Which folklore works are closely related. Genres of musical folklore

Good morning! These “br” and “tr” in the greeting somehow cheered me up. Irina Ivaskiv is with you. Cool associations are sometimes caused by clusters of certain letters. Each sound contains some kind of encrypted information: some sounds evoke alertness inside, others are soothing mantras, and others form vivid images in our imagination. K. Balmont called sounds “little magic gnomes.” So writers and poets “conjure” their works, selecting various phonetic devices in order to awaken our imagination. We will talk about one of them in this article. So, alliteration... What is it? How and why is it used? Why is it so popular? How is alliteration used in advertising and business?

Alliteration: What is this?

Alliteration is the repetition of consonants to create an image. The concept is translated from Latin as “letter”. This phenomenon, when a certain consonant letter is often repeated in a certain part of the text, is called alliteration. Either the same consonant is repeated, or 2-3 similar consonants alternate (hissing, whistling, growling).

Alliteration used:

• in tongue twisters ( TO at P And To And P at P And To )
• in proverbs and sayings ( M e l and, E m e l I, your week l I)
• in prose and poetry, and even in advertising

How does alliteration paint images?

Alliteration is a kind of “tautology” of consonants. But why repeat them? To, I repeat, create images. So that, in other words:

• the reeds rustled:

• trumpets sounded:

• The Neva was boiling:

• puddles crunched:

• hooves thundered:

• the elements thundered:

• pulled into a whirlpool:

• the rhythm of the march was stamped:

• nostalgia rolled in:

• the carriage wheels were clattering:

• The royal feast continued:

• people marched to the rhythm:

• brought back a strange dream:

• Memories rustled in my head:

• my heart sank with empathy:

• I got goosebumps from the explosion:

• German bombers roared over besieged Leningrad:

Obvious consonant dominance

Alliteration is not a linguistic innovation. This is one of the oldest phonetic devices that can be found in every language! Alliteration was used by Homer, Horace, Virgil, Dante, Petrarch, Ronsard, Shakespeare, Pushkin, Tyutchev, Nekrasov and many others.

This frequent use of combining selective consonants can be explained by their special dominance. Consonants dominate vowels. And not because there are many more of them. Let's take a few words as an example and write them using only vowels: eoo, eai, eeo. It is unlikely that anyone will guess what these words are. But if the same words are written down using only consonants, then it will be possible to recognize famous poets in the words: lrmntv, drzhvn, shvchnk.

Consonants that have more weight can create incredibly powerful images! Voiced and dull, hard and soft, loud and philosophical, irritating and caressing the ear - consonant sounds have become excellent tools for creating a strong phonetic impression in the hands of writers.

Examples of alliteration in prose

Look how the writer describes Taras’s condition with a combination of anxious “t-r” and sleepy-tired “s”:

Taras did not stop worrying, despite the soothing crackle of the fire.

And in this example, the repetition of the consonants “t” and “p” creates a completely different depressed atmosphere:

Potapov stomped around the pedestal: “Shouldn’t I retire?”

Another striking example from V. Nabokov’s story “The Word”. A cluster of consonant “g”, which first dampens vigilance, standing next to the musically tender “l”, and then reminds of its formidable dimensions, intensifying the consonant “r”:

I felt, without looking, the gloss, angles and edges of the huge mosaic rocks.

Alliteration in folklore

What do you imagine when you hear the saying “Two inches from the pot”? Am I the only one who can hear the baby lisping?))) But here is another proverb with the same hissing consonant sound: “You can’t hide an awl in a bag,” and here you can already hear how this same awl rustles in the bag. And here’s the third: “If you drive more slowly, you’ll go further,” and here something made you sleepy from such a snail’s speed. But the fourth line of Lermontov: “Our ears are on top of our heads!”, and here the hissing sound gives a complete feeling of nimble.))) Just as composers compose thousands of songs from the same seven notes, so from the same letters the writer’s skill draws different ones paintings.

Alliteration in tongue twisters

In tongue twisters, a jumble of difficult to pronounce letter combinations trains diction. The famous “tacking ships” or “Charles who stole the corals” are nothing more than alliteration.

Alliteration in advertising and business

A cluster of repeated consonants attracts attention, is easily perceived and is remembered for a long time. That's why advertisers have seized on this unique expressive technique that can help shape a brand and consumer demand. They, in fact, put alliteration on... a commercial basis.)))

