rhyming couplets homework

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Write Rhyming Couplets

About this worksheet:.

Rhyming couplets are a staple in poetry construction. Shakespeare used the device in all of his plays. This poetry worksheet asks your student to write rhyming couplets using pairs of words in a word bank. While helpful for a variety of students, it’s particularly useful for 4th, 5th, and 6th grade Common Core Standards for Writing.

Couplet Definition

What is a couplet? Here’s a quick and simple definition:

A couplet is a unit of two lines of poetry, especially lines that use the same or similar meter, form a rhyme, or are separated from other lines by a double line break.

Some additional key details about couplets:

• Couplets do not have to be stand-alone stanzas . Instead, a couplet may be differentiated from neighboring lines by its rhyme, or because it forms a complete sentence, or simply because someone talking about the poem wants to specify which two lines they're referring to.
• Couplets do not have to rhyme, though they often do.
• A couplet may be open or closed, meaning that each line may make up a complete sentence, or the sentence may carry from one line into the next.

How to Pronounce Couplet

Here's how to pronounce couplet: cup -let

Couplets in Depth

It's easy to identify a couplet when the couplet is a stanza of only two lines, but the term "couplet" may also be used to specify a pair of consecutive lines within a longer stanza. Although technically any two consecutive lines of verse can be referred to as a couplet, there are certain properties that make it more appropriate to refer to a grouping of two lines within a longer stanza as a couplet. Below is an explanation of how best to identify couplets in the context of whether they're stand-alone or exist within a longer stanza, or whether they're rhymed or unrhymed.

Stand-alone Couplets

Couplets are easiest to identify when they stand alone. Sometimes a couplet stands alone because it forms an entire two-line poem. For example, Alexander Pope's famous two-line epigram that he engraved on the collar of a puppy given to the Prince of Wales:

I am his highness's dog at Kew; Pray tell me, sir, whose dog are you?

Other couplets stand alone because a poem's double line breaks create two-line stanzas. For example, Robert Creeley's poem "The Whip" is written entirely in couplets without rhyme. Here are the first two stanzas:

I spent a night turning in bed, my love was a feather, a flat sleeping thing. She was very white

However, a poem does not have to be entirely broken into couplets to include stand-alone couplets; couplets also occur in poems with stanzas of varying lengths. For example, the first two stanzas of Robert Creeley's poem "The Innocence" are a couplet followed by a tercet :

Looking to the sea, it is a line of unbroken mountains. It is the sky. It is the ground. There we live, on it.

Couplets Within Longer Stanzas

Though stanzas that are exactly two lines long are the clearest examples of couplets, the term "couplet" also refers to two-line groupings within longer stanzas. This is slightly confusing; while any two consecutive lines of verse may be called a couplet, there are some two-line groupings that are much more conventionally accepted as couplets.

The most accepted way to break a longer stanza into couplets is through meter and rhyme scheme. For that reason, it's helpful to have a strong grasp of what meter and rhyme scheme are in order to understand how to identify couplets. We provide more details about these terms on their own pages, but offer a quick primer here.

• Meter : A pattern of stressed and unstressed syllables that creates the rhythm of lines of poetry. The units of meter are called feet . Feet have different stress patterns. For instance, an iamb is a foot with an unstressed syllable followed by a stressed syllable (de- fine ), while a trochee has the opposite: a stressed syllable followed by an unstressed syllable ( Po -et). Poetic meters are defined by both the type and number of feet they contain. For example, iambic pentameter is a type of meter used in many ballades that contains five iambs per line (thus the prefix “penta,” which means five).
• Rhyme scheme : Poems that make use of end rhymes (rhymes at the end of each line), often do so according to a repeating, predetermined pattern. That pattern is called a rhyme scheme. Rhyme schemes are described using letters of the alphabet, so that each line of verse that corresponds to a specific type of rhyme used in the poem is assigned a letter, beginning with "A." For example, a four-line poem in which the first line rhymes with the third, and the second line rhymes with the fourth has the rhyme scheme ABAB.

