ABSTRACT Critics such as Samuel Johnson viewed heroic couplets as logical, rational, and masculine; others, however, imagined alternative structures in the rhyming couplet, including romance couplets and feminine rhyme, which were derided by their critics as feminine, luxurious, and perverse. Leigh Hunt’s use of feminine rhyme in the early 1800s, as well as critics’ responses to his feminine and open couplets through the course of the nineteenth and twentieth centuries, provides an exemplary location for considering how gendered expectations appear in poetic form. Responses to Hunt’s The Story of Rimini reproduce and extend gendered discourse on the couplet form from the eighteenth to the twentieth centuries. At each point, even reviewers sympathetic to Hunt describe luxuriousness, self-indulgence, and “looseness” in his poetics and his use of rhyme. This article explores both how Hunt constructs alternative gender poetics throughout his poetry, and the extent to which gender and gender expectations affected the construction and reading of rhymes over the last three hundred years.

中文翻译：

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押韵的性别：雷·亨特在《里米尼的故事》中的柔美诗学

摘要 塞缪尔·约翰逊等批评家认为英雄对联是合乎逻辑的、理性的和阳刚的；然而，其他人则想象了押韵对联中的替代结构，包括浪漫对联和女性韵，被批评者嘲笑为女性化、奢华和反常。Leigh Hunt 在 1800 年代初期对女性韵律的使用，以及在 19 世纪和 20 世纪期间批评家对他的女性化和开放式对联的回应，为思考性别期望如何以诗的形式出现提供了一个模范场所。对亨特的《里米尼的故事》的回应复制并扩展了十八至二十世纪关于对联形式的性别话语。在每一点上，即使是同情亨特的评论家也形容奢华、自我放纵、以及他的诗学和押韵运用中的“松散”。本文探讨了亨特如何在他的诗歌中构建另类性别诗学，以及在过去三百年中性别和性别期望对押韵的构建和阅读的影响程度。