Alliteration began to be used:

• in company names and brands: Kitkat chocolate, Kiteket cat food, Chupa Chups lollipops, Minky-Binky candies (the predominance of the vowel “i” and consonants “nk” gives the feeling of something small, causing tenderness)
• in advertising slogans: Your pussy would buy Whiskas; Vella. You are awesome; Dentistry. Take care of your teeth; Furniture. Bedrooms for big and small; "Samych himself." Dumplings without haste; “Mezim” is indispensable for the stomach

Phonetic euphony in an advertisement is worth a lot. When the essence of an advertising message is formulated phonetically correctly, the message subconsciously “falls” on the heart. The phonetics of the advertising message will skillfully direct the thoughts of buyers in the right direction. Listen:

• “Aquafresh” toothbrush: cleans with shine (the sounds “ch”, “st”, “ts”, “sk” are reminiscent of the sounds of brushing teeth)
• drink “Mirinda”: ​​an explosion of taste (the sounds “zr” and “vvk” resemble a carbonated drink bursting out)
• Knorr bouillon cubes: Knorr – tasty and quick (the sound “r” creates a feeling of speed: rrraz - and the broth is ready)
• taxi: Quick delivery And the taxi driver with the change (sounds “st”, “ks”, “st”, “sd” - the taxi is already standing and the meter is ticking)

The consonants included in the slogan, consonant with the brand, create a kind of “knots for memory”: you pull them, and without any problems you will restore before your eyes the name of the product (sometimes incomprehensible and difficult to read). And lastly: avoid letter combinations in your texts where there are more than 3 consonants in a row (usually a large number of consonants are found at the junctions of words): quality stv pr oduct.

Games with words: children's fun or serious brain training?

There are many literary and linguistic terms whose meaning is not fully known to us. Therefore, in this article we will try to understand alliteration, where it can be found, and why it is interesting. For many readers it will be a discovery that this phenomenon occurs in our lives more than often. Often lines with alliteration are composed on the fly by people who have a penchant for poetry.

Different interpretations of the term

So, alliteration is a kind of consonance that is formed through the repetition of identical or similar-sounding consonants used at the beginning of a word. If we talk more broadly about what alliteration is, we can note that this is a canonized literary device, which, although based on a combination of similar sounds, has nothing to do with rhyme. If we consider the interpretation of this term even more simply, then alliteration has a vague resemblance to rhyme. However, in this case, consonances will take place not at the end of each line, but at its beginning.

A few examples

To understand what alliteration is, it is enough to plunge into the world folk sayings and a saying. It is in those short lines that seem to teach us how to live correctly that this mysterious literary term is very clearly spelled out. As an example, we can recite the proverb “Soup soup and porridge are our food.” Here we see both alliteration, which is at the beginning of the first words, and rhyme, which makes this saying even more melodic. A similar example can also be the words “You can’t hide an awl in a sack”, “Simpler than a steamed turnip” and others.

The most beautiful world of poetry

Also, poems by famous Russian poets will help us understand what alliteration is. Surprisingly, the leaders in using this technique in practice were the most famous geniuses of the Golden Age - Pushkin and Lermontov. Mikhail Yuryevich, for example, had the following words: “I don’t expect anything from life. And I don’t regret the past at all.” Well, Pushkin’s famous verse with the words “ It's a sad time! Ouch charm! Your farewell beauty is pleasant to me,” is an example of this canonical technique that everyone hears.

Past and present alliteration

Poems with alliteration can be found in A. Blok, as well as in some others. A similar one occurs in the oldest Russian chronicle work - “The Tale of Igor’s Campaign”, in the poems of Nekrasov, Severyanin and Mayakovsky. Often in such works, alliteration alternates with rhyme, thanks to which the poem is perceived by the ear as something non-standard, unexpected, and very interesting.

The perception of this technique

It is generally accepted that of all the techniques in literature, alliteration is best determined by ear. Examples of such sound combinations were presented above, so you can read them again and realize that the sound connection between the spoken words can only be noticed if you hear them. It is impossible to catch these consonances in writing. Perhaps this is why alliteration has taken root so firmly in

Alliteration is a special stylistic device, the purpose of which is to create an additional musical and melodic effect of the statement. The essence of this technique is the repetition of identical sounds or combinations of sounds at a relatively close distance from each other. For example:

Secret and self-contained and solitary as an oyster. (Ch. Dickens.) or:

The possessive instinct never stands still Through florescence and feud, frosts and fires it follows the laws of progression

(J. Galsworthy.)

Alliteration, like all other sound means, does not carry any semantic function. It is only a means of additional emotional impact, a kind of musical accompaniment to the main idea of ​​the statement, which very indirectly reveals the mood of the author.

1 Guy de Maupassant. Poly. collection cit.. vol. XIII, p. 203. 18* 275

Alliteration in English is deeply rooted in folk traditions. The literary form of ancient English poetry was different from the modern literary forms of poetic works. In this poetry, rhythm and alliteration were the mainstays of verse. Each significant word in a line of folk songs and legends, under stress, began with the same combination of sounds. For example, the Anglo-Saxon epic poem Beowulf is organized:

Alliteration played the same role in ancient Saxon poetry as rhyme plays in modern poetry. Alliteration can be called initial rhyme: it is not the last syllable of the word that rhymes, but the initial sounds of the word.

In modern English, alliteration means not only the repetition of initial sounds, but also sounds in the middle of a word. Folk tradition, as we know, is always vitally stable and the technique of alliteration, as an artistic form of folk poetic works, has remained in the English language as a proven means of artistic and emotional impact on the reader. Unlike the Russian language, where alliteration did not have such deep roots in folk art, in English alliteration is widely used as an artistic and stylistic device not only in poetry, but also in prose (see above example from Galsworthy’s work).