Rhyme scheme is the most straightforward way to identify couplets within a longer stanza. Since rhyme schemes are repeating patterns, those patterns naturally suggest ways to break longer stanzas into shorter units. There are two types of couplets that can be defined using couplets: rhymed couplets and unrhymed couplets .

Rhymed Couplets

Rhymed couplets, unsurprisingly, are couplets in which the two lines share a rhyme. For example, in a quatrain (a four-line stanza) with a rhyme scheme of AABB, both AA and BB are couplets—without even knowing what those lines say, their rhymes make it clear which lines go together. The same is true of longer stanzas, such as a sestet (six-line stanza) with the rhyme scheme AABBCC or AABBAA.

Rhymed couplets are reasonably easy to identify because they are governed by clear rules. The most basic rule is that a rhymed couplet must be two lines in formal verse (poetry with meter and rhyme scheme) that share the same end-rhyme. Within that broad definition, there are even more specific types of rhymed couplets that appear frequently in formal verse. The most common of those are:

• Elegiac couplet: (appears in Greek and Latin peotry, though not in English) These couplets, found often in elegies of ancient Greece and Rome, had alternating dactylic hexameter (six dactyls per line) and dactylic pentameter (five dactyls per line).
• Heroic couplet: These couplets use rhyming iambic pentameter (five iambs per line). This type of couplet is particularly common because iambic pentameter is such a frequently-used meter in English verse. Many poems by Chaucer, John Dryden, or Alexander Pope use heroic couplets.
• Common meter: Common meter is a verse form that alternates lines of iambic tetrameter (four iambs per line) with trimeter (three iambs per line) and often consists of rhyming couplets (AABB), though just as often it uses an ABAB rhyme scheme.
• Distich : A poem consisting of two lines is called a distich. Distichs tend to be written in formal verse, composed of a single rhymed couplet.

Rhymed couplets are also commonly used as a key component of specific types of poems. For example, the type of sonnet known either as an English or Shakespearean sonnet typically ends with a rhymed couplet, even though the lines that precede the couplet have an alternating rhyme scheme.

Take a look at the following sonnet by Shakespeare. As one would expect based on its form (a Shakespearean sonnet), the final lines of the poem together make up a rhyming couplet. Note that this couplet is not distinguished from the rest of the poem by a double line break; it is differentiated solely by the fact that it uses a separate rhyme scheme from the rest of the poem, which is ABAB CDCD EFEF GG .

Shall I compare thee to a summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date; Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance or nature’s changing course untrimm'd; But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st; Nor shall death brag thou wander’st in his shade, When in eternal lines to time thou grow’st: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee.

Notice how the final two lines are the only consecutive lines in the entire poem to rhyme; this is a clear example of a couplet within a longer stanza of formal verse.

Unrhymed Couplets

Like rhymed couplets, unrhymed couplets are clearly defined: they are formed by two consecutive lines of formal verse that do not share the same end-rhyme, but do share the same meter. An unrhymed couplet is most commonly found in poems with an alternating rhyme scheme—thus, an unrhymed couplet could be one "AB" half of an ABAB rhyme scheme.

Unrhymed couplets are most clearly identified when the two lines of the unrhymed couplet form a single sentence, such as the first two lines of the first stanza of W.B. Yeats's "Crazy Jane Talks with the Bishop":

I met the Bishop on the road And much said he and I. 'Those breasts are flat and fallen now, Those veins must soon be dry; Live in a heavenly mansion, Not in some foul sty.'

"Crazy Jane Talks with the Bishop" is a helpful example, because it is written in formal verse with the rhyme scheme ABCBDB. While the AB , CB, and DB couplets could each be considered an unrhymed couplet, the highlighted couplet most perfectly fits the bill because its two lines form their own sentence, while the CB and DB couplets are both part of the same overall sentence.

One last thing: there is some debate about whether unrhymed couplets can only exist in formal verse, or if they can also exist in blank verse (poetry with meter but no rhyme) or even free verse (poetry lacking rhyme and meter). For example, this is a stanza from "Her Lips Are Copper Wire" by Jean Toomer:

and let your breath be moist against me like bright beads on yellow globes

Even though this stanza is two lines long and the lines don't rhyme, the majority of poets would argue that it cannot be properly called an "unrhymed couplet" because the poem is written in free verse. These poets would argue that this stanza should simply be called a "couplet." It's worth knowing that there are some people who would argue, though, that any couplet lacking a rhyme should be called an unrhymed couplet.

