Abstract
The article examines the emergence of rhyme and stanza in postwar Abaza poetry. The transition from rhymeless verse to poems with infrequent interspersed homogenous (mostly verbal) rhymes is described, followed by the appearance of the first completely rhymed poems. The progression of rhyming kinds from paired to cross and ring, terminal to internal, butt, compound, and their numerous combinations is investigated. Specific instances highlight the difficulty in mastering the rhyming approach. The analysis of stanzas begins with a quantitative ratio of astrophysical and strophic compositions, followed by the discovery of eight major types of stanzas, each with its own set of variations: couplets, three-line verses (2 variants), quatrains (7 variants), pentameters (4 variants), six-lines (8 variants), eight-lines, ten-lines, and twelve-lines. All findings are based on the examination of works from the literary age.
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