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Which of the following is an example of alliteration?

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Which of the following is an example of alliteration?

Neither of them is an example of alliteration. Alliteration is the recurrence of a consonantal SOUND or, more rarely, a vowel SOUND, used for EFFECT. The recurrence of a mere TWO sounds would have virtually no effect in any case, but here you have NO recurrent SOUNDS.

A classic example of alliteration:

The Fair Breeze Blew, the white Foam Flew,

The Furrow Followed Free.

ABC Alliteration Examples | Write and Publish Here

ABC Alliteration Examples | Write and Publish Here – ABC Alliteration examples are fun to write…and can also be challenging when you try to start the words in the sentence with the same beginning alliterative sound or letter. Only the sentences that follow these three rules are will be posted: 1) Every sentence must be an example of alliteration; 2)…Are you looking for quality examples of alliteration? This page has 101 alliteration examples. There is no agreed upon rule governing the distance that alliterative words must share in order for these words to be considered alliteration, but a good guideline to follow is that if you can not detect…All About Alliteration: Definition, Examples, Poems. Many people believe that an alliteration must contain at least two words starting with the same letter. Not every word in a sentence needs to be alliterative, propositions, pronouns, and other small illustrative words can also be part of the sentence.

101 Alliteration Examples | Ereading Worksheets – Alliteration is the figurative term for when a beginning consonant sound is repeated over and over in a poem or text. Alliteration is often used to provide a certain rhythmic sound to the The repetition of a specific sound can also affect the mood. For example, a repeated "w" sound often gives a lulling mood.Alliteration is a literary device in which a consonant sound is repeated many times within a phrase. An example of alliteration using the letter Y would be: Yes, you young kids will yearn for years. which one of the following is a correct example of the plural possessive case.Alliteration – is the repetition of similar consonant in close succession, particularly at the beginning of successive words. In Old English poetry alliteration was one of the basic principles of verse and considered, along with Nonfinal sense group may stand at the end of the sentence, for example…

101 Alliteration Examples | Ereading Worksheets

167 Alliteration Examples To Learn, Like And… | Greeting Card Poet – Definition and a list of examples of Alliteration. Alliteration plays a very large role in creating this rhythm as well, as the vast majority of the one hundred and eight lines in this poem contain some 3. Is the following line from Romeo and Juliet an example of alliteration, consonance, or assonance?Indicate the causes and effects of the following cases of alliteration, assonance and onomatopoeia:1. Streaked by a quarter moon, the Mediterranean shushedgently into the beach. (I.Shaw) – onomatopoeiaadds a pleasant soothing and melodic effect.Neither of them is an example of alliteration. Alliteration is the recurrence of a consonantal SOUND or, more rarely, a vowel SOUND, used for EFFECT. A classic example of alliteration: The Fair Breeze Blew, the white Foam Flew, The Furrow Followed Free.

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Which of the following is an example of alliteration
Alliteration
Figure Of Speech

