Phonetic expressive means and stylistic devices. Repetition on the phonetic level. Onomatopoeia. Alliteration and assonance. Repetition on the morphemic level.
Phoneme: this language unit helps to differentiate meaningful lexemes but has no meaning of its own.
Still, devoid of denotational or connotational meaning, a phoneme, according to recent studies, has a strong associative and sound-instrumenting power. Well-known are numerous cases of onomatopoeia - the use of words whose sounds imitate those of the signified object or action, such as "hiss", "bowwow", "murmur", "bump", "grumble", "sizzle" and many more.
· Direct onomatopoeia is contained in words that imitate natural sounds as ding-dong, buzz, bang, cuckoo, mew, roar, ping-pong and the like.
· Indirect onomatopoeia is a combination of sounds the aim of which is to make the sound of the utterance an echo of its sense: 'And the silken, sad, uncertain rustling of each purple curtain' (E. A. Poe) where the repetition of the sound [s] actually produces the sound of the rustling of the curtain.
Imitating the sounds of nature, man, inanimate objects, the acoustic form of the word foregrounds the latter, inevitably emphasizing its meaning too. Thus the phonemic structure of the word proves to be important for the creation of expressive and emotive connotations. A message, containing an onomatopoeic word is not limited to transmitting the logical information only, but also supplies the vivid portrayal of the situation described.
Poetry abounds in some specific types of sound-instrumenting, the leading role belonging to alliteration - the repetition of consonants, usually-in the beginning of words ("You, lean, long, lanky lath of a lousy bastard!"), and assonance - the repetition of similar vowels, usually in stressed syllables (Twinkle, twinkle, little star, How I wonder what you are). They both may produce the effect of euphony (a sense of ease and comfort in pronouncing or hearing) or cacophony (a sense of strain and discomfort in pronouncing or hearing).
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 themselves. Alliteration is deeply rooted in the traditions of English folklore and is sometimes called the initial rhyme. 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.
One important way of promoting a morpheme is its repetition. Both root and affixational morphemes can be emphasized through repetition. Especially vividly it is observed in the repetition of affixational morphemes which normally carry the main weight of the structural and not of the denotational significance. When repeated they come into the focus of attention and stress either their logical meaning (e.g. that of contrast, negation, absence of a quality as in such prefixes like a-, -anti-, mis-;or of smallness as in suffixes -lingand -ette); their emotive and evaluative meaning, as in suffixes forming degrees of comparison; or else they add to the rhythmical effect and text unity. ("Sit down, you dancing, prancing, shambling, scrambling fool parrot!”)
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Phonetic expressive means and stylistic devices. Rhyme. Rhythm.
Phonetic expressive means and stylistic devices. Rhyme. Rhythm.
Rhyme – 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.
· full rhyme presupposes identity of the vowel sound and the following consonant sounds in a stressed syllable (might, night).
· incomplete rhymes can be divided in 2 main groups:
o Vowel rhymes are the rhymes in which the vowels of the syllables in corresponding words are identical, but the consonants may be different (flesh – fresh - press).
o Consonant rhymes – vice versa – show concordance in consonants and disparity in vowels (worth – forth; tale – tool; treble – trouble; flung - long).
Modification in rhyming when one word rhymes with a combination of words, or two-three words rhyme with the corresponding two-three words – this is compound rhyme, or broken rhyme (upon her honour – wan her; bottom – forgot’em).
Compound rhyme may be set against what is called eye-rhyme, where the letters and not the sounds are identical (love – prove; flood – brood; have - gave). Many eye-rhymes are the result of historical changes in the vowel sounds in certain positions.
Models of rhymes in stanza:
1. Couplets – when the last words of 2 successive lines are rhymed (aa).
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2. Triple rhymes (aaa).
3. Cross rhymes (abab).
4. Framing or ring rhymes (abba).
There is still another variety of rhyme, which is called internal rhyme. The rhyming words are placed within the lines (Once upon a midnight dreary, while I pondered weak and weary (Poe)).
· Internal rhyme breaks the line into 2 distinct parts, at the same time more strongly consolidating the ideas expressed in these 2 parts. Thus rhyme may be said to possess 2 seemingly contradictory functions: dissevering and consolidating.
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 they may lose the thread of the discourse.
Rhythm (from the Greek, "flow") exists in all spheres of human activity and assumes multifarious forms.
Rhythm is a flow, movement, procedure, etc., characterized by basically regular recurrence of elements or features, as beat, or accent, in alternation with opposite or different elements or features (definition by Webster’s Dictionary).
"What does seem to be clear is that rhythm is useful to us in communicating: it helps us to find our way through the confusing stream of continuous speech, enabling us to divide speech into words or other units, to signal changes between topic or speaker, and to spot which items in the message are the most important."
(Peter Roach, Phonetics. Oxford University Press, 2001)
Rhythm brings order to the utterance. Rhythmical periodicity in verse requires intervals of about 3 quarters of a second between successive peaks of periods. It is a deliberate arrangement of speech into regularly recurring units intended to be grasped as a definite periodicity, which makes rhythm a stylistic device.
Rhythm in language necessarily demands oppositions that alternate: long, short; stressed, unstressed; high, low; and other contrasting segments of speech. Rhythm in verse as a SD is defined as a combination of the ideal metrical scheme and the variations of it, variations, which are governed by the standard.
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One can find rhythm in prose. The unit of measure in prose, however, is not the syllable but a structure, a w-combination, a sequence of words, that is,phrases, clauses, sentences, even supra-phrasal units. The rhythm will be based not only on the repetition of the similar structural units following one another or repeated after short intervals.
The peculiar property of prose rhythm, particularly in the 20th century prose, is that it occurs only in relatively short spans of text and that it constantly changes in patterns and may suddenly drop to a normal, almost unapparent rhythmical design or to no rhythm at all. Prose rhythm, unlike verse rhythm, lacks consistency, as it follows various principles.
Academician V.M. Zirmunsky suggests that the concept of rhythm should be distinguished from that of metre. Rhythm is not metre!!! Metre is any form of periodicity in verse, its kind being determined by the character and number of syllables of which it consists.
If rhythm is to be a stylistic category, one thing is required – the simultaneous “perception of two contrasting phenomena, a kind of dichotomy”. Therefore rhythm in verse as an SD is defined as a combination of the ideal metrical scheme and the variations of it, variations which are governed by the standard. Rhythm – in music, dance, verse.
The most observable rhythmical patterns in prose are based on the use of certain stylistic syntactical devices, namely, enumeration, repetition, parallel constructions (in particular, balance) and chiasmus.
Example of rhythm: Oriental luxury goods--jade, silk, gold, spices, vermillion, jewels--had formerly come overland by way of the Caspian Sea, and now that this route had been cut by the Huns, a few daring Greek sea captains were sailing from Red Sea ports, catching the trade winds and loading up at Ceylon (Robert Graves).
Types of rhythm if interesting:
Compared with the wide variety of metrical schemes, the types of metrically related rhythms are few. Duple rhythm occurs in lines composed in two-syllable feet, as in Shakespeare’s line
In metrical schemes based on three-syllable feet, the rhythm is triple:
Rising rhythm results when the stress falls on the last syllable of each foot in a line:
The reverse of this is falling rhythm:
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