Phonological Overregularity 1 Phonological Overregularity q Phonological overregularity

Phonological Overregularity 语音上的不规则现象 1

Phonological Overregularity q Phonological overregularity is characteristic of literature, especially poetry. It consists of two aspects, namely phonemic patterning （ 音位上的构形）and rhythmic patterning（节奏 模式）.

Phonological Overregularity q Phonological overregularity consists of two aspects, namely phonemic patterning （音位 上的构形）and rhythmic patterning（节奏模式）.

Phonemic Patterning 音位上的构形 alliteration assonance Phonemic Patterning consonance onomatopoeia rhyme

Alliteration q Alliteration is the repetition of the initial consonant cluster in stressed syllable. q It is usually used to form a connection or a connection of contrast.

Alliteration q what is meant by the initial consonant cluster? q In English, a syllable consists of three parts: an initial consonant cluster, a vowel or diphthong and a final consonant cluster.

Alliteration q The initial consonant cluster is formed by 0, 1, 2, or 3 consonants. For example, the longest initial consonant cluster ‘strong’ /str/, where there are three consonants. q cvc=alliteration 头韵 q last but not least q now and never q safe and sound q speech is silver, silence is golden. q great and grand ，pride and prejudice

Alliteration q Freedom is not given free to any who ask, liberty is not born of the Gods. She is a child of the people, born in the very height and heat of battle. (F. Norris) q Cold are the crabs（蟹类）that crawl on yonder hills, Colder the cucumbers that grow beneath… (Edward Lear, Cold Are the Crabs) as cool as a cucumber: cool and calm

Alliteration q Freedom is not given free to any who ask, liberty is not born of the Gods. She is a child of the people, born in the very height and heat of battle. (F. Norris)

Alliteration q Cold are the crabs（蟹类）that crawl on yonder hills, Colder the cucumbers that grow beneath… (Edward Lear, Cold Are the Crabs) as cool as a cucumber: cool and calm

Assonance q Assonance is the repetition of identical vowel or diphthong in stressed syllables. It is one of the important phonological features of literary texts. q cvc=元音垒韵

Assonance q e. g. (4) Think from how many trees q Dead leaves are brought q To earth on seed or wing… q (Vernon Watkins, The Compost Heap)

Assonance q trees, leaves and seed q the cycle of life q musical quality of a literary text q meaning of a literary text

Consonance q Consonance is the repetition of the final consonant cluster in stressed syllables. q cvc= 和声 q e. g.

Consonance q Like one in danger, Cautious, q I offered him a Crumb q And he unrolled his feathers q And rowed him softer home— q Than Oars divide the Ocean. q Too silver for a seam－ q Or Butterflies, off Banks of Noon q Leap, plashless as they swim. q (Emily Dickinson, A Bird)

Consonance q (6) Nothing lovelier than that lonely call, q Bare and singular, like a gull, q And three notes or four, then that was all. q It drew up from the quiet like a well, q Waited, sang, and vanishing, was still. q (Jon Swan, In Her Song She Is Alone)

Onomatopoeia q Onomatopoeia is ambiguous and can be interpreted in several different ways. For our analysis, two interpretations are relevant. q Firstly, it refers to the use of words formed in imitation of the natural sounds associated with the object or action involved. q Secondly, the words which suggest natural sounds reinforce the meaning conveyed in the text unit.

Onomatopoeia q Onomatopoeia is referred to by Alexander Pope as a necessary part of a poet’s technique.

Onomatopoeia q The Brook q I chatter over stony ways, q In little sharps and trebles, q I bubble into eddying bays, q I babble on the pebbles. q (Tennyson, The Brook)

Rhyme q Rhyme is defined in Concise Oxford Dictionary as “identity of sounds between words or verse lines extending back from the end to the last fully accented vowel and not further”. q Thus, a rhyme word may in theory have one, two, three or more syllables, though in practice rhymes of more than two syllables are rare in serious literature.

Rhyme q One-syllable rhymes, which are in the vast majority, are referred to as masculine rhymes q two-syllable rhymes are called feminine rhymes. q Other kinds of rhymes may simply be called poly-syllabic rhymes.

Rhyme q She walks in beauty, like the night q Of cloudless climes and starry skies; q And all that’s best of dark and bright q Meet in her aspect and her eyes; q Thus mellowed to that tender light q Which heaven to gaudy day denies. q (Byron, She Walks in Beauty) masculine rhymes

Rhyme q Reflections on Ice-breaking q Candy q Is dandy, q But liquor q Is quicker. q (Ogden Nash) feminine rhymes

Rhyme q Take her up tenderly, q Lift her with care, q Fashion’d so slenderly, q Young, and so fair! q (Thomas Hood, The Bridge of Sighs) masculine and poly-syllabic rhymes End rhymes occur at the end of verse lines

Rhyme q Rhyme which occurs within a verse line is called internal rhyme. q Far from city’s strident jangle as I angle, smoke and dream. (Newman Levy, Midsummer Jingle)

Rhyme q Rhyme which is formed by repeating either the vowel (or diphthong) or the final consonant cluster is called halfrhyme (semi-rhyme). q Hope is the thing with feathers q That perches in the soul, q And sings the tune without the words q And never stops at all. q (Emily Dickinson, Hope Is the thing with Feather)

Rhyme q a rhyme-scheme （韵脚）

Rhyme q For I have known them all already, known them all— q Have known the evenings, mornings, afternoons, q I have measured out my life with coffee spoons; q (T. S. Eliot, The Love song of J. Alfred Prufrock)