Download Chapter 5 Phonological Overregularity

5 Phonological Overregularity
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Main topics
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Part A: Phonemic Patterning
(RHYME)
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Part B: Rythmic Patterning
(RYTHMIC)
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5.0 Lead-in activities
1)What are the two viewpoints of Style?
2) How can we found abnormal languages?
3)What does “Style as choice ” mean?
4) What is the indication for stylistic analysis
in terms of Style as Choice?
5)What are the different levels that can
represent overregularity?
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Lead-in Activities
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1) Style as Deviance & Style as Choice
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2) Abnormal Lg: Phonolo, Lexical, Graph, Sem,
Syntatical Levels
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3)Style resides in certain predominant structures,
or overregular structures.
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4)Phonological, syntactical, etc.
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5.1Syllable and Related knowledge
Sound(phoneme):
Vowels & Consonants
place; roundness, duration, number
Voiced& Voiceless, place and
manner of articulation
Syllable:
Stressed & Unstressed; Primary and
Secondary; Word & Sentence;
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Syllable: Nucleus (Vowel) +
Onset (Front Consonant) + Coda
(consonant after the vowel)
 Syllable: CVC (Necessary
+optional Elements)
 The structure of an English
Syllable= C0-3 VC0-4
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strong; sixths
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Phonemic and Rhythmic Pattern
The repetition of one or two element in a
stressed syllable form the Phonemic
Patterning of a line or beyond a line.
The combination of stressed and
unstressed syllables forms the Rhythmic
Patterning of a LINE within a poem.
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Inverse rhyme
pararhyme
Consonance
Alliteration
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Syllable=C
Rhyme in
narrow sense
V C
Assonance or
Semi-rhyme
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 5.2 Rhyme and its Classification
Rhyme in Broad sense
 Rhyme in Narrow sense
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In terms of Number
 In terms of Position
 In terms of Perfectness
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Repetition of elements in syllable
What are the models for the combination
of the elements in a syllable?
 C: alliteration
CV: inverse rhyme
 V: assonance
VC: rhyme
 C: consonance CC: pararhyme
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5.2 Imperfect Rhyme
 A.
alliteration(头韵): The fair breeze
blew, the white foam flew.
 B. assonance(中韵): light—guide;
pad—sat; late—fake
 C. consonance（尾韵）: dash—fish;
pat—sit; sand—bend
 D. pararhyme (首尾韵):great—groat;
spit—spat; sit—sat; put—pot
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Imperfect Rhyme
inverse rhyme ( 倒韵 ): great—graze;
pad—pat; map---mad
 E.
 F.
eye / sight / visual / spelling rhyme:
love—move; far—war; do---go; does--goes
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5.2.1 Perfect Rhyme
1.Single/male/masculine rhyme:
repetition of nucleus and coda in a
stressed syllable (pad—sad; get—yet;
late--gate
2.Double/feminine rhyme: lending—