When "Couplet" Doesn't Apply

In poems with ABAB (or ABCBDB, etc.) rhyme scheme, unrhymed couplets are a natural unit. However, it's important to look carefully at the logic of the poem's overall rhyme scheme when thinking about breaking it into couplets. For example, Percy Bysshe Shelley's famous "Ode to the West Wind" is written with alternating rhymes, but ones that would not be naturally broken into couplets. The first two stanzas have the rhyme scheme A B A B C B , which means that it makes more sense to break them into tercets than into couplets:

O wild West Wind, thou breath of Autumn's being , Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing , Yellow, and black, and pale, and hectic red , Pestilence-stricken multitudes: O thou , Who chariotest to their dark wintry bed

While it would be technically correct to refer to the first two lines of "Ode to the West Wind" as a couplet—and even an unrhymed couplet, since they share a meter—to actually do so would be unusual. Instead, it would make more sense to keep the tercet intact to give a sense that the rhyme scheme relies on units of three lines.

Likewise, in a stanza with a rhyme scheme of ABCABC, it would be odd to refer to the first two lines (AB) as a couplet, rather than to use the ABC tercet as the basic unit of the poem because that is the unit that repeats. The same would be true of a stanza with a more irregular rhyme scheme, such as ABBAB. Rather than referring to any of these two lines as a couplet, it would probably make more sense just to call the entire stanza a cinquain .

Open vs. Closed Couplets

Couplets are also sometimes described as being "open" or "closed."

• An open couplet (or a "run-on" couplet) is a group of two lines, usually rhymed, in which the sentence begun in the first line continues into and finishes in the second line.
• A closed couplet (or a "formal" couplet) is a group of two lines—again, usually rhymed—in which the first line makes up one complete sentence, and the second line makes up another complete sentence.

In the following excerpt from an Alexander Pope poem, the first two lines make a closed couplet (because each line forms a complete sentence), while the third and fourth lines make an open couplet (because together the two lines form one complete sentence).

Why rove my thoughts beyond this last retreat? Why feels my heart its long-forgotten heat? Yet, yet I love!—From Abelard it came, And Eloisa yet must kiss the name.

Couplet Examples

Chaucer's the canterbury tales.

Chaucer popularized the heroic couplet (rhymed couplets in iambic pentameter) with his The Canterbury Tales , a long narrative poem for which this metrical pattern is well-suited.

In Oxford there once lived a rich old lout Who had some guest rooms that he rented out , And carpentry was this old fellow's trade . A poor young scholar boarded who had made His studies in the liberal arts, but he Had turned his fancy to astrology And knew the way, by certain propositions , To answer well when asked about conditions , Such as when men would ask in certain hours If they should be expecting drought or showers , Or if they asked him what was to befall Concerning such I can't recount it all .

Alexander Pope's "Elegy to the Memory of an Unfortunate Lady"

Alexander Pope was an 18th century English poet, also known for writing in heroic couplets—as in the elegy below.

What beck'ning ghost, along the moon-light shade Invites my steps, and points to yonder glade ? 'Tis she!—but why that bleeding bosom gor'd , Why dimly gleams the visionary sword ? Oh ever beauteous, ever friendly! tell , Is it, in heav'n, a crime to love too well ? To bear too tender, or too firm a heart , To act a lover's or a Roman's part ? Is there no bright reversion in the sky , For those who greatly think, or bravely die ?

Couplets in Ben Jonson's "The Gut"

This short poem by Jonson is an epigram consisting of two unrhymed couplets in an ABAB rhyme scheme and one rhymed couplet . However, because there are not double line breaks in this single-stanza poem, it would also be accurate to describe the poem not as a set of three couplets, but as a single sestet , or stanza of six lines.

Gut eats all day and lechers all the night; So all his meat he tasteth over twice; And, striving so to double his delight, He makes himself a thoroughfare of vice. Thus in his belly can he change a sin: Lust it comes out, that gluttony went in.

