Phonetic Expressive Means and Devices

acoustic effect,
thus giving emphasis to the utterance and
arousing emotions

in the reader or listener.
In oral speech intonation and stress are expressed directly by the speaker.
In written speech they are conveyed indirectly by graphical expressive means and by a special syntactical arrangement of utterance
inversion, isolated members, parallel constr-s, etc.

of utterance
which produces a pleasing acoustic effect.

Euphony is generally

achieved by such phonetic SDs as:
alliteration,
onomatopoeia,
rhythm and rhyme.

imparting a melodic effect to the utterance
by deliberate use

of similar consonants in close succession
to achieve a euphonic effect.

- was a conventional device of OE poetry, which was based on alliteration.

meaning, it is only a sort of musical accompaniment of

the utterance
Doubting, dreading, dreams no mortals ever dared to dream before (Poe).
Hannah’s home has heat hopefully
Nick’s nephew needed new notebooks now not never
is widely used in folklore, proverbs, sayings, traditional pairs of words:
out of the frying pan into the fire; safe and sound, as fit as a fiddle, a pig in a poke, as busy as a bee

possessive instinct never stands still (Gals.)
poetry:
The day is cold and

dark and dreary It rains and the wind is never weary. (Longf.)
book titles:
School for Scandal (R. Sheridan), Pride and Prejudice, Sense and Sensibility (J. Austen), Silver Spoon (J. Galsworthy).

this case being just the syllabic resemblance):
on a proud round

cloud in white high night;
I must confess that in my quest I felt depressed and restless;
Soft language issued from their spitless lips as they swished in low circles round and round the field, winding hither and thither through the weeds.

imitating sounds produced
in nature (wind, sea, thunder),
by things

(machines, tools),
by people (sighing, laughter, crying)
and by animals.

Onomatopoeia is based on metonymy.

an aesthetic function:
act pleasurably or unpleasurably on the reader’s feelings.
is

the poetic device by which sound is used to communicate sense.
The moan of doves in immemorial elms. And murmuring of innumerable bees.

buzz, cuckoo, ding-dong…
Indirect - is a combination of sounds,

the aim of which is to make the sound of the utterance an echo of its sense (echo-writing):
And the silken, sad, uncertain, rustling of each purple curtain. (E.A. Poe)
Indirect O. demands some mention of what makes the sound., as rustling of curtains in the following line An example is:
And the silken, sad, uncertain rustling of... each purple curtain” (E. A. Poe),
where the repetition of the sound [s] actually produces the sound of the rustling of the curtain.

of speech;

is a flow, movement, procedure, etc.,
characterized by basically

regular recurrence of elements or features as beat, or accent,
in alternation with opposite or different elements or features.

is very changeable and is mainly dependent on the author’s

artistic sense.
Certain parts of prosaic descriptions are very rhythmical, which produces a certain stylistic effect.
Due to rhythm some utterances may sound very solemn and imposing.

repetition of some similar units of speech:
repetition of all kinds,

polysyndeton,
asyndeton,
inversion,
parallelism;

heightens the emotional tension of the narration.

words or phrases a few times to make an idea

clearer and more memorable. As a rhetorical device, it could be a word, a phrase, or a full sentence, or a poetical line repeated to emphasize its significance in the entire text.

line or clause.
If you think you can do it, you

can do it.

Anaphora: Repetition of words at the start of clauses or verses. The boy was a good footballer, because his father was a footballer, and his grandfather was afootballer.

Antistasis: Repetition of words or phrases in opposite sense.
The bird said, “I don’t sing because I am happy, I am happy because I sing.”

Diacope: Repetition of words broken by some other words.
The politician declared, “We will fight come what may, we will fight on all fronts, we will fight for a thousand years.”

the end of a sentence.(The judge commanded, stamping his mallet

on the table, “Order in the court, order in the court.”)

Epimone: Repetition of a phrase (usually a question) to stress a point.(The refugees were crossing into the neighboring country when they saw blood all around — blood on the passageways, blood on the fields, blood on the)
Epiphora: Repetition of the same word at the end of each clause.(When they came out of the cinema hall they all agreed, the film was a waste of money, it was a waste of time and energy.)
Gradatio: A construction in poetry wherein the last word of one clause becomes the first of the next, and so on.(The boy was terrified when he was taken to the hospital; he shuddered at the least sound, and he shuddered at the least breath of air into the room.)

the syntactically correct order of subjects, verbs, and objects in

a sentence. This type of inversion is also known as anastrophe, from the Greek for “to turn back.” In English there is a fairly strict order in which sentences are constructed, generally subject-verb-object (many other languages permit more arrangements of the parts of a sentence).
For example, it’s syntactically correct to say, “Yesterday I saw a ship.” An inversion of this sentence could be “Yesterday saw I a ship,” or “Yesterday a ship I saw.”

give pattern and rhythm to a passage in literature. Parallelism often either

juxtaposes contrasting images or ideas so as to show their stark difference, or joins similar concepts to show their connection.
What you see is what you get.
If you can’t beat them, join them.
A penny saved is a penny earned.
Easy come, easy go.

combinations.
Rhyming words are generally placed at a regular distance

from each other.
In verse they are usually placed at the end of the corresponding lines.

three bags full! One for the master, one for the dame, And one for

the little boy who lives down the lane.”
“Humpty Dumpty sat on a wall, Humpty Dumpty had a great fall. All the King’s horses, And all the King’s men Couldn’t put Humpty together again!”

is considered to be quite normal;
in prose it sounds pretty

abnormal, is considered to be a violation of euphony.

Yet, some authors resort to rhyming in order to achieve a humorous or satirical effect:
Billy, don’t think me silly.

between the vowel sounds in the last stressed syllables and

all sounds that follow them:
tenderly – slenderly; finding – binding; know – though.
Imperfect (slant rhymes) – usually the similarity to the eye, or spelling similarity (eye-rhymes):
proved – loved; brood – blood; slow – law, dizzy – easy.