Bahl's First Theorem of Lyrical Criticism

For seemingly no particular reason, I've recently happened on the writings of others in the field that could generally be described as music criticism. I noticed something that now seems obvious, but which I've never seen articulated before. It's both simple and confounding. It piqued my interest enough to bother posting about it here...

In any lyrical composition (music or poetry) employing rhyme, in order for a prospective critic to make any use of rhyme seem banal, lazy, vulgar, or trite, all that is necessary is to directly describe the work as a whole in such terms, followed immediately by a recounting of which words were rhymed with which words.

This might seem like a weird statement on my part, but it's easy enough to substantiate. Look for criticism of any music or poetry involving rhyme and you'll pretty quickly run into the critic doing exactly what I just described. What's so strange is that it works! No matter how you craft your verse, all I need to do to attack your use of rhyme is to call it stupid, then point out which words you rhymed.

Notably, there are some other possible criticisms involving the concept of rhyme. I, myself, have frequently disparaged the rhyming of a word with itself. Some people hate "near-rhyme" and then there are those lyricists who don't even bother with that and just throw in a non-rhyme and pretend that they've used a rhyme, as though the audience won't notice. But when it comes to true rhyme, one rhyme is much the same as any other. Conveniently, this means they're all about as easy to mock.