Do stylistic analysis of the poem Tarantella (Miranda) on the phonetic level (divide it into parts, analyse

the rhythm (only in brief outline, don't go too far)), sound symbolism, general effect)

 the use of onomatopoeia, work together to  imitate the sense and sound of the dance and the whole
frenetic energy of the evening in the inn. The repetiton of words and phrases also reinforces the
energy and the way action, whether of the dance or the young muleteers cheering and jeering, tends to
repeat in that kind of scene.

How playfully it describes the stay in the Inn in the Pyrenees, with Miranda! The penniless muleteers, the
pretty girl who went dancing, the cheap wine and the guitar sounds.

iambic trimeter (The Iambic trimeter is a meter of poetry consisting of three iambic units (each of two

feet) per line.)

various thematic groups (TGs) around this semantic center. It:

TG of household details that surrounded the young couple: bedding, tedding, spreading –straw for a
bedding, fleas that tease, wine, tasting of tar.

TG of youth and fun of the poor inhabitants of this hotel: cheers & jeers of the young muleteers, who
hadn’t got a penny, not paying any.

Music and dance TG, semantically related to the previous group: girls dancing, backing and advancing;
chancing; snapping, clapping; twirl and swirl of hands, out and in.

Nostalgic memories are accentuated by parallel constructions that frame the first part of the poem: Do
you remember the Inn, Miranda? Do you remember the Inn? Anaphoric repetitions and multi-union are
the structural canvas connecting the conceptual space of youth, happiness, joy, music, dance (tarantella).

The sound atmosphere of happiness is created with the help of onomatopes that imitate the sounds of
music and dance, accelerating the tempo from slow to very fast: Hip, Hop, Hap; Ting, Tong, Tang of the
guitar. The participles dancing, chancing, advancing emphasize the circular spatial chain of movements
with the help of morphemic repetition –ing in the onomatopic verbs of movement: twirl, swirl, snap, clap,
with alliteration and assonance of energetic repetitive dance sounds {tw, sw, sn, cl, p }.alliteration
TG of grim hopelessness, approaching death: the tread of the feet of the dead to the ground.

The concept of loneliness, solitude, impending death is created both by lexical means - stylistic
comparison, and graphic stylistic devices - capitalization - Waterfall like Doom. The heavy tread of death
is conveyed using metaphorical structures: the tread of the feet of the dead to the ground, parallelism,
anaphora, negative adverbs never more, no sound.

Concepts of life, youth, happiness, transmitted through micro-concepts of dance, music, guitar sounds,
acting as the antithesis of the silence of eternity and the inevitability of death.

Hilaire Belloc «Tarantella»

1.Do you remember an Inn, Miranda? 19.Glancing,

2.Do you remember an Inn? 20.Dancing,

3.And the tedding and the spreading 21.Backing and advancing,

4.Of the straw for a bedding, 22.Snapping of the clapper to the spin

5.And the fleas that tease in the High Pyrenees, 23.Out and in—

6.And the wine that tasted of tar? 24.And the ting, tong, tang of the guitar!

7.And the cheers and the jeers of the young 25.Do you remember an Inn, Miranda?
muleteers
26.Do you remember an Inn?
8.(Under the vine of the dark veranda)?
27.Never more; Miranda,
9.Do you remember an Inn, Miranda,
28.Never more.
10.Do you remember an Inn?
29.Only the high peaks hoar;
11.And the cheers and the jeers of the young
muleteers 30.And Aragon a torrent at the door.

12.Who hadn't got a penny, 31.No sound

13.And who weren't paying any, 32.In the walls of the halls where falls

14.And the hammer at the doors and the din? 33.The tread

15.And the hip! hop! hap! 34.Of the feet of the dead to the ground,

16.Of the clap 35.No sound:

17.Of the hands to the swirl and the twirl 36.But the boom

18.Of the girl gone chancing, 37.Of the far waterfall like doom.