Alliteration is often used in folk sayings and proverbs. For example:

Tit for tat; blind as a bat; betwixt and between; It is neck or nothing; To rob Peter to pay Paul, etc.

Alliteration can be seen in newspaper headlines and in the titles of literary works, for example:

Sense and Sensibility

Pride and Prejudice; School for Scandal;

A Book of Phable and Phrase.

Alliteration not only does not have an independent semantic meaning, but also does not suggest any additional emotional shades of meaning.

In this regard, some theories are interesting, which try to prove that individual sounds or combinations of sounds have additional shades of meaning or special expressive power. Thus, J. Vandries claims that “different sounds and their different combinations have different expressive power.” 1 A. Maurice moves on. He gives individual sounds the power to express ideas and feelings and argues that in the work of a true poet there is a relationship between the sounds of words and the thoughts and feelings they express. One of the greatest experts in English versification, the French scientist Verrier, recommends pronouncing some vowel sound (A, I, U) with your eyes closed, articulating it strongly and clearly. So he comes to the conclusion that the sound (U) usually expresses sadness and seriousness; the sound (I) inspires joy and so on.

Interesting data is provided by Prof. L.I. Timofeev in his work “Theory of Literature”: “P. A. Vyazemsky, writes Timofeev, refuted this theory (that sounds have certain meaning - I.G.) in a dispute with an Italian who did not know Russian, with a proposal to determine the meaning of words by sound - love, friendship, friend. The Italian suggested that it was “something tough, harsh, maybe abusive.” And to the question what can a word mean based on its sounds? veal, he replied that there is no doubt that this is an affectionate, tender word addressed to a woman.” 2

In English fiction and especially in poetry, alliteration from an expressive means widely used in folk art sometimes develops into an integral device of decadent, formalistic literature. Alliteration begins to be seen as a powerful means of expressing the poet's feelings and emotions. Speech sounds are seen as having their own emotional meaning. So, for example, the sound [d] is considered

1 Vandries J. Language. M.: Sotsekgiz, 1937. - P. 174. 2 Timofeev L. I. Theory of Literature. Uchpedgiz, 1948 pp. 229 - 230.

as a sound that produces a dark, ominous effect, on the contrary, is an expression of tenderness and warm feelings. Of course, it cannot be denied that certain sounds enhance the effect achieved by the meaning of the utterance. Thus, the repetition of the sound [d] in the following lines is designed to enhance the depressed, mystical mood created by the entire poem:

"... here I opened wide the door -

Darkness there, and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before."

(E. Poe. The Raven)

Theories about the semantic independence of sounds are based on the subjective interpretation of sound associations. It is quite obvious that sounds themselves, just like specially organized repetition sounds, cannot be carriers of any ideological, semantic content. These repetition sounds, of course, are a kind of means of artistic expression; they can also perform a certain artistic function, for example, enhance the emotional impact on the reader, create a certain tone of expression, and sometimes, as will be shown below, and cause a certain association with objectively existing in nature, natural sounds, but this does not make them carriers of a specific meaning.

Various forms of sound repetitions have been studied in the linguistic literature. According to the forms of verbal repetitions, the forms of sound repetitions are also defined: anaphora (initial repetitions of sounds), epiphora (final repetitions of sounds), joint, ring, etc.

Rhyme

Rhyme is the repetition (usually at certain intervals) of the same or similar sound combinations at the end of words.

The emergence of rhyme in the English language is associated with the development of quality versification. It is the result of adaptation of classical versification to

English language. An attempt to adapt the Greek metrical system of versification to languages ​​with a different morphological structure led to some modification of the classical metrical system, in particular, to the appearance of rhyme.

With the development of high-quality versification, rhyme, previously unknown to Latin poetry, became its constant feature. From Latin it penetrated into the Romance languages, and from there into English. Syllabic-tonic verse and rhyme replaced the original form of English poetry, which, as has been stated, was based on alliteration. Since the 12th century, all English poetry, with the exception of alliterative poetry of the second half of the 14th century (in the north of England), is based on rhyme.

The rhymes of English poetry are rich and varied in both sound and structure.

A rhyme is called masculine if the sound repetition is created by one stressed syllable ending the foot, for example:

Palace-roof of cloudless nights! Paradise of golden lights!

(S h e l l e y.)

If one stressed and one unstressed syllable is repeated, then the rhyme is called feminine, for example:

Higher still and higher

From the earth thou springest;

Like a, cloud of fire

The blue deep thou wingest. . .

When the last sound is repeated in a line of stressed and two unstressed syllables, a so-called dactylic rhyme is formed:

"They have a number, though they never

Four wives by law, and concubines

The use of one or another type of rhyme is determined by the poetic size of the work.

For two-syllable meters (iambic and trochee), the most characteristic are masculine and feminine rhymes. Dacty-

Lyric rhyme is more common in works written in three-syllable meter (dactyl, anapest).

The most common rhymes in English are masculine and feminine rhymes, since they can be used in all poetic meters.

upon her honor won her. . .

bottom forgot "em shot him...