Alliteration, Assonance, and Onomatopoeia | Style | Grammar – – Ahoj gramatikové, ahoj Rosie! – Ahoj Davide! – Nachytalas mě uprostřed největší výzvy v mé kariéře.
Budu schopen napsat slovo
ono-mato-poie? – Ano, dokážeš to. – Napsal jsem to dobře? -Ano, je to tak! – Ano! – Tohle je jedno z mých méně oblíbených
slov na vyhláskování, ale jedno z oblíbených, o kterých
rád vykládám. Protože o čem se dnes budeme
bavit je aliterace, asonance, a onomatopoie. Všechna tato slova se pojí k tomu, jak jazyk zní. Pojďme začít s aliterací. Rosie, co je to aliterace? – Aliterace nastává, když skupina
slov začíná stejnou souhláskou. – Uvedla bys nám tedy
nějaký dobrý příklad? -''Robert Park
swam swiftly, surely, and straight ahead.'' – Zde můžete vidět, že
všechna tato růžová slova ''swam, swiftly, surely straight ahead'' začínají písmenem S.
Proto tento jev nazýváme aliterací – S je souhláskou a všechny tyto věci sdílejí
podobný zvuk. Naopak jev zvaný asonance je trošku jiný, že? – Asonance je skupina slov , které začínají stejnou samohláskou. ''Althea abolished all anguish.'' – Jak můžete vidět, všechna
tato slova ve větě začínají stejnou samohláskou. – Dobře. – Mé nejoblíbenější je však
onomatopoie, neboli zvukomalba, které pochází z řečtiny a v překladu znamená tvoření slov pomocí zvuků. Tohle slovo tedy znamená napodobování zvuků, které
daná věc dělá. Týká se to tedy každého slova, které
byste považovali jako zvukový efekt, jako slovo, které je odvozené od zvukového efektu. Například, ''bees buzzed'. Co je slovo ''buzzed''? Je to bzučící zvuk, který
včely vydávají. To, co dělají. Je to slovo odvozené
od jejich bzučení. Není to však jediným příkladem
zvukomalby. Sestavili jsme celý list. Co dalšího zde
máme, Rosie? – Dále tu máme slovo ''splat'' (plesk), značící zvuk plesknutí
něčeho na chodníku. – ''Splat'' (plesk). – Ano. – Dálší je slovo ''clang'', jako
zvonění zvonku – klink, klink. Dále pak ''bang, bang'', znějící jako
něco explodujícícho. ''Whoosh'' znamená svištění
zvuku nebo vduchu. ''Beep'' – píp. – Jasně. – ''Beep'' zní jako pípání. (směje se) – Ne jako, ale dočista. Pokud se
tedy snažíš evokovat ten původní zvuk dané věci, přepíšeš jej a použiješ
jako podstatné jméno nebo sloveso, používáš onomatopoii. To slovo zní v angličtině děsivě,
že? Žádné slovo by nemělo mít tolik
samohlásek na začátku. Chápu to. Jsem vyděšený z jeho hláskování, ale nějak jsem to dokázal
a teď i vy víte, co co to slovo znamená, což by vám mělo trošku ujasnit chod věcí a předat
trochu jeho síly. Tady v Khanově škole chceme, abyste získali schopnost ovládat jazyk a dnes to jsou konkrétně
tyto tři různé jazykové styly. Takže, aliterace, neboli opakování
stejné samohlásky několikrát za sebou, např. ''swimming, swiftly, surely and
straight ahead''. – U asonance opakujete
stejnou samohlásku jako třeba ''abolished all anguish''. – A u zvukomalby tvoříte slovo které zní stejně jako zvuk,
který dělá: ''The bees buzzed, the pudding
cup went splat, the boxing bell fell to floor
with a clang, the firework went off with a bang,
a flight of bats whoosed past my head, and the robot, the little baby robot beeped at me,
insistently.'' – Líbí se mi to. – Jak může být robot dítětem? – Myslím, že zde mluvíme jen
o velikosti, ne? – Ano, učitě. – Ne o věku. – Ano, to by
sedělo. – Předpokládám tedy, že
teď, když už Rosie víš, co tyto věci značí,
se ptáš, proč by měl člověk chtít
používat takové jazykové techniky ať už v mluveném nebo
psaném projevu? – To je pro mě jeden velký
otazník. Spisovatelé mohou některé z těchto
technik využít pro zprostředkování zvuku. Aby objasnili vzorec. – Aha. – Jako když se chystáte použít slova, která zní pro jejich kupu S na začátku všechna stejně, ale která by mohla vaší větě pomoci
nabrat spád. Docela to čtenáře nutí sedět, bystře číst a zároveň přemýšlet o daném schématu. To by tedy mohl být jeden z důvodů,
proč spisovatelé používají např. aliteraci. – Rozumím, je to tedy způsob, jakým
vyjadřují schéma a také upoutávají čtenářů pozornost. Také jsou užitečná sama o sobě, stejně jako technika
pro psaní prózy nebo poezie. Je to taková užitečná
jazyková vlastnost, ke které je dobré se někdy dostat. – Dobře, a dobrý příklad
onomatopoie, ono-mato-poie, je, že vážně
zachycuješ zvuk dané věci, takže je čtenáři naplno umožněno
ponořit se do dané situace. Můžete slyšet zvuk, který
právě probíhá. ''The buzzing of the bees'',
bzučení včel třeba. Ještě více vás to uvádí do
příběhu, který autor vypráví. – Proto byste se tedy měli naučit,
jak používat asonanci, aliteraci, a zvukomalbu. Můžete se naučit vše. David. – Rosie. .

