Sometimes rhyming poetry can be viewed as lacking seriousness.
For example, poems for children sometimes rhyme. Advertising jingles can rhyme. Simple poetry forms can rhyme. Also, old poetry forms, like sonnets, can rhyme.
Additionally, rhyming poetry, with its predictable sounds, might not seem appropriate for certain subjects.
Rhyming though doesn’t have to be viewed this way. Rhyming poetry can be serious poetry. Here are some ways that you can make your rhyming poetry serious.
First, you can focus on having a serious subject matter. Although serious subject matters are often viewed synonymously with negative subject matters, it does not have to be so. Something can be serious and positive. An example might be the first person of a certain category to achieve something.
Second, you can focus on complex rhyming patterns. Basic rhyming patterns are things like ABAB or ABAC or ABCB. You can focus on patterns that are more complex. More complex patterns include more rhymes, less adherence to stanzas, and greater variation.
Third, you can look for non-traditional rhyming words. By finding words that are unexpected, you can add a different sound to your poetry.
Fourth, you can write in a serious tone. A serious tone can have rhymes. The rhymes can blend with the tone and enhance it.
Fifth, you can add other poetry elements to your poem to give the look of an unstructured experimental poetry form. These elements might include: stanzas of different lengths, line breaks, line indentions without a pattern, single word lines, and lack of sentence structure. A poem written in this way, though rhyming, can appear more serious.
Sixth, you can add elements of overtness to your poem. If you write about a serious subject, in a serious way, and don’t cover it too heavily with metaphor, the seriousness can come through and balance with the rhyming.
Seventh, you can use literary elements to add a serious tone to your poem.
Here is an example poem that is serious and also contains rhyme. The pattern is: ABCDEAFCAE.
You say the words with such ease
like you’re saying there’s something wrong with an engine.
But here, in this chair,
the engine runs.
It’s not in some car in some lot.
These are the pistons that seize.
But you’re detached.
You’ve been taught not to care.
It’s never you who cries on your knees.
Your heart beats like it’s been taught.