Composite rhymes are characteristic of humorous and satirical works.

A rhyme is called complete when the vowel of the stressed syllable and all the following sounds (vowels and consonants) coincide, for example: might - right; heedless - needless.

If a consonant, vowel and all subsequent sounds are repeated, then the rhyme is called exact or identical: hours - ours; perfection - infection.

Incomplete rhyme, as the name indicates, does not repeat all the sounds of the rhyming syllables.

There are two types of incomplete rhymes depending on the quality of the repeated sounds: 1) assonant rhyme, which is formed by repeating only vowels; the consonants in such a rhyme do not coincide: tale - pain; flesh - fresh - guess and 2) consonant rhyme, based on the repetition of identical consonants with different vowels: tale - pull; worth - forth.

Some rhymes in English are based not on sounds, but on letters, that is, not on the coincidence of final sounds, but of final letters. Such rhymes are called visual: love - prove; flood - brood; have - grave. The sound differences in these rhymes are the result of the many changes that the sound system of the English language has undergone in the process of its development. In more early periods the vowels in these rhymes sounded the same. Visual rhymes have been preserved in the language by tradition, and this tradition is so strong that

New rhymes are being created even today. The sound discrepancy in such rhymes is almost not felt.

Depending on the location in the stanza, rhymes differ:

paired - in adjacent lines (aa),

triple - (ahh)

cross - (abab),

encompassing - (circular or framing), in which the outer lines of the stanza rhyme: (Abba),

ternary - after two lines to the third (aabaab) etc.

Each type of stanza is characterized by a specific arrangement of rhymes.

Rhyme can be not only at the end of a line, but also inside it. This rhyme is called internal, in contrast to external rhyme, which is formed at the ends of lines. Internal rhyme appears more often in multi-foot lines:

I bring fresh showers for the thirsting flowers... (Shelley)

The role of rhyme in poetry is extremely important. Rhyme clarifies the metric division of the verse into rhythmic units. It makes the rhythm of the verse more noticeable and makes it easier to perceive. This is the main role of rhyme. In addition to the rhythm-forming meaning, the importance of rhyme for the semantic highlighting of a word should be emphasized. A word based on sound repetition becomes especially noticeable and attracts attention.

Onomatopoeia

Another technique associated with the sound organization of an utterance is onomatopoeia (onomatopoeia). The essence of this technique is that sounds are selected in such a way that their combination reproduces any sound that we associate with the producer (source) of this sound. For example: buzz, bang, cuckoo, tintinnabulation, to mew, etc. 1

1 It is interesting to note that onomatopoeia is not the same in different languages: cf. Russian word buzz and English buzz.

Onomatopoeia can be direct or indirect.

Direct onomatopoeia is the creation of an independent word in which the combination of sounds is designed to reproduce the desired sound. Examples of direct onomatopoeia are the above onomatopoeic words. There are few such words in the language; their purpose is not only to name a phenomenon, but also to reproduce it in sound. For example: ting-tang, ping-pong, tap. These words can be called sound metaphors of language. They, just like ordinary metaphors, create an image. However, unlike a lexical metaphor, the image is created not visually, but audibly.

The word to mew is the same as the Russian word mew, not only objectively names the action correlated with its producer (cat), but also creates a sound image.

Consequently, direct onomatopoeia, since it is realized in individual words, is impossible without the implementation of subject-logical meaning.

Indirect onomatopoeia is

reproduction of a sound in nature by combining different sounds in different words. Thus, indirect onomatopoeia is a special form of alliteration: sounds repeated in different words create an objectively existing sound, causing an association with the producer (source) of a given sound, in the individual perception of the author. For example, in the line motor sentinel tongue twister(Bagritsky.) The repetition of the sound [P] in different words of this line creates the impression of the knock of an engine. In the line: And the silken sad uncertain rustling of each purple curtain... (E. Poe.) the alliteration of the sound [s] to some extent (in the individual perception of the poet) reproduces the rustling of a curtain moved by the wind. In the same poet's poem "The Bells", built entirely on indirect onomatopoeia, the ringing of bells is reproduced by various means. Here is just one verse as an example:

Hear the sledges with the bells -

Silver bells! What a world of merriment their melody foretells!

How they tinkle, tinkle, tinkle,

In the icy air of night!

While the stars, that over-sprinkle

All the heavens, seem to twinkle

With a crystalline delight; Keeping time, time, time In a sort of Runic rhyme,

To the tintinnabulation that so musically wells From the bells, bells, bells, bells,

Bells, bells, bells - From the jingling and the tinkling of the bells."

Sound writing in itself, just like alliteration, cannot be a means of conveying any ideological content. The name “sound writing” itself is an expression of the purpose and objectives of onomatopoeia. It has an artistic and aesthetic function only when it is effective, when it is motivated, that is, if it is directly required by the very content of the statement. If sound recording sets as its task only the reproduction of sounds and noises that objectively exist in nature and is not associated with any thought or idea, then sound recording becomes a musical trinket. An example of such a meaningless use of onomatopoeia is the entire poem by R. Southey "How the Water Comes down at Lodore:"

Here it comes sparkling,

And there it lies darkling,

Here smoking and frothing,

It's tumult and wrath in,

It hastens along, conflicting strong;

Now striking and raging,

As if a war waging,

Its caverns and rooks among.