English Alliterative Verse: Poetic Tradition and Literary History – [MUSIC PLAYING] So my book covers
the seventh century through the 16th century.
And some important
things to keep in mind are at this time in England,
all books are produced by hand. There's no print yet. So the sources
for the poetry I'm talking about up through
the end of the 15th century are in manuscripts. Another thing to keep in
mind is that at this time English within England is
a third class language, behind Latin and French. So English is far from being
the global hegemonic language that it is today. It's a regional language. And people in England
have a sense of themselves really on the edge
of the known world. They're in the northwestern
corner of the known world. And they're speaking a language
only spoken, pretty much, in this little
corner of the world. Something else to
keep in mind is that as a consequence of
English being less prestigious than Latin and French, English
grammar and English poetics, while practiced, are
not yet a subject that you would study in school. So everyone knows
about Geoffrey Chaucer. Chaucer was not a poet that
anyone studied in school. The poets people studied
in school, the writers people studied in school
were overwhelmingly writers of Latin. So another point to
keep in mind as well is that London is not
yet the global world city that it is today. It is a very large
city in England, and it has a lot of
connections to the continent and other places. But it is not yet a world city. So therefore even in London, but
especially outside of London, English literature, literature
in English, is very regional. So that's another thing
that my book deals with, is the idea, the
situation that lots of different writers
in different places are talking to each other. Some of them were
funneling through London. But there isn't
this sense of London as a gateway to everywhere
else as much as today. So verse history
is literary history funneled through the history
of poetic form, meter. So the way it differs from
literary history, in general, is that typically
in literary history, we think about different
periods or different writers who capture the essence of a century
or a stretch of centuries. And this is useful. But it tends to amalgamate
different poetic traditions. So if we think today, if we're
thinking about lyric poetry, lyric poetry could be
written in iambic pentameter. It could be written
in free verse. It could be delivered
as slam poetry. And these are all different
forms with different histories. And so what verse history tries
to do is it tries to pick apart those different histories
and think about how the long historical sequence of poetic
activity within something like pentameter– in my case,
alliterative verse– matters to the way that
poets and audiences think about poetry at any given time. And then to contrast
it on the other hand with metrical
history, people who study meter are very invested
in developing and identifying sequences of metrical
change over time, say, again in the iambic
pentameter tradition or in the change
from metered poetry to free verse in
the 20th century. And this is very useful work. But it tends to be
quite technical and not accessible to even
other scholars who are studying poetry. So another thing that at the
same time my concept of history is trying to accomplish is
to take the valuable work that metrists, people
who study meter, are doing about the
history of metrical form and linking that back
up with literary history and cultural history
and asking why does it matter to literary
history and cultural history that such and such a
sequence of metrical forms occurred over these years. My book deals with
a very large stretch of time between approximately
the seventh century and the 16th century but, more
particularly, the 10th century and the 16th century. And the English literature that
falls within these centuries is typically divided
up into halves– Old English for everything
before the Norman conquest of 1066 and Middle English for
everything after the Norman conquest of 1066. So this division between Old
English and Middle English is a division in
political history that has been mapped
onto literary history. One goal of my book
is to bring the two halves of alliterative poetry,
Old English and Middle English, back together. Now alliterative poetry is
one particular tradition of writing poetry. It's the oldest tradition
of writing poetry in English in England. It's the tradition
that includes Beowulf, Sir Gaiwain and
the Green Knight, Piers Plowman, and
about 300 other poems. So what I'm trying
to do in this book is take old English poetry, as
in Beowulf, and Middle English alliterative poetry,
as in Piers Plowman and Sir Gawain and
the Green Knight, and put them together as
one single, coherent, poetic tradition. On the one hand, my
book is concerned with tracking metrical changes
over this span of time. So just to give one example,
I'm interested in the way that literally the line
of alliterative poetry changes over time. So one example is
that the line is split into two half
lines, sometimes called the A verse and the B verse. And at the beginning of
the recorded tradition in the seventh, eighth,
ninth, and 10th centuries, the forms of poetry
the accentual or other forms that can
embody a half line of poetry are the same in the
first half of the line and the second half of the line. So we could call that
a situation of symmetry across the line. By the time you get to
the 14th century and Sir Gawain and the Green
Knight, the forms in the first half of the line
and the second half of the line are almost completely
asymmetrical. In other words,
all or almost all of the forms allowable in
the first half of the line are disallowed in the second
half of the line and vise versa. So that's just one
kind of formal change that I'm tracking. And I'm using and
drawing on lots of previous metrical scholarship
to track out those changes. At the same time,
the book is also interested in tracking the
changes in the cultural forms of alliterative verse,
it's different kinds of cultural meanings over time. So in the first
part of its history, up to the 12th century,
alliterative verse was the only way to
write poetry in English. It's related to other forms
in other Germanic languages, like Norse and Old Saxon, but
it becomes particular to England after the Anglo-Saxon invasions. However, because it's the only
way to write poetry in English, it remains relatively
invisible as a form. It's simply the way
you write poetry. It's clearly very different from
the quantitative and accentual meters of Latin, which were
known to the Anglo-Saxons, and then, later, the
syllabic meters of French. But it doesn't really appear
as its own form in the minds or certainly not in the
writings of the Anglo-Saxons. It's just the way to
write poetry in English. Later, though, in the
12th and 13th centuries, a series of French and Latin
influenced syllabic meters, the progenitors of things
like iambic tetrameter, iambic pentameter, begin
