, transitive, "reduce to a scheme;" 1767, "devise a scheme, plot, plan," from scheme (n.). Intransitive sense of "form plans, contrive" is by 1842. Related: Schemed; scheming.
1550s, "figure of speech" (a sense now obsolete), from Medieval Latin schema "a shape, a figure, a form, appearance; figure of speech; posture in dancing," from Greek skhēma (genitive skhematos) "figure, appearance, the nature of a thing," which is related to skhein "to get," and ekhein "to have, hold; be in a given state or condition" (from PIE root *segh- "to hold").
By 1610s as "linear representation showing relative positions pf the parts or elements of a system" (especially in astrology). The sense "program of action" is by 1640s, also "outline, draft of a book, etc."
The meaning "plan of action devised to attain some end" is by 1718, and unfavorable overtones (selfishness, deviousness) began to creep in to the word after that time. Meaning "complex unity of coordinated component elements, a connected and orderly arrangement" is from 1736. In prosody by 1838. Color scheme is by 1890 (in Milton Bradley Co.'s "Color in the School-Room"); earlier scheme of colour (by 1877).
investment scam by which early investors are paid off from the contributions of later ones, 1957, in reference to Charles Ponzi (1882-1949), who perpetrated such a scheme in the U.S. 1919-20.
"The measure soon ceases to be Spenser's except in its mere anatomy of rhyme-arrangement" [Elton, "Survey of English Literature 1770-1880," 1920]; it is the meter in Butler's "Hudibras," Scott's "Lady of the Lake," and notably the "Childe Harold" of Byron, who found (quoting Beattie) that it allowed him to be "either droll or pathetic, descriptive or sentimental, tender or satirical, as the humour strikes me; for, if I mistake not, the measure which I have adopted admits equally of all these kinds of composition."
1869; Englishing of vers libre.
But it is possible that excessive devotion to rhyme has thickened the modern ear. The rejection of rhyme is not a leap at facility; on the contrary, it imposes a much severer strain upon the language. When the comforting echo of rhyme is removed, success or failure in the choice of words, in the sentence structure, in the order, is at once more apparent. Rhyme removed, the poet is at once held up to the standards of prose. Rhyme removed, much ethereal music leaps up from the word, music which has hitherto chirped unnoticed in the expanse of prose. [T.S. Eliot, "Reflections on Vers libre," New Statesman, 3 March 1917]
1557 (in title of Surrey's poems), from French sonnet (1540s) or directly from Italian sonetto, literally "little song," from Old Provençal sonet "song," diminutive of son "song, sound," from Latin sonus "sound" (from PIE root *swen- "to sound").
Originally in English also "any short lyric poem;" precise meaning is from Italian, where Petrarch (14c.) developed a scheme of an eight-line stanza (rhymed abba abba) followed by a six-line stanza (cdecde, the Italian sestet, or cdcdcd, the Sicilian sestet). Shakespeare developed the English Sonnet for his rhyme-poor native tongue: three Sicilian quatrains followed by a heroic couplet (ababcdcdefefgg). The first stanza sets a situation or problem, and the second comments on it or resolves it.