Rising and leaping,

Sinking and creeping,

Swelling and flinging,

Showering and springing,

Eddying and whisking,

Spouting and frisking,

Turning and twisting

Around and around;

With endless rebound;

Smiting and fighting,

A sight to delight in,

Confounding, astounding,

Dizzying and defening the ear with its sound.

Receding and speeding

And shocking and rocking,

And darting and parting,

And threading, and spreading.

And whizzing and hissing,

And dripping and skipping,

And brightening and whitening.

And quivering and shivering.

And glittering and flittering,

And foaming and roaming,

And working and jerking

And heaving and cleaving,

And thundering and floundering,

And falling and crawling and sprawling.

And driving and driving and striving.

And sprinkling and twinkling and wrinkling.

And sounding and bounding and rounding,

And bubbling and troubling and doubling,

Dividing and gliding and sliding,

And grumbling and rumbling and tumbling,

And clattering and battering and shattering,

And glaming and streaming and steaming and beaming,

And rushing and flushing and brushing and gushing.

And flapping and rapping and clapping and slapping,

And curling and whirling and purling and twirling,

Retreating and meeting, and beating, and sheeting,

Delaying and straying and playing and spraying,

Advancing and prancing and glancing and dancing,

Recoiling, turmoiling, and toiling, and boiling,

And thumping and plumping and bumping, and jumping,

And dashing and flashing and splashing and clashing;

And so never endings and always descending,

Sounds and motions for ever and ever are blending;

All at once, and all o"er, with a mighty uproar, -

And in this way the water comes down at Lodore.

This poem is extremely skillful in reproducing the sound of a waterfall, with the increasing noise created by a longer line, more words per line. Of course, such a poem cannot in any way be considered as a poetic work that aims to influence (emotionally) the reader with the content of thought and its artistic and figurative design. There is no thought here. The words are chosen not in terms of what meaning they have, but in terms of their suitability for creating the desired sound effect. Thus, the content of the utterance itself is formally subject to the sound principle. Controversies

are obvious here. In poems of this type, language loses its main function - to be a means of communication - here it is used only as a means of musical expression.

Rhythm

Rhythm is any uniform alternation (tension and relaxation, acceleration and deceleration, etc.). Rhythmically alternating units can be sounds, combinations of sounds, or movements. In this regard, the rhythm of dance, music, work, speech is possible. The rhythm of speech is an expressive means of language based on the uniform alternation of commensurate units of speech. Such commensurate units of speech are stressed and unstressed syllables. Like all Germanic languages, English is characterized by a force (dynamic) stress falling on the first syllable. And since monosyllabic or disyllabic words predominate in the English language, English speech is characterized by the alternation of one stressed syllable with one unstressed syllable.

Polysyllabic words in English are mainly borrowed from French. In such words, the stress falls either on the first syllable ("excellent") or on the third syllable from the end (humility). Polysyllabic words in English often have two stresses. This is due to the general rhythmic tendency of the English language to alternate one stressed and one unstressed syllable ( for example, revolution).

However, one should not think that the fact of the characteristic alternation of one stressed syllable with one unstressed syllable makes English speech always rhythmic or uniform in its rhythmic structure. Often stressed syllables are separated from each other by an unequal number of unstressed ones (prepositions, conjunctions, pronouns and simply unstressed syllables in polysyllabic words). In such cases, gaps of unequal length are created between stressed syllables (unstressed syllables). Sometimes, on the contrary, stressed syllables can follow directly after each other.

In addition, logical (semantic) pauses after words and semantic groups make it difficult to feel the uniformity of the beats And unstressed syllables.

However, even where there is no exact quantitative correspondence between the number of stressed and unstressed syllables, we continue to feel the rhythm. For example, let's take a simple phrase:

I"go to the"Institute"every"day.

Marking the stressed syllable with | , and unstressed with a sign, we get the following structure of this phrase:

As can be seen from the diagram, the last stressed syllable is separated from the penultimate one by 1 unstressed syllable, although before that there were groups of 2 unstressed syllables. However, this whole phrase seems rhythmic to us, since the length of the last unstressed syllable (in time) is clearly longer than the previous ones, so that the sum of the two previous unstressed syllables is approximately equal to the length of the last unstressed syllable.

Let's take another example:

"What if the "action "lay a"gainst the "board. (Galsworthy.)

And here the feeling of rhythm remains, since the unstressed segments are approximately equal to each other. There are more similarities between them than differences.

However, we rarely pay attention to the rhythmic alternation of syllables in prose, due to the motley, unequal rhythmic structure of the sentence. In addition, the division of a sentence into semantic groups sometimes does not coincide with the division into rhythmic groups.

When reading prose, our attention is not prepared to perceive rhythmic alternation.

In poetry it is the other way around. We know in advance that the presentation will be rhythmic and we can easily grasp the regular alternation of syllables. For example:

And where will you fetch it from, all you Big Steamers?