to be written in English. And once that happens,
alliterative verse really starts to pop out
as very different from these continental
derived syllabic meters. And increasingly, the
result of that is it becomes stigmatized and
sidelined in literary culture. So my book is also
interested in tracking the trajectory of
alliterative verse from just the way you
write poetry in English to its demotion as a special
case, a special category of poetry. And by the 15th century,
it's quite remarkable to be writing an
alliterative poetry. People are still doing it,
even into the 16th century. But just after, the generation
after Sir Gawain and the Green Knight, it really starts
to become a salient option. Chaucer makes a few cameo
appearances in my book. The book is not about Chaucer. Chaucer is the most well-known
medieval English writer. And he soon became the most
well-remembered writer, even immediately after his death
in the 15th and 16th centuries. And Chaucer is the
central canonical figure studied by people from the
16th century through today. And typically when scholars
talk about 14th and 15th century English literature, they think
of Chaucer as the center. And they think of alliterative
verse as Chaucer's other, as the thing he was
not choosing to do– the regional literature,
that he, a London poet, was transcending. And one thing that
my book tries to do, and it's part of a
larger scholarly pushback to that idea of
Chaucer as the center, is to think about alliterative
verse maybe not as the center, but as part of a
preexisting conversation about English meter
that Chaucer is entering and so that, in fact, Chaucer
is alliterative versus other. So I'm trying to think of
reversing that perspective just a little bit. The most famous comment
about alliterative meter from the Middle Ages and one
of the only comments about it is this moment in
Chaucer's Canterbury Tales, when his character, the Parson,
is asked to give a tale. And he says, I certainly
can't rum-ram-ruf by letter. And we think that he's talking,
then, about alliterative verse and being very
dismissive about it. And people have wanted
to think of Chaucer in endorsing the
dismissiveness of the Parson. And I have a reading of that,
toward the end of the book, of that moment, where I argue
that Chaucer himself is not necessarily being dismissive
of alliterative verse. He's just stereotyping
it and putting that stereotype in the mouth
of a southern character. He says, the character
says, I'm a southern man. So I can't do
alliterative verse. So there are these discourses
around alliterative verse having to do with regionalism,
levels of education, literary refinement. But one thing my
book tries to do is just try to resist
those stereotypes, to not allow those stereotypes
to become historical fact about this tradition. So there's been this
idea for quite a while– particularly after the 1970s– in scholarship, that
14th and 15th century alliterative verse as in Sir
Gawain and the Green Knight, constitutes a real new beginning
for alliterative verse, a so-called alliterative
revival after either a century or, by some people's
count, three centuries of alliterative verse
not being composed. And my book strongly
argues against that version of an alliterative revival. So one upshot of
my book's argument is that the alliterative revival
is a modern retrospective invention. It's a nonevent. It is something we
perceive in the period, but we're misperceiving it. And instead, what I offer is
a poetic tradition understood as an institution, a cultural
institution– one that, in my argument, spans
the seventh century to the 16th century
continuously. So choosing alliterative
meter in the 14th century was not, as some
people claim, a kind of atavistic,
nationalistic rejection of metropolitan culture. This is how some
people characterize, let's say, the verse form of
Sir Gawain and the Green Knight. Instead, I'd argue
this is simply selecting a meter that had
existed in England for hundreds of years. It was less prestigious
than it once had been in relation to
newer English verse forms. But it was an available
choice and did not require special
defense or attract special sociopolitical
significance, at least not in the way
that people are claiming. So one of the main
targets of my book is this idea of Old English,
Middle English periodization, the idea that 1066 is
this real watershed moment for literature. And it really has organized
the study of this period since the 19th century. So I have been hired
here at BC to teach Middle English literature
as opposed to Old English literature, although I do both. And that's pretty typical. Most academic jobs in this field
now are either for Old English or for Middle English. And part of my
argument is that we see different kinds of trends,
and we have a different kind of perspective onto any given
moment when we actually combine Old English and Middle English. This follows from
things I've said before, but one other kind of
target of my arguments is this very durable idea
that alliterative verse is provincial in
a way that London literature, and especially the
Chaucerian tradition, is not. And this has been attacked
from various sectors in recent scholarship,
not just from people who study alliterative
verse, but also people who study Chaucer. So there's one strand of people
saying Chaucer is actually a minor French
writer, because he's so steeped in French influence. So that's one way of decentering
Chaucer and making him not be some kind of
aberration or ideal. And my version of
this is to set Chaucer in the context of
alliterative verse and think about how he is not
choosing alliterative verse and how that is a
positive, free election that he is doing to not
choose alliterative verse. But also alliterative verse
was written in London. Piers Plowman takes
place in London and was probably
partially written by– it was written by someone
who partially lived in London, William Langland. So this London versus
alliterative verse dichotomy doesn't really hold up. And, as a last point, people
have also been pointing out– and my book explores this– the idea that even London,
as not yet a world city, was itself provincial. So there's a great
book in the same series that my book is in at Cambridge
called London Literature. And it's author,
Ralph Hanna, argues that for all the way up until
the end of Chaucer's career, London literature was
provincial literature. So this idea of London
versus provincial doesn't hold up either. So another kind
of goal of my book is to think about what
poetic tradition means to the people who
produce and consume it before a megalopolis
dominates literary culture, as London very
quickly started to do at the end of the 14th
century and, really, through the 15th
century and then just on and on through the centuries. So I'm trying to
think about what it was like to
produce and consume specifically poetry,
metered poetry, before the largest city in
a country or on an island really attracts nearly all
of the literary energies of that place. [MUSIC PLAYING] .

