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1. Resemblance of sound, especially of the vowel sounds in words, as in: "that dolphin-torn, that gong-tormented sea" (William Butler Yeats).
2. The repetition of identical or similar vowel sounds, especially in stressed syllables, with changes in the intervening consonants, as in the phrase tilting at windmills.
3. Rough similarity; approximate agreement.

[French, from Latin assonāre, to respond to : ad-, ad- + sonāre, to sound; see swen- in Indo-European roots.]

as′so·nant adj. & n.
as′so·nan′tal (-năn′tl) adj.
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Dating from the medieval period, the Spanish poetic romance is customarily classified according to theme and defined formally as being composed of an indeterminate number of octosyllabic verses with assonantal rhyme on the even lines only.
"Domination of Black" is not rhymed, but it is heavily assonantal ("night"-"fire"-"like"-"striding"-"cry"-"I"-"twilight"; "leaves"-"repeating"-"peacocks"; "came"-"they"-"flames"-"tails"-"afraid"; "boughs"-"down"-"ground"-"loud"-"how"; "heavy"-"hemlocks"-"remembered"-"swept"-"against"-"felt"; "turned"-"turning""were"-"heard"; "just"-"was"-"color").
The assonantal connections here between "clay," "Gray," "grace" and "day" draw the stanzas together, suggesting movement--from the soil to its colour to its absence of grace to the achievement of day.
(6) Thus have Tennyson's words come to signal precisely that "abject space beyond words," to quote from Aidan Day; and likewise his assonantal patterns register a psychological "grotesque" that "lies not at the verbal surface ...
The assonantal half-rhyming across these lines carries the poem along on a wave of sound that is paralleled by the attention to visual detail and color.
grief, mercy language, tangerine, weather, to breathe them, bite, savor, chew, swallow, transform Notice, too, the assonantal magic at the end of "TheAche of Marriage":
For poems I have sampled by contemporaries, the average rate is closer to 40%: 36% in Adonais, 37% in both The Rime of the Ancient Mariner (1834 text, verse without gloss) and Christabel, 39% in both "Fears in Solitude" and Don Juan, canto 1; 40% in the 1805 Prelude, Books 1-3, and 43% in "Dejection: an Ode." But for a few poems the ratio is comparable to Keats: 48% for Alastor, 52% for "Mont Blanc," 55% for "Kubla Khan." I recogmize that this disparity might have other explanations, such as an assonantal preference on Keats's part for long e's.
Every time the voice says "I," the world seems to answer back au contraire: "The oatfields said Oh / and Oh said the wheatfields," until this figure in a landscape is swallowed by the land--"and I said Oh / and fell down in the dust." Elsewhere, this "I in the night standing"--the pronoun invoked no fewer than five times--is poised against assonantal incursions of "0," to which "I" is nonetheless "lashed": ode, oak, rope, body; shadow, cloudy, coil, soul; bonds, songs, root, ghost.
Some of this is probably filtered through the songs of Moore and certainly through the assonantal patterns of Clarke but this is no substitute for the missing soundscape.