The Contrasti are formed by a series of chained octets. The octet is a turn in a poetical conversation, with a distinct internal structure. Each poet sings one octet and then relinquishes the turn to the other poet. The octet is a stanza of eight verses. The first six have a rima alternata, “alternating rhyme” (ABABAB) the last two have a rima baciata, “coupled rhyme.” The part to rhyme begins from the syllable on which the last stress of the verse falls. Each verse must be composed of 11 syllables (hendecasyllable). To respect this rule, poets at times modify the number of syllables in each verse in performance through division of the diphthongs, elision and morphological changes. The chant also allows a multiplication or reduction of the number of syllables through pausing or melodic prolongation of vowels. From the standpoint of meaning the last two verses carry the punch line of the octet, with the most outrageous insults and verbal attacks. Here the poet makes his/her most important point, at the same time challenging the other poet to answer. The octets are chained; the ending rhyme of the first has to be the same as the beginning rhyme of the next. This makes the choice of the last rhyme a delicate matter. “Difficult” rhymes (those found only in a few words) at the end of an octet will bring trouble for any poet except the most skillful ones. Here is where we can best see the work of cooperation that the poets do. The most effective way to threaten a poet’s face is by leaving a difficult rhyme for him/her, one that will force them to create an awkward verse, test their ability and possibly ruin their reputation as artists.
The Aesthetics of Rhymes
In discussing their art the Tuscan poets pay much attention the quality of the rhymes. They will notice, for example, that an expert poet will close an octet with words whose rhyme is common, but not too common, and they have precise ideas of the relative beauty of each rhyme. Beautiful rhymes make beautiful poetry, they say. A rhyme which is very easy, like “are,” is to be avoided as dull. At the same time, expert poets know that easy rhymes can simplify the work of the next poet, and they often leave them for beginning poets they are performing with. Difficult rhymes are to be avoided in general, as they may disrupt the performance if the other poet cannot riprenderle, “pick them up” in his/her octet. The poets notice that beginners may leave a difficult rhyme due to inexperience: they are too focused on just coming up with a good closing to think about the next poet. However, an expert poet using a difficult rhyme will be perceived as making no mistake, but actively threatening the other’s face. If this is done occasionally between expert poets it can spice up the performance and make it more successful. Audiences who know the Contrasto genre are particularly attuned to these displays of artfulness and creativity and an almost impossible “pick up” can become legendary.