And where shall I write you when you are away? (Kipling.)

Any of these lines in prose would not attract our attention from the point of view of the regularity of the rhythmic

alternation of syllables. But the uniformity of the rhythmic pattern in the following lines creates a pattern of alternation. A rhythm appears.

Some linguists try to reduce the rhythm of prose to poetic rhythm. They believe that the rhythm of prose is mainly created by the alternation of stressed and unstressed syllables, forming feet similar to those we find in poetry. Others deny the presence of rhythm in prose altogether; they contrast rhythmic speech (poetry) with non-rhythmic speech (prose).

Rhythmic organization literary prose cannot be questioned. However, this rhythm is qualitatively different from the rhythm of poetic speech. The commensurate, repeating units of prose rhythm are not syllables or words, but larger speech segments.

Thus, a certain rhythmic alternation appears in a sentence with homogeneous members, for example:

I pulled through it, though nobody threw me out a rope. Vagabond, errand-boy, vagabond, laborer, porter, clerk, chief manager, small partner, Josiah Bounderby of Coketown. Those are the antecedents, and the culmination. (Ch. Dickens.)

When enumerating, the rhythm appears even more clearly if the enumeration is accompanied by polyunion. For example,

And indeed, they were at music, or at backboard, or at geography, or at history, the whole day long. (W. M. Thackeray.)

While describing the functions of various stylistic devices, we also pointed to the function of rhythmic organization. We have seen that rhythm is created by parallel constructions, repetitions, build-up, and other techniques.

The parallelism of constructions in antithesis creates a special rhythm based on the alternation of the 1st and 2nd melodies and pitch in words - antonyms. For example:

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way - in short, the period was so far like the present period, that some of its

noisiest authorities insisted on its being received for good or for evil, in the superlative degree of comparison only.

(C h. D i s k e n s. A Tale of Two Cities.)

Often the rhythmic organization of sentences is created by its special syntactic structure. So the presence of paired definitions, or definition + adverb, or definition - compound adjective, appearing before the defined words, entails a clear sense of rhythm. For example:

The high-sloping roof, of a fine sooty pink, was almost Danish, and two "ducky" little windows looked out of it, giving an impression that very tall servants lived up there. (J. Galsworthy.)

As stated above, the rhythm of prose is not so easy to grasp. Attempts to determine rhythm in a prose passage sometimes fail because the problem of rhythm in general is too subjective. Any speech can be made rhythmically organized if we neglect the division of a speech segment into semantic groups and phrasal stress.

But the fact is indisputable that the coincidence of semantic segments of a statement in the syntactic structure of different sentences, no matter how bizarre it may be, always creates conditions for the appearance of rhythm.

The rhythm of poetic speech is a much more studied phenomenon in terms of the variety of forms of its manifestation and the patterns of its development.

Let us move on to consider the features of poetic rhythm characteristic of English poetry.

ENGLISH POEM

The nature of any talent, including writing, is inexplicable. She is divine, talent is given from above. It is difficult to understand why life pulsates in every line of a real writer; every word evokes a response in the reader and listener. But it turns out that they can give additional expressiveness to the text special ways using the phonetic capabilities of the language.

One of the most commonly used tools of the poet and prose writer is alliteration. Examples of repeated sounds that give the text special phonetic effects can be found not only in poetry, but also in prose works.

Definition

Forms of phonetic decoration of speech are present in every language. These methods of increasing the expressiveness of a language using the sound composition of a word are also called sound recording, or phonics.

Among them, alliteration and assonance are known: in the first case, the organized repetition of consonant sounds, in the second, assonance of vowels. Alliteration differs from other stylistic devices based on sound repetitions (rhyme, dissonance) by the irregular arrangement of homogeneous consonant sounds used. Their intensification in a small area of ​​text is aimed at enhancing the emotional impact, sometimes with a modification of the semantic content. They can be located at the beginning of a verse, phrase, stanza, at the beginning of each word, or completely arbitrarily.

Folklore roots

Living languages ​​cannot exist without nourishment from the depths of the people. Unknown storytellers have long decorated oral speech intonation enhancements and semantic accents. Naturally, among the ways to make an epic or fairy tale more interesting and expressive was alliteration. Examples of the use of sound repetitions are contained in the entire variety of folk word creation. In proverbs and sayings, for example, they create a special rhythm and sound marks that improve pronunciation and memorability:

Murder will out.

Meli, Emelya - your week.

In tongue twisters, an additional, playful function of alliteration appears. A special order in the arrangement of consonants, choosing them based on similar sounds makes pronunciation difficult and introduces a moment of competition (who can pronounce it faster and more clearly):

Sasha walked along the highway and sucked on a dryer.

Grass in the yard, firewood on the grass.

Buy a pile of spades.

Functions of alliteration

Expressing your ideas with utmost clarity, drawing attention to them with maximum expressiveness, filling every sound with emotion is the main goal of a real writer. Alliteration also serves this purpose. Examples of it in Russian poetry and prose speak of in various ways, with the help of which this problem is solved.

