buzz by people singing lughter ywning ror giggle nd nimls moo blet crok frog
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Phonetic stylistic devices: Anomatopia, alliteration.
. Onomatopoeia
Onomatopoeia is a combination of speech sounds which aims at imitating sounds produced in nature (wind, sea, thunder, etc. – splash, bubble, rustle, whistle) by things (machines or tools, etc. - buzz) by people (singing, laughter, yawning, roar, giggle) and animals (moo, bleat, croak - frog). Therefore the relation between onomatopoeia and the phenomenon it is supposed to represent is one of metonymy: that is it can be used in transferred meaning – tintinnabulation-the sound of bells
There are two varieties of onomatopoeia: direct and indirect.
Direct onomatopoeia is contained in words that imitate natural sounds, as thud, bowwow, ding-dong, buzz, bang, ‘cuckoo. These words have different degrees of ‘imitative quality. Some of them immediately bring to mind whatever it is that produces the sound. Others require some imagination to decipher it.
e.g. And now there came the chop-chop of wooden hammers.
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 demands some mention of what makes the sound, as rustling of curtains in the following line. And the silken, sad, uncertain rustling of each purple curtain. An example is: 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.
Indirect onomatopoeia is sometimes effectively used by repeating words which themselves are not onomatopoetic but they contribute to the general impact of the utterance: in the poem Boots by R. Kipling soldiers’ tread is shown -
We’re foot-slog-slog-slog-sloggin’ over Africa –
Foot-foot-foot-foot –sloggin’ over Africa.
(Boots – boots – boots – boots – moovi’ up and down again!)
Onomatopoeia helps to create the vivid portrayal of the situation described, and the phonemic structure of the word is important for the creation of expressive and emotive connotations.
2. Alliteration and assonance
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: " The possessive instinct never stands still (J. Galsworthy) or, "Deep into the darkness peering, long I stood there wondering, fearing, doubting, dreaming dreams no mortals ever dared to dream before" (E. A. Poe). Alliteration is also used to name the repetition of first letters: Apt Alliteration’s artful aid.(Charles Churchill).
Alliteration has a long tradition in English poetry as Germanic and Anglo-Saxon poems were organized with its help. (Beowulf)
Alliteration, like most phonetic expressive means, does not bear any lexical or other meaning. However it supplies the utterance with a certain nuance of the meaning [d]. That’s why alliteration is regarded as a musical accompaniment of the author’s idea, supporting it with some vague emotional atmosphere which each reader interprets for himself.
Alliteration heightens the general aesthetic effect of the utterance when it has connection with sense. Now it’s used only as a subsidiary device. Its role is an expressive one – alliterated words indicate the most important concepts. It’s often used in emotive prose, newspaper headlines, titles, proverbs and sayings: Sense and Sensibility; Pride and Prejudice; safe and sound; part and parcel etc.
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