Q: Was it ever normal to rhyme “misery” and “high”? I’m thinking of a couplet (“Make safe the way that leads on high, / And close the path to misery”) in the hymn “O Come, O Come, Emmanuel.”
A: The noun “misery” has been pronounced various ways since it first appeared in the Middle English of the late 14th century, but the most common were roughly similar to the way the word is pronounced now (MIZ-uh-ree).
In Middle English, the noun (usually spelled “miserie” or “myserie”) was pronounced MIZ-uh-ree or MIZ-uh-ree-uh, according to the University of Michigan’s Middle English Dictionary. (We’ve used capital letters to indicate stress.)
The Oxford English Dictionary’s earliest citation is from The Monk’s Tale (circa 1375), by Chaucer: “Now artow Sathanas, that mayst nat twynne / Out of miserie in which thou art falle” (“Now art thou Satan, that mayest not depart / Out of the misery in which thou art fallen”).
In the early modern English of the late 16th and early 17th centuries, “misery” was still usually pronounced MIZ-uh-ree, but it could be MIZ-uh-rye (rhyming with “high”) in poetry and formal speech, according to English Pronunciation 1500–1700 (2nd ed., 1998), by the Oxford philologist Eric John Dobson.
Dobson, citing contemporary orthoepists (pronunciation and spelling experts), suggests that poets and orators often pronounced the last syllable in words like “misery” with a diphthongized long “i” (sounding like “eye”) to differentiate terms of Old French and Latin origin from those of Anglo-Saxon and Germanic origin.
In The Faerie Queene (1590), Edmund Spenser rhymes the plural “miseries” with the verb “plies.” Here Una has found a haven among satyrs and fauns after wandering alone in the wilderness: “And a long time with that salvage people she staid, / To gather breath in many miseries. / During which time her gentle wit she plyes.”
Similarly, Shakespeare rhymes the plural “miseries” with “eyes” in Henry VI, Part 1 (written about 1591). Here the Duke of Bedford is speaking to others in the funeral procession of King Henry V: “Away with these disgraceful wailing robes. / Wounds will I lend the French instead of eyes / To weep their intermissive miseries.”
As far as we can tell, Shakespeare rhymes only the plural of “misery,” but he has many singular examples with other words ending in “y.” In A Midsummer Night’s Dream, for example, Oberon rhymes “archery,” “gloriously,” and “remedy” with “dye,” “eye,” “espy,” “sky,” and “by” as he applies nectar to the eyes of Demetrius:
“Flower of this purple dye, / Hit with Cupid’s archery, / Sink in apple of his eye. / When his love he doth espy, / Let her shine as gloriously / As the Venus of the sky. — / When thou wak’st, if she be by, / Beg of her for remedy.”
In the poetry and formal speech of the 18th century, the final “y” of many words of three or more syllables (like “misery”) continued to be rhymed with words clearly ending in an “eye” sound, never mind that most people pronounced the final “y” in these polysyllabic terms with an “ee” sound.
In “An Essay on Man” (1733-34), a philosophical poem, Alexander Pope rhymes “company” with “sky”: “But thinks, admitted to that equal sky / His faithful Dog shall bear him company.”
And in “The Tyger” (1794), William Blake rhymes “symmetry” with “eye”: “Tyger Tyger, burning bright, / In the forests of the night; / What immortal hand or eye, Could frame thy fearful symmetry?”
The British linguist David Crystal says the pronunciation of “symmetry” with a diphthong at the end “would have sounded distinctly old-fashioned by then. But wouldn’t that suit someone who begins a poem with a spelling of tyger that was also archaic?” (DC blog, Sept. 9, 2013).
Crystal notes that the lexicographer and philologist John Walker rhymes “symmetry” with “me” in A Critical Pronouncing Dictionary and Expositor of the English Language (1791). That suggests the SIM-uh-tree pronunciation was standard English at the time.
However, some poets continued to use the diphthongized “eye” pronunciation of these “y” words as a sign of respect, especially to emphasize someone or something of venerable age, wisdom, or character. That’s probably why John Mason Neale rhymed “misery” and “high” in the hymn “O Come, O Come, Emmanuel.”
Interestingly, Neale produced several different English translations of the Latin hymn “Veni, Veni, Emanuel.” The earliest, “Draw nigh, draw nigh, Emmanuel,” appeared in Mediaeval Hymns and Sequences (1851) and was revised in Hymnal Noted (1852). The better known “O Come, O Come, Emmanuel” appeared in Hymns Ancient and Modern (1861).
The lines you cite were significantly different in the original 1851 version of the hymn, and read: “Make safe the way that we must go, / And close the path that leads below.” Those lines also appeared in a children’s version, Hymns for the Young (1854).
The wording you’re asking about (“Make safe the way that leads on high, / And close the path to misery”) appeared in the 1852 and 1861 versions of the hymn.
As rhyming in poetry fell out of favor in the 20th century, it was rare to hear the “y” in a word like “misery” pronounced as a diphthong.
Even a poet like W. H. Auden, who used a fair amount of rhyme, pronounced “poetry” the usual way (PO-uh-tree) in reading the the first stanza in Section III of “In Memory of W. B. Yeats” (1940):
Earth, receive an honoured guest:
William Yeats is laid to rest.
Let the Irish vessel lie
Emptied of its poetry.
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