In poetry, it is very important how a word sounds; its effect on the listener has a nature similar to music, and the sound essence of vowels and consonants is perceived by many poets as similar to notes. The use of organized, ordered repetition of consonants of different sounds - voiced, voiceless, hissing, etc. - has a rhythmic function:

From year to year / Bad weather (L. Martynov).

Here is a hole near the edge - this is a trace from the core (V. Vysotsky).

In this sense, the poetry of those called bards (who perform poems set to music, accompanied by a guitar) is especially indicative.

The impact of Vladimir Semenovich Vysotsky's songs is largely based on his characteristic use of consonants; rarely has anyone sung them so drawn out. His poems and songs are full of the most expressive alliterations.

Sometimes, especially in poetry, alliteration is a way of connecting, integrating words into a single monolith, obtaining integrity - formal, but surprisingly impressive:

Forests are bald. / The forests have become deforested / The forests have become deforested. (V. Khlebnikov).

The gorilla spoke to them and sentenced them (Korney Chukovsky).

Language painting

The figurative function that alliteration has is impressive. Examples of its use are often based on onomatopoeia. For example, the sound of the wheels of a railway carriage:

They tapped the joints: east, east, east (P. Antokolsky).

The sound “p” and hissing help to hear and see how bubbles burst in fizzy wine:

The hissing of foamy glasses / And the golden flame of punch (A. Pushkin).

In the best examples of high poetry, alliteration is similar to the way of applying colorful brushstrokes to create an impressive painting:

Falling shoes and dripping wax are real to the point of physical sensations:

And two shoes fell
With a knock on the floor,
And wax with tears from the night light
It was dripping on the dress (B. Pasternak).

Tautogram, or initial alliteration

Sound repetitions, when words starting with the same letter are used in a poetic stanza or prose text, are also alliteration. Examples from the literature showing such use of this stylistic device, often have the character of deliberateness, verbal balancing act, linguistic focus:

The black boat, alien to enchantment (K. Balmont).

The prosaic tautograms are especially impressive. Back in the Middle Ages, multi-page texts were written containing words starting with the same letter. And everyone knows children's rhymes - tautograms:

Peter the Great went for a walk, caught a quail - took it to sell, asked for fifty dollars - received a slap on the head.

Peaks of poetry

It is impossible to select words based only on the beauty of sound or ease of pronunciation; the main thing is the semantic content, the ideas conveyed to the listener or reader. And yet, the speech of great writers is especially expressive and euphonious, which is what alliteration serves. Examples in Yesenin's poems are a sign of the highest poetic skill.

By carefully selecting the predominant sound, the desired acoustic effect is achieved: here is the whistle of the wind, and the howl of a snowstorm. Subtle associations inspired by sound combinations used in the text have the visual and emotional coloring: the ringing shine of the surface of the lake and the light sadness of a bird's song.

Double-edged tool

A passion for alliteration can become an end in itself - here they most often recall the futurist poets of the early 20th century: I Severyanin, K. Balmont, etc. Sometimes the meaning is hidden behind a palisade of sound repetitions, and the text becomes interesting as an example of poetic balancing act:

Filled with milk, it fell / It became livid and fell ingloriously (M. Kuzmin).

The waves caress towards the oar, / The lily caresses towards the moisture. (K. Balmont)

The most famous writers and philologists advocated restraint and moderation in the use of stylistic delights, which include alliteration and assonance. Examples of the masterful use of sound repetitions of vowels and consonants speak of high literary skill and taste. This can be found in the same I. Severyanin:

Elegant stroller, in electric beater,

It rustled elastically across the highway sand.

Alliteration in prose, examples

“Wearing a white cloak with a bloody lining and a shuffling cavalry gait, early in the morning of the fourteenth day of the spring month of Nisan, the procurator of Judea, Pontius Pilate, came out into the covered colonnade between the two wings of the palace of Herod the Great.”

Who doesn’t know this phrase from Bulgakov’s novel? Is it possible not to hear in these lines the rhythm of a gait - majestic and senile at the same time, not to hear the echo of the procurator’s steps heard in the hall with a high colonnade?

Sound recording is characteristic the best examples prose texts that have no less impact than poetic lines. Even in choosing a character's name, repetition of sounds can be used. There is a similar alliteration in Dostoevsky. An example is in Crime and Punishment.

The severity of the problems facing the main character, his determination to take extreme measures is indicated by the expressiveness of the exciting combinations of the sound “r” - Rodion Romanovich Raskolnikov, and Porfiry Petrovich opposing him - the essence of the inevitability of justice. Here Dostoevsky appears as a direct follower of the methods of the great Gogol. How can one not remember Akaki Akakievich (Bashmachkin) or Chichikov - double sounds give the names additional expressiveness.

Out of time

The use of sound repetition methods is relevant for any type of word creation. Being present in classical poetic and prose texts, serving as an example for today's writers and copywriters, alliteration remains relevant.

