Entries linking to off-rhyme
by c. 1200 as an emphatic form of Old English of (see of), employed in the adverbial use of that word. The prepositional meaning "away from" and the adjectival sense of "farther" were not firmly fixed in this variant until 17c., but once they were they left the original of with the transferred and weakened senses of the word. Meaning "not working" is from 1861.
Off the cuff "extemporaneously, without preparation" (1938) is from the notion of speaking from notes written in haste on one's shirt cuffs. In reference to clothing, off the rack (adj.) "not tailored, not made to individual requirements, ready-made" is by 1963, on the notion of buying it from the rack of a clothing store; off the record "not to be publicly disclosed" is from 1933; off the wall "crazy" is 1968, probably from the notion of a lunatic "bouncing off the walls" or else in reference to carom shots in squash, handball, etc.
"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.