Emily Dickinson's Distichs

Here are two distichs (two-line poems) by Emily Dickinson.

In this short Life that only lasts an hour How much - how little - is within our power

Each of these poems consists of a single, open heroic couplet.

Let me not thirst with this Hock at my Lip, Nor beg, with domains in my pocket—

Max Ritvo's "Your Voice in the Chemo Room"

Here is an example of a contemporary poem written nearly entirely in couplets of free verse by the poet Max Ritvo. Because this is free verse, with no meter and no rhyme scheme, the couplets are defined by physical line breaks between them. The first four stanzas of the poem are shown here:

There is a white stone cliff over a dropping slope sliced along with bare trees. In the center of the cliff is a round dry fountain of polished stone. By seizing my whole body up as I clench my hand I am able to open the fountain into a drain, revealing below it the sky, the trees, a brown and uncertain ground. This is how my heart works, you see?

Notice how the punctuation in the couplets above doesn't line up with the couplets in any regular way.

Why Do Writers Use Couplets?

Generally speaking, stanzas are used, much like paragraphs in prose, to group related ideas inside a poem into units of the right size. It follows, then, that couplets (being a shorter type of stanza) are generally used to create images or express ideas that are not exceedingly long or complex. The nature of rhymed couplets, in particular, makes them well-suited to narrative poems, since rhymes that are completed in the next line after they're introduced (as opposed to two or more lines later) make the stories easier to understand and listen to.

Shorter stanzas like couplets, when they're separated by double line breaks, also have an effect on the pacing of a poem. By inserting more white space into the poem, the natural instinct of the reader is to slow down while reading, and to read each line with more deliberateness. In this way, couplets can enable the poet to draw more attention to each line that they write—a particularly useful technique for restrained writing styles in which great care is taken with the details of the language, as is usually the case with poetry.

Other Helpful Couplet Resources

• The Wikipedia Page on Couplet: A somewhat technical explanation, including various helpful examples.
• The dictionary definition of Couplet: A basic definition that includes a bit on the etymology of couplet.
• A short video that defines couplets in under two minutes.

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Lesson Plan on Writing Rhyming Couplets for Teaching Couplets

• Kellie Hayden
• Categories : English lesson plans for middle school
• Tags : Teaching middle school grades 6 8

Couplets Activity

Starting a poetry unit writing couplets will give students confidence in their poetry writing. In addition, writing couplets can be quite fun. Students will only need paper, pencil, colored pencils, markers and creative thoughts to complete the activities. First, they need to know what a couplet is.

What is a Couplet?

Couplets are two lines of poetry that become a stanza in poetry. Stanzas are like “paragraphs” in poetry. These two lines can be part of a longer poem or the couplet can stand alone as a short poem. Couplets many times rhyme; however, they do not have to rhyme. The two lines in the couplet can have the same rhythm pattern or meter and complete a thought.

Heroic Couplets

The length of the lines in a couplet can vary. For the more advanced student, try heroic couplets. Heroic couplets use iambic pentameter. Iambic pentameter is basically when there are 10 syllables in each line. The even numbered syllables are all stressed, or each second beat in the line is stressed. The reader will hear “da DUM” in the rhythm. Each unstressed and stressed pair become a foot or iamb. Chaucer used this form in his classic Canterbury Tales .

Steps to Writing Two Lines Poetry

Students will write a couplet. Give them the following directions:

Step 1 –Choose a favorite color.

Step 2 – Brainstorm items in your life that are silly, things that make you laugh, and/or activities that you enjoy.

Brainstorming example :

• muddy puddles
• rolling down a hill
• cartwheels tickling

Step 3 – Now, write a two line poem, using rhyming couplets.

Couplet example:

Rolling breakneck down a slimey, green hill

Grass tickles, the puddle awaits my spill

Step 4 – Write the couplet neatly on a piece of white paper. Illustrate the poem. Ask students to share their poems and then post them in the classroom. The student artwork and couplets will brighten any classroom.

Add your best or silly couplets to the comment section.

This post is part of the series: Poetry Stanza Lessons

These poetry lessons all focus on a type of stanza in poetry. The activities can be introductory lessons or made into a small unit of study.