Syllables! | Scratch Garden – Hi! OK everybody…
The English language has many words. Like this. Ho! So many words! And every word can be split into parts. We call these parts syllables. A word could have one, or two, or three, or
four, or even more syllables. Could a word have 1 million syllables? No, that is too many syllables. What about four syllables? Yes, I already said that. Ha! No more questions! Anyway! A syllable is like a beat. Do you know what a beat is? DRUMMER! Please play a beat. Thank you. That is a good beat. You can make a beat by clapping your hands. Get those hands up! Let’s practice one beat. OK ready, here we go: Clap! Ho ho! Now let's try it with some words. We will start with the easy ones. Words with one syllable – and therefore – one
beat. The first word is dog. Dog. I SAID DOG! Ha ha! Good girl. Now everybody clap your hands to make one
beat when I say the word Dog. OK ready, here we go: Dog. Dog. Dog. Dog. Dog! Hey! Good job. Next we will try a word with two syllables:
Apple. Apple. I SAID APPLE! Ho! Thank you! The word Apple has two syllables – and therefore
– two beats. It is kind of like it is split into two parts,
like this. The first part is 'Ap' and the second is 'ple'. Now everybody clap your hands and make a beat
when I say each part of the word Apple. OK ready, here we go: Ap-ple Ap-ple Ap-ple
Ap-ple Ap-ple. Yay! Ho ho! You're doing great! Next we will try a word with three syllables:
Ladybug. Ladybug. I SAID LADYBUG! Wow, that is a big ladybug. The word Ladybug has three syllables – and
therefore – three beats. It is kind of like it is split into three
parts. The first part is 'Lay', the second is 'dy'
and the third part is 'bug'. Now everybody clap your hands and make a beat
when I say each part of the word Ladybug. OK ready, here we go: La-dy-bug La-dy-bug
La-dy-bug La-dy-bug La-dy-bug! Good job. And finally, we will try a word with four syllables:
Salamander. Salamander. I SAID SALAMANDER! Ho! Hi Salamander. The word Salamander has four syllables – and
therefore – four beats. It is kind of like it is split into four parts. The first part is 'Sal' the second part is 'a',
the third part is 'man', and the last is 'der'. Now everybody clap your hands and make a beat
when I say each part of the word Salamander. OK ready, here we go: Sal-a-man-der Sal-a-man-der
Sal-a-man-der Sal-a-man-der! Ho! Yay! Superb! Wow! That's it for now! Until next time, see you later! .