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Literary Techniques: Poetry Analysis 2

Literary Techniques: Poetry Analysis 2. Sound Devices and Rhythm, Rhyme and Repetition. Sound Devices. A good poem can often be identified by its sound quality. 1. How do we evaluate sound quality?

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Literary Techniques: Poetry Analysis 2

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  1. Literary Techniques: Poetry Analysis 2 Sound Devices and Rhythm, Rhyme and Repetition

  2. Sound Devices A good poem can often be identified by its sound quality. 1. How do we evaluate sound quality? Poets use certain devices to create sound within a poem. We need to analyze the poem to look out for these devices, indicate the sound produced and evaluate its effect on the reader.

  3. 2. What do poets use to create sound within a poem? There are four main devices: • Alliteration • Assonance • Consonance • Onomatopoeia

  4. 3. Purpose of using sound devices Like imagery, sound devices are often used for three main reasons: • To complement or emphasize the message of the poem. • To create a mood. • To reveal the speaker’s attitude.

  5. Alliteration refers to the repetition of initial consonants in words next to or close to each other to produce a rhythmic effect. Alliteration formed the basic structure of Old English poetry, although in modern poetry it usually supplements the use of other poetic devices. In the following example, the repetition of the ‘f’ sound in the first two lines lends them a rhythmic and musical quality:

  6. The fair breeze blew, the white foam flew, The furrow followed free: We were the first that ever burst Into that silent sea. From “The Rime of the Ancient Mariner” S. T. Coleridge

  7. Assonance refers to the repetition of vowels in words next to or close to each other, without regard for the following sounds. For example, “So we’ll go no more a-roving” is an assonance that repeats the ‘o’ vowel. It complements the attitude of the speaker: the ‘o’ sound produces a moaning effect as if the speaker longs to spend time with his lover. “Reed / wheel” is an example of assonance, but “reed / weed” as an example of rhyme.

  8. Consonance refers to fixed consonant but changing vowel sounds. For example, ‘e/scaped’ and ‘scooped’, ‘groined’ and ‘groaned’, ‘be/stirred’ and ‘stared’.

  9. Onomatopoeia is a sound device where the poet uses words to imitate real sound.

  10. Rhythm, Rhyme and Repetition Rhythm and Rhyme are some of the most important structural elements in poetry. Repetition actually is the basis of many poetic devices.

  11. Rhythm Rhythm refers to the beat, or the pattern of stresses, which occur in poetry. It is a vital part of a poet’s craft for rhythm can be used to give great variety of effect in poetry. It can evoke the rhythm of a train or of a bulldozer, the lay motion of a river or the urgent rush of a sprinter.

  12. Rhyme Rhyme is usually accepted as the repetition of an accented vowel sound (usually, although not always, followed by an identical consonant sound), and preceded by a letter or letters which are unlike in sound. Thus, true rhyme has the following features: • Unlike sounds preceding a rhymed vowel sound • Identical vowel sounds • When consonant sounds follow the rhymed vowel sound, these also must be identical

  13. Rhythm Usually, we can feel the rhythm best when we read aloud. We can mark the beats, or stresses and thus, see the pattern built in by the poet. Usually, we mark the stresses in a line of poetry with a small sloping dash above the accented syllable.

  14. Examples of true rhyme: fight/night, cat/mat, slow/toe, eat/feet • Examples which are not true rhyme: fight/hide, cat/can, threw/through Rhyme is used to bind lines together into larger units, e.g stanzas, or even to set up relationships within an individual line (internal rhyme).

  15. End Rhyme The most common rhyme pattern used by poets is that called end rhyme. This simply means that the end words of lines rhyme. Two consecutive lines may rhyme, or alternate lines may rhyme, or even more distant lines. Many variations are possible within a single poem. The consistent feature is that the rhyme occurs only at the end of lines. In the following examples each new rhyme is given a new letter of the alphabet, following the end of the line.

  16. He clasps the crag with crooked hands; Close to the sun in lonely lands, Ringed with the azure world, he stands. From “The Eagle” by Alfred, Lord Tennyson

  17. Sunset and evening star, And one clear call for me! And may there be no moaning of the bar, When I put out to sea From “Crossing the Bar” by Alfred, Lord Tennyson

  18. Internal Rhyme When the rhyme pattern involves rhyming a word half-way through a single line of poetry with the end word of the same line, it is called internal rhyme. It is used fairly frequently in ballads, and occasionally in other kinds of poetry.

  19. And I had done a hellish thing And it would work ‘em woe: For all averred, I had killed the bird That made the breeze to blow. Ah wretch! said they, the bird to slay, That made the breeze to blow. From “The Rime of the Ancient Mariner” by S. T. Coleridge

  20. Pararhyme • A pararhyme is a poetic convention used to create dissonance in a poem. The basic pararhyme has beginning and end sounds that sound the same, with the vowel sound in the word being altered. Examples of pararhyme are “night/naught”, “block/black/bleak” and “laughed/loft”.

  21. Half Rhyme • Half rhyme is a technique similar to pararhyme, but in which either the beginning or end sound is different, in addition to the different vowel sound. Examples of half rhyme are “mouth/truth” and “come/fame”.

  22. The effect of pararhyme and half rhyme is to create a sense of rhyme, with a slightly discordant feel. Two examples are provided. The first is from “Sir Patrick Spens’ and is, in fact, assonance. The second is part of a poem by the British poet, Wilfred Owen who, perhaps more than most poets, refined the art of deliberately using pararhyme and half rhyme, often interspersed in alternate lines.

  23. The anchor broke, the topmast split, ‘Twas such a deadly storm The waves came over the broken ship Till all her sides were torn. From “Sir Patrick Spens”, Anonymous

  24. It seemed that out of battle I escapedDown some profound dull tunnel, long since scoopedThrough granites which titanic wars had groined.Yet also there encumbered sleepers groaned,Too fast in thought or death to be bestirred.Then, as I probed them, one sprang up, and staredWith piteous recognition in fixed eyes,Lifting distressful hands as if to bless.And by his smile, I knew that sullen hallBy his dead smile I knew we stood in Hell. From “Strange Meeting” by Wilfred Owen

  25. Repetition Repetition of a sound, syllable, word, phrase, line, stanza, or metrical pattern is a basic unifying device in all poetry. Many poetic devices are essentially forms of repetition:

  26. Rhyme is created by the repetition word endings or even of identical syllables (rime riche). • Alliteration is created by the repetition of initial sounds of accented syllables. • Assonance repeats similar vowel sounds with identical consonant clusters.

  27. The repetition of a whole line may be used in what is known as an envelope-stanza pattern, or may be used as a refrain at the end of each line. The following is a famous example where a whole line is repeated:

  28. The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep. From “Stopping by Woods on a Snowy Evening” by Robert Frost

  29. Repetition is crucial in free verse, where a traditional metrical and rhyming pattern is not distinguishable. The repetition of grammar patterns (parallelism), words and patterns distinguish free verse from prose.

  30. The End Thank-you!

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