• Cute Couplets: Writing Couplets Lesson
• Quirky Quatrain Poetry Lesson
• Poem Lesson: Sizzling Sestets

10 of the Best Examples of Couplet Poems Everyone Should Read

By Dr Oliver Tearle (Loughborough University)

Couplets are an important component of so many classic poems. Strictly speaking, a couplet is just any two successive lines of verse, but when poetry critics use the term ‘couplet’, they are usually (though not always) referring to a rhyming pair of lines, as in this short, witty epigram from Alexander Pope:

I am His Highness’ dog at Kew; Pray tell me sir, whose dog are you?

These lines were supposedly inscribed on the collar of one of the dogs belonging to the Prince of Wales at the time; we’ll come back to Alexander Pope later.

Many iconic poems written in English utilise rhyming couplets, so choosing ten of the best and most illustrative couplet poems is no easy task. However, we’ve tried to offer a range of poems here to show the diverse uses to which poets have put a pair of rhyming verse lines. Below we find stately and serious poems, lighter songlike poems, and much else.

1. Mary Wroth, ‘ Song ’.

Love a child is ever crying; Please him, and he straight is flying; Give him, he the more is craving, Never satisfied with having …

Let’s begin our exploration of the couplet in the early seventeenth century, and a short song from the first long sonnet sequence written by a woman. Pamphilia to Amphilanthus sees the female Pamphilia (‘all-loving’) address her unfaithful male lover Amphilanthus (‘lover-of-two’) in an effort to make him a more constant lover.

This song is one of a number of songs which punctuate the cycle of sonnets: something Sir Philip Sidney, whose sonnet sequence inspired Wroth’s own, had done in his Astrophil and Stella .

The rhyming couplets, combined with the falling rhythm of the weak line endings, create a simple, faintly plangent tone to this poem which likens the male lover to a baby (via Cupid, god of love): selfish, unable to commit, and constantly craving more.

2. Anne Bradstreet, ‘ To My Dear and Loving Husband ’.

If ever two were one, then surely we. If ever man were loved by wife, then thee; If ever wife was happy in a man, Compare with me ye women if you can …

Anne Bradstreet (1612-1672) was the first person in America, male or female, to have a volume of poems published. In this short and tender lyric to her husband, Bradstreet uses the heroic couplet form (iambic pentameter rhyming couplets) to lend a seriousness to her poem of devotion.

The couplet form suits a love poem, of course, because the pairing of the two rhymes, so close to each other on successive lines, mirrors the coupling of the two lovers.

3. Andrew Marvell, ‘ To His Coy Mistress ’.

Had we but world enough, and time, This coyness, lady, were no crime. We would sit down, and think which way To walk, and pass our long love’s day …

‘To His Coy Mistress’ is one of the most famous poems of the seventeenth century, and probably the most famous poem Andrew Marvell (1621-78) ever wrote. It’s a classic seduction poem, which sees Marvell endeavouring to persuade his would-be lover, or ‘mistress’, to go to bed with him.

The couplets and shorter lines (in tetrameter) lend the poem a headlong motion as we get swept up by Marvell’s persuasive argument …

4. Alexander Pope, An Essay on Criticism .

But still the worst with most regret commend, For each ill author is as bad a friend To what base ends, and by what abject ways, Are mortals urged, through sacred lust of praise! Ah, ne’er so dire a thirst of glory boast, Nor in the critic let the man be lost Good-nature and good sense must ever join; To err is human, to forgive, divine …

In the late seventeenth century, and for the next hundred years or so, the most common rhyming form in English poetry was the heroic couplet: rhyming couplets of iambic pentameter, as in the clipped, epigrammatic style of Alexander Pope’s discursive 1711 poem An Essay on Criticism (written when he was still only in his early twenties!).

The last line of the section we’ve quoted above has become proverbial: Pope’s point is that a good critic forgives the faults of other writers, accepting that making mistakes is part of being human and we adopt the higher moral ground when we forgive people for natural human errors.

