Euphony (alliteration, onomatopoeia, rhyme, rhitm)

_Onomatopoeia

_Onomatopoeia_{is a combination of speech-sounds which aims at imitating sounds produced in nature (wind, sea, thunder, etc), by things (machines or tools, etc), by people (sighing, laughter, patter of feet, etc) and by animals. There are two varieties of onomatopoeia: direct and indirect.}

_{Direct onomatopoeia is}_{contained in words that imitate -natural sounds, as ding-dong, buzz, bang, cuckoo, tintinabulation, mew, ping-pong, roar and the like.}

_{Onomatopoetic words can be used in a transferred meaning, as for instance, ding-dong, which represents the sound of bells rung continuously, may mean 1) noisy, 2) strenuously contested.}

_{Indirect onomatopoeia}_{is a combination of sounds the aim of which is to make the sound of the utterance an echo of its sense. It is sometimes called "echo-writing".}

_{Indirect onomatopoeia is sometimes very effectively used by repeating words which themselves are not onomatopoetic.}

_Alliteration_{is a phonetic stylistic device which aims at imparting a melodic effect to the utterance. The essence of this device lies in the repetition of similar sounds, in particular consonant sounds, in close succession, particularly at the beginning of successive words.}

_{Alliteration, like most phonetic expressive means, does not bear any lexical or other meaning unless we agree that a sound meaning exists as such. Therefore alliteration is generally regarded as a musical accompaniment of the author's idea, supporting it with some vague emotional atmosphere which each reader interprets for himself.}

_{Alliteration in the English language is deeply rooted in the traditions of English folklore.}

_{The traditions of folklore are exceptionally stable and alliteration as a structural device of Old English poems and songs has shown remarkable continuity. It is frequently used as a well-tested means not only in verse but in emotive prose, in newspaper headlines, in the titles of books, in proverbs and sayings.}

_{"Sense and Sensibility" (Jane Austin); "Pride and Prejudice" (Jane Austin); "The School for Scandal" (Sheridan); "A Book of Phrase and Fable" (Brewer).}

_{27. Rhyme and Rhythm.}

_Rhyme_{is the repetition of identical or similar terminal sound combinations of words.}

_{Rhyming words are generally placed at a regular distance from each other. In verse they are usually placed at the end of the corresponding lines.}

_{We distinguish between full rhymes and incomplete rhymes.}_{The full rhyme presupposes identity of the vowel sound and the following consonant sounds in a stressed syllable, as in might, right; needless, heedless. When there is identity of the stressed syllable, including the initial consonant of the second syllable (in polysyllabic words), we have exact or identical rhymes. Incomplete rhymes present a greater variety. They can be divided into two main groups: vowel rhymes and consonant rhymes. In vowel rhymes the vowels of the syllables in corresponding words are identical, but the consonants may be different, as in flesh— fresh—press. Consonant rhymes, on the contrary, show concordance in consonants and disparity in vowels, as in worth—forth; tale—tool-Treble—trouble; flung—long.}

_{Compound rhyme may be set against what is called eye-rhyme}_,_{where the letters and not the sounds are identical, as in love—prove, flood— brood, have—grave. It follows therefore that whereas compound rhyme is perceived in reading aloud, eye-rhyme can only be perceived in the written verse.}

_{According to the way the rhymes are arranged within the stanza, certain models have crystallized}

_{1. couplets—when the last words of two successive lines are rhymed. This is commonly marked aa.}

_2._{triple rhymes—aaa}

_{3. cross rhymes—abab}

_{4. framing or ring rhymes—abba}

_relative.

_{There is still another variety of rhyme which is called internaI}_{rhyme. The rhyming words are placed not at the ends of the lines but within the line.}

_{Internal rhyme breaks the line into two distinct parts, at the same time more strongly consolidating the ideas expressed in these two parts.}

_{rhyme may be said to possess two seemingly contradictory functions: dissevering, on the one hand, and consolidating,}

_{The dissevering function of internal rhyme}_{makes itself felt in a distinctive pause, which is a natural result of the longer line.}

_{The distinctive function of rhyme is particularly felt when it occurs unexpectedly in ordinary speech or in prose. The listener's attention is caught by the rhyme and he may lose the thread of the discourse.}

_Rhythm_{exists in all spheres of human activity and assumes multiltifarious forms. It is a mighty weapon in stirring up emotions whatever its nature or origin, whether it is musical, mechanical.}

_{Rhythm is primarily a periodicity, which requires specification as to the type of periodicity.}

_{Rhythm is the main factor which brings order into the utterance.}

_{It follows then that rhythm is not a mere addition to verse or emotive prose, which also has its rhythm, and it must not be regarded as possessing "phonetic autonomy amounting to an 'irrelevant texture','but has a meaning."}

Не знайшли потрібну інформацію? Скористайтесь пошуком google:

Генерація сторінки за: 0.004 сек.