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Indirect onomatopoeiais 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»

Onomatopoeia

Lecture. Phonetic Expressive Means and Stylistic Devices

1. Onomatopoeia. Two varieties of onomatopoeia: direct and indirect. Example of usage. Its functions.

2. Alliteration. Its functions. The notion of initial rhyme.

3. Rhyme. Two types of rhyme: full rhymes and incomplete rhymes. Division of incomplete rhymes. Compound or broken rhymes. Eye-rhyme. The models of arranging the rhymes. Its functions

4. Rhythm. Its function.

Onomatopoeia is a combination of speech-sounds which aims at imitating sounds produced in nature (wind, sea, thunder, etc.), by things (machines, tools), by people (sighing, laughter, etc.) and by animals (mew, bark, etc.).

The relation between onomatopoeia and the phenomenon it is supposed to represent is one of metonymy.

There are two varieties of onomatopoeia: 1) direct and 2) indirect.

Direct onomatopoeia is contained in words that imitate natural sounds (ding-dong, bang, cuckoo, ping-pong, etc.)

Example 1: «And the s ilken, s ad, un c ertain ru s tling of each purple curtain» (E. A. Poe), where the repetition of the sound [s] actually produces the sound of the rustling (шелест) of the curtain.

Indirect onomatopoeia, unlike alliteration, demands some mention of what makes the sound, as rustlingof the curtain in the line above.

Indirect onomatopoeia is sometimes very effectively used by repeating words which themselves are not onomatopoeitic, as in Poe’s poem «The Bells» where the words tinkle (звонить) and bells are distributed in the following manner

Example 2: «Silver bells... how they tinkle, tinkle, tinkle» and further

«To the tintinabulation that so musically wells

From the bells, bells, bells, bells,

Bells, bells, bells -

From the jingling and the tinkling of the bells».

Alongside obviously onomatopoetic words as tinkle, tintinabulation and jinglingthe word bellsis drawn into the general music of the poem and begins to display onomatopoetic properties through the repetition.

Example 3: A skilful example of onomatopoetic effect is shown by Robert Southey in his poem «How the Water Comes down at Ladore». The title of the poem reveals the purpose of the writer. By artful combination of words ending in -ingand by the gradual increase of the number of words in successive lines, the poet achieves the desired sound effect:

«And nearing and clearing,

And falling and crawling and sprawling,

And gleaming and streaming and steaming and beaming,

And in this way the water comes down at Ladore».

2) Alliteration is a phonetic stylistic device which aims at imparting [ɪm'pɑ:t] a melodic effect to the utterance.

Alliteration is repetition of the same consonant or sound group at the beginning of two or more words that are close to each other.

Example 4: «D oom is d ark and d eeper than sea d ingle». глубокая лощина

Example 5: to ro b P eter to p ay P aul

Example 6: «The po ss essive in s tinct never s tands s till. Through f lorescence and f eud, f rosts and f ires it f ollows the laws of progression» (J. Galsworthy).

Alliteration does not bear any lexical or other meaning unless we agree that a sound meaning exists as such and that a certain amount of information is contained in the repetition of sounds. Certain sounds if repeated may produce an effect that can be specified.

Example 7: the sound[m]is frequently used by Tennyson in the poem The Lotus Eaters» to give a somnolent effect. ['sɔmn(ə)lənt] 1) убаюкивающий, усыпляющий

«How sweet it were,...

To lend our hearts and spirits wholly

To the m usic of m ild- m inded m elancholy;

To m use and brood and live again in m e m ory».

Example 8: The repetition of the sound [d] E.A.Poe’s, poem «The Raven»

«D eep into the d arkness peering, long I stoo d there won d ering, fearing D oubting, d reaming d reams no mortals ever d ared to d ream before.» prompts the feeling of anxiety, fear, horror anguish (мука, мучение) or all these feelings simultaneously.