5. Phillis Wheatley, ‘ On Being Brought from Africa to America ’.

’Twas mercy brought me from my Pagan land, Taught my benighted soul to understand That there’s a God, that there’s a Saviour too: Once I redemption neither sought nor knew …

Wheatley (c. 1753-84), the first African-American poet to have a book of poetry published, had been taken from Africa (probably Senegal) to America as a young girl, and sold into slavery. A Boston tailor named John Wheatley bought her and she became his family servant, later securing her freedom.

Wheatley’s slim poetic output is noticeably Augustan in its style and manner, and she favoured the heroic couplet. In this very short lyric, she uses this respectable form to address her own fate, and in doing so became the first published poet to write about her own experience of slavery.

6. William Blake, ‘ The Tyger ’.

Tyger Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry?

So begins one of the most famous poems to use the couplet form, and perhaps William Blake’s best-known poem. Blake (1757-1827) was an early Romantic. His work often engages with religion, and here we find him wondering what kind of god could have been responsible for the fearsome beast that is the tiger.

And how, he wonders, can the same deity have created the meek and gentle lamb? The couplets, combined with the insistent trochaic metre of the poem, lend it a firm, almost incantatory quality.

7. A. E. Housman, ‘ In My Own Shire, If I Was Sad ’.

In my own shire, if I was sad, Homely comforters I had: The earth, because my heart was sore, Sorrowed for the son she bore …

The small poetic output of the English poet A. E. Housman (1859-1936) doesn’t often utilise the rhyming couplet form. Housman preferred the quatrain form, especially that used for traditional ballads.

However, a number of his poems are in rhyming couplets, with this perhaps being the finest of them all. It’s from A Shropshire Lad , and sees the titular lad lamenting that, in the big city, people don’t look out for each other as they did back home in rural Shropshire.

8. Claude McKay, ‘ Romance ’.

To clasp you now and feel your head close-pressed, Scented and warm against my beating breast;

To whisper soft and quivering your name, And drink the passion burning in your frame;

To lie at full length, taut, with cheek to cheek, And tease your mouth with kisses till you speak

Love words, mad words, dream words, sweet senseless words, Melodious like notes of mating birds …

Here is a fine example of the couplet poem from the Jamaican-American Claude McKay (1889-1948). Each couplet is given its own stanza, with each pair of rhymes locking together musically: as the last line of the poem has it, ‘The poem with this music is complete.’

9. Wilfred Owen, ‘ Strange Meeting ’.

It seemed that out of battle I escaped Down some profound dull tunnel, long since scooped Through granites which titanic wars had groined.

Yet also there encumbered sleepers groaned, Too fast in thought or death to be bestirred. Then, as I probed them, one sprang up, and stared With piteous recognition in fixed eyes, Lifting distressful hands, as if to bless …

Siegfried Sassoon called ‘Strange Meeting’ Owen’s passport to immortality; it’s certainly true that it’s poems like this that helped to make Owen (1893-1918) the definitive English poet of the First World War.

In this poem, describing a meeting in Hell between two soldiers, one of whom killed the other in combat, Owen uses pararhyme to raise the possibility of the heroic couplet, only to thwart it. What place for the heroic couplet in that most unheroic of wars? The jarring off-rhyme of ‘escaped’ and ‘scooped’, ‘eyes’ and ‘bless’, and so on creates an unnerving effect which is in keeping with the poem’s subject-matter.

10. Adrienne Rich, ‘ Aunt Jennifer’s Tigers ’.

Let’s conclude with an early and oft-anthologised poem from the American poet Adrienne Rich (1929-2013), about an aunt who quietly expresses the patriarchal oppression of women in her position via the embroideries of tigers she creates.

There is something simple about the rhyming couplets of the poem, with these couplets themselves being arranged into pairs to form quatrains, and the (largely iambic) pentameter metre of the poem. We discuss the poem in more detail here .

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Rhyming Couplets - Writing Templates

Subject: English

Age range: 7-11

Resource type: Worksheet/Activity

Last updated

24 May 2023

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• Great templates for rhyming couplets.
• Just list some words on the board linked to the topic (school) and off you go.
• The worksheet highlights the end word on each line.
• Also attached is another rhyming couplet template linked to the topic “US”
• 2 resources in total.
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