Literary Techniques: Poetry Analysis 2,

1. Literary Techniques:Literary Techniques:
Poetry Analysis 2Poetry Analysis 2
Sound Devices and Rhythm, RhymeSound Devices and Rhythm, Rhyme
and Repetitionand 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. “Over the cobbles he clattered and clashed in the dark inn-yard,
And he tapped with his whip on the shutters, but all was locked and barred…”
From “The Highway Man” by Alfred Noyes
Sound device used Sound produced? Sound
quality?
What is the poet’s purpose
in using this?

11. “Out of the night that covers me
Black as the pit from pole to pole;
I thank whatever gods may be
For my unconquerable soul.”
From “Invictus” by William Ernest Henley
Sound device used Sound produced?
Sound quality?
What is the poet’s
purpose in using this?

12. “I went hunting wild,
After the wildest beauty in the world’
From “Strange Meeting” by Wilfred Owen
Sound device used Sound produced?
Sound quality?
What is the poet’s
purpose in using this?

13. 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.

14. 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.

15. 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

16. 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.

17. • 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).

18. 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.

19. 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

20. 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

21. 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.

22. 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

23. 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”.

24. 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”.

25. • 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.

26. 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

27. It seemed that out of battle I escaped
Down some profound dull tunnel, long since scooped
Through 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 stared
With piteous recognition in fixed eyes,
Lifting distressful hands as if to bless.
And by his smile, I knew that sullen hall
By his dead smile I knew we stood in Hell.
From “Strange Meeting” by Wilfred Owen

28. 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:

29. • 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.

30. 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:

31. 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

32. 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.

33. The EndThe End
Thank-you!Thank-you!