Alliteration in the English language is deeply rooted in the traditions of English folklore ['fəuklɔ:]. On OE poetry alliteration was one of the basic principles of verse and considered along with rhythm to be its main characteristic.

There is essential resemblance between alliteration and rhyme because in both the cases the same sound is repeated and, besides both the rhyme and alliteration communicate consolidating effect. Alliteration is therefore sometimes called initial rhyme - начальная рифма, аллитерация.

Alliteration is frequently used no only in verse but in emotive prose, in newspaper headlines, in proverbs and sayings, in the titles of books: Blind as a bat; (as) fit as a fiddle в полном здравии, в хорошем настроении; betwixt and between ни то ни сё; to rob Peter to pay Paul облагодетельствовать одного за счёт другого; and in the titles of books: «Sense and Sensibility» (J. Austin); Pride and Prejudice (J. Austin), etc.

3) Rhyme is the repetition of identical or similar sound combinations at the end of words. We distinguish between full rhymes and incomplete rhymes.

Full rhyme presupposes identity of the vowel sound and the following consonant sounds in a stressed syllable: might, right; needless, heedless.

Incomplete rhymes are divided into two main groups: 1) vowel rhymes ассонанс and 2) consonant rhymes созвучные рифмы. 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, have identical consonants and different vowels, e.g. tale - tool - treble тройной - trouble, etc.

Sometimes one word rhymes with a combination of words or two or more words rhyme with corresponding two or more words, as in upon her honour - won her; bottom - forgot them - shot him. Such rhymes are called compound or broken. The use of broken rhymes usually gives the utterance a colloquial and sometimes a humorous touch.

There is one more variety of a rhyme - an eye-rhyme (неполная, неточная рифма (основанная на написании, а не на звучании, как move и love)), where the letters and not the sounds are identical, as in love - prove; flood - brood [bru:d] 1. 1) выводок (птиц, животных); have - grave. Eye-rhyme can only be perceived in the written prose, not in reading aloud.

According to the way the rhymes are arranged within the stanza ['stænzə] строфа there are the following models:

1) Couplets (['kʌplət] рифмованное двустишие)- 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.

There is still another variety of rhyme which is called internal rhyme. The rhyming words are placed not at the end of the lines but within the line.

Example 9: «I bring fresh showers for the thirsting flowers». (Shelley)

Example 10: Poe «Once upon a midnight dreary (печальный; унылый) while I pondered weak and weary».

4) Rhythm exists in all spheres of human activity. Rhythm in verse is a deliberate arrangement of speech into regularly recurring units intended to be grasped as a definite periodicity ([,pɪərɪə'dɪsətɪ]) which makes rhythm a stylistic device.

If rhythm is to be a stylistic category one thing is required contrasting oppositions: long, short; stressed, unstressed; high, low and other contrasting segments of speech.

Rhythm reveals itself most conspicuously in music, dance and verse. The properties of rhythm in language are most observable in verse. In verse rhythm is perceived by the number of stresses in a line; in prose - by the alteration ([,ɔ:lt(ə)'reɪʃ(ə)n] 1) изменение; перестройка) of similar syntactical patterns.

The parameters [pə'ræmɪtə] of rhythm in verse and in prose are entirely different as prose in its essence is non-rhythmical.

The unit of measure in verse is a syllable (слог). The unit of measure in prose is not the syllable but a structure, a word combination, a sequence of words, that is phrases, clauses, sentences, even syntactical wholes. The structural pattern, which in the particular case is the rhythmical unit, will be repeated within the given span (фрагмент) of prose. The rhythm will be based on the repetition of similar structural units following one another or repeated after short intervals.

The most observable rhythmical patterns in prose are based on the use of certain syntactical stylistic devices namely enumeration, repetition, parallel construction and chiasmus.

Example 11: «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».

In the following passage by J. Galsworthy the rhythmical effect is achieved through the use of paired attributes high-sloping, fine sooty, ducky little and adverb with an attribute very tall.

Rhythm in a work of literature is used to specify and intensify emotions and thoughts.


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