Phonetic Expressive Means

The general mechanism of the intersyllable sound

repetition CVC:
• Alliteration CVC great/grow send/sit
• Assonance CVC great/ fail send/bell
• Consonance CVC great/meat send/hand
• Reverse rhyme CVC great/grazed send/sell
• Pararhyme CVC great/grout send/sound
• Rhyme CVC great/bait send/end
Chain sound repetition
EX: Чуден Днепр при тихой погоде когда
вольно и плавно…

EX: His soul swooned slowly as he heard the snow

falling, faintly through universe…
The character of the sound repetitions depends
on the following factors:
• phonetic quality of repeated sounds and the
degree of their similarity
• the close location of repeated sounds
• the repetitions of groups consisted of several
sounds, that create more vivid effect
 Sound imitation
These are words which phonemic composition
(structure) resembles things and phenomena named
by them – sounds of nature, cries of animals, etc:
bubble- журчание, purr – мурлыкать, splash –
плеск, rustle – шорох, etc.
- Direct: buzz – жужжать, flop – падение, babble –
болтовня, giggle – хихиканье
- Indirect:
We are foot – slog-slog-slog – sloggin’ over Africa –
Foot – foot – foot – foot – sloggin’ over Africa.
(Boots – boots – boots – boots – movin’ up and down
again!) (R. Cipling)
 Paronomasia
play on words of similar sound.
But still he strummed on, and his mind wandered
in and out of poultry and politics, Old Forsyte,
Fleur, Foggartism and the Ferrar girl – like a
man in a maelstrom whirling round with his
head just above the water.
 Rhyme
a special type of sound repetition regulation, the
repetition of more or less similar sound
combinations at the end of lines or other
symmetrically located parts of a poem, fulfilling
a metre organizing function.
Vertical classification of rhyme
• adjacent (couple) – aa, bb;
• cross (ab,ab);
• framing (ring) – ab, ba.
Classification based on the place of the
stress
• male
• female
• dactylic
Classification based on the similarity of the
positions of rhymes
• final,
• internal :
When you are lying awake with a dismal headache, and repose is
tabooed by anxiety;
I conceive, you may use any language you choose to indulge in
without impropriety.
• acromonogram:
Evil lifts a hand and the heads of flowers fall-
The pall of the hero who by the Erbo bleeding
Feeds with his blood the stones that rise and call
Tall as any man, “No pasaran!”
Classification based on the point of view of
the similarity of sounding
• FULL (heart – part),
• INCOMPLETE.
-vowel (the same vowels, but different consonants
– advise – compromise),
- consonant (consonants are the same – wind-
land),
- dissonance (unstressed vowels and consonants
are the same but stressed are different – devil –
evil).
Classification based on the number of
similar sounds
• poor (by – cry)
• rich (brevity – longevity).
 Rhythm
is a regular alternation of stressed and unstressed
syllables and even the repetition of concepts,
thought, etc.

Rhythm is a barer of the meaning.

EX: There shone the soft, slim yellow trumpet of the wild daffodil;
the daffodil which has a pointed ruff of white petals to display its
gold head; and the more opulent double daffodil which, compare
with the other two, is like an ostentatious merchant between
Florizel and Perdita. There were the many-headed jonquils,
creamy and thick-scented; the starry narcissus, so alert on its
long, slender, stiff stem, so sharp-eyed, so unlike a languid youth
gazing into a pool…Among them stood tulips – the red, like thin
brown bubbles of dark wine; the yellow, more cup-like, more
sensually open to the soft furry entry of the eager bees; the large
particoloured gold and red, noble and sombre like the royal
banner of Spain.
Graphical expressive means
Graphical means serve to show the emotive
colouring, in other words to show feelings that a
reader gets from a writer, or to emphasize some
most important parts of utterances or to show
the presence of intertext.
Punctuation marks
• divide a sentence into some syntactical parts, or
divide some abstract into sentences
• characterize a sentence (question, exclamation,
affirmative),
• show a lot of elements that are important according
to the emotive-expressive attitude: emotive pauses,
irony and etc.
• fulfil an important part in showing the author’s
attitude towards the utterance, in creating the
intertext, in forming a reader’s emotional reaction.
exclamation mark and question mark
George: That’s good! Oh yes! And what about you?
Ruth (off her balance): What about me?
George: What are you doing here? All right, you’ve
had your go at me. But what about yourself?
Ruth: Well?
George: Oh, don’t be so innocent, Ruth. This house!
This room! This hideous. God-awful room!
The function of the exclamation mark
A truth, a faith, a generation of men goes – and is
forgotten, and it does not matter!
(J. Conrad. The Nigger of the Narcissus)
 Emotional pauses
• Dash:
Please – not that!
• Suspension marks:
Pozzo: You took me for Godot.
Estragon: Oh no, sir, not for an instant, sir.
Pozzo: Who is he?
Vladimir: Oh, he is … he is a kind of acquaintance.
Estragon: Nothing of the kind, we hardly know him.
Vladimir: True… we don’t know him very well… but all the same…
Estragon: Personally I wouldn’t even known him if I saw him.
Pozzo: You took me for him.
Estragon:: That’s to say… you understand… the dusk… the strain…
waiting… I confess… I imagined… for a second.
After great pain, a formal feeling comes –
The Nerves sit ceremonious, like Tombs –
The stiff Heart questions was it He. That bore.
And Yesterday, or Centuries before?
 The dot
Stone. Bronze. Stone. Steel. Oakleaves. Horses’
heels. Over the paving.

Stone, bronze, stone, steel, oakleaves, horses’

heels, over the paving.
The absence of punctuation marks
• the effect of non-stop thoughts,
• the connection of times and cultures,
• the effect of time duration,
• the effect of constant movement etc.
i’m
asking
you dear to
what else could a
no but it doesn’t
of course but you don’t seem
to realize i can’t make
it clearer war just isn’t what
we imagine but please for god’s O
what the hell yea it’s true that was
me but that me isn’t me
can’t you see now no not
any christ but you
must understand
why because
i am
dead
 Capital letters.

• to personificate:
O Music! Sphere-descended maid,
Friend of Pleasure, Wisdom’s aid! (W. Collins)
• to show that the element should be pronounced
in a loud voice:
“I didn’t kill Henry. No, NO! Henry, surely you
cannot blame me. I loved you, dearest!”
(Lawrence. The Lovely Lady)
 The peculiarities of the type
• to mark epigraphs, poetic intermingles, quotations,
foreign words, names of other texts or in other
words all that is alien for the text
• to denote some confrontation: “Bella!” “Yes, Master
Jon.” “Do let’s have tea, under the oak three when
they come; I know, they’d like it best.” “You mean
you’d like it best.” Little Jon considered. “No, they
would, to please me.” (J. Galsworthy. Awakening)
• to stress an auxiliary element: You are a baby,
Robert. (Priestley. Dangerous Corner)