Alliteration in advertising helps create memorable announcements, appeals, and even individual product names. Examples of highly effective work by copywriters are found at every step. Without realizing why this happens, we remember brands and slogans. Masterfully used sound repetitions make names and mottos easy to pronounce, stick in memory, and endow them with strong associations, which is the goal of advertising writers, for example:

- “Little Potatoes”, “Chupa-Chups”, “Our Mothers”, “Yolki-Palki”.

- "Brook-Bond" - Be on top!

Time to drink beer!

And how can one not recall the classic slogan that came from the pen of the great proletarian poet:

All we have left from the old world are Ira cigarettes!

For a soft drink, it would be a sin not to use a semantic allusion to thirst:

Antipyretic thirst quencher.

Imitating the sound of cleaning dishes is logically achieved by repeating special hissing sounds:

Comet. Cleanse and protect!

Limitless possibilities

Sound repetitions of consonants and vowels, melodious and abrupt, voiced and voiceless, in any language are used to increase the expressiveness of oral and written speech.

It is calculated that of the consonant sounds, “s” is most often used, and for alliteration, the more sonorous and clear ones are often used - “l”, “m”, “n”, “r”. But the main thing is that Russian is a language that provides enormous, limitless opportunities for the use of assonance and alliteration, that a real author writing in Russian is distinguished by a clear connection between the significance of the thought conveyed to the listener or reader and the linguistic means of its expression.

Alliteration is a technique for giving a poem special expressiveness, using the repetition of homogeneous or identical consonants.

Thunder will clap loudly in a thunderstorm!

Many proverbs and sayings use alliteration.

If you see that in literary text homogeneous consonants are repeated, which means the author uses a technique called alliteration. This technique gives greater expressiveness to the text and enhances perception. Used in poetry.

Read the definition of what alliteration is and examples.



Alliteration is a special technique that is most often used in poetry, but is sometimes used in songs and stories. Its meaning is that similar consonants and vowels, as well as their combinations, are repeated, which gives this fragment a special mood.

Here simple examples Alliterations:

Shallow, Emelya, your week or Buy a pile of spades.

Word alliteration ends with -tion, and this, for the attentive eye, is one of the signs of Latinism. This is true!

The word alliteration is made up of Latin words:

ad, which is equivalent to k, and littera, which literally means letter.

This linguistic term in the literature called repetition technique in verse (less often in prose) identical, consonant consonants to enhance the expressiveness of artistic speech.

Alliteration emphasizes certain consonants in the text of a poem or poem, highlights them and creates the desired impression on the reader, for example, we read from Alexander Sergeevich Pushkin in the poem The Bronze Horseman:

In this passage, in the words va las and re ve la there is a repetition of the consonant V in stressed syllables and repetition of the voiceless consonant k in the second line, which create the impression of the howling of the wind and raging bad weather.

The concept of alliteration is used in literature and it implies an artistic example consisting in the repetition of consonant sounds in the text of a work.

And here is one of them for you bright examples alliteration:



Among visual arts Phonetics of the Russian language distinguishes alliteration and assonance. If assonance is the repetition of vowel sounds, then alliteration- This is the repetition of consonant sounds.

Here is an example of alliteration from a poem by Sergei Yesenin: The mirror of the backwater trembled. Here there is a repetition of the voiced consonant sound p, which is tremulous and contributes to the creation of a sound impression.

And another example from a poem by Sergei Yesenin:

IN this passage Both alliteration and onomatopoeia are used. Alliteration in this example is based on a cluster of hissing sounds zh, shch, sh. These consonant sounds help create the image of a blizzard, convey the rustle of snow and the sound of the wind.

The word itself alliteration is of Latin origin and literally translated into Russian means letter to letter.

In poetry, where this phonetic device is used, alliteration helps to enhance the expressiveness of the poem and sometimes place semantic accents.

The repetition of consonants in alliteration can create a variety of sound effects - from the roar of waves and the rustling of wind in tree branches to tears of joy or angry hysteria. The skillful use of this technique sometimes turns a seemingly simple poem into a real poetic masterpiece.



Alliteration is a very expressive technique that uses the repetition of one or more consonants, which creates a sense of integrity of any text and gives it the effect of presence. Often, with the help of alliteration, the poet emphasizes the emotional coloring of the attribute, and ensures easy memorization of the text. Classic examples Poems for children by various authors can be considered, in which, with the help of alliteration, ease of understanding of the text is achieved:

For example, Chukovsky used alliteration in his Barmaley. But alliteration in songs, proverbs and even tongue twisters creates a very beautiful effect. After all, any tongue twister is a classic alliteration:

Alliteration is an artistic technique (usually in poetry, but also happens in songs or narratives) in which similar-sounding consonants and vowels and their combinations are repeated to make the work or its fragment correspond to a certain mood. For example, in tee w otherwise w ur w at Kama w And; Sun yak sl abacus P hell for tobacco.

In Russian the term alliteration denote the repetition of identical or homogeneous consonants in a certain segment of a poetic text. It is important to note that repeating the same words does not count as alliteration. Many sayings and tongue twisters are based on alliteration.

In poetry, the technique of alliteration is used to impart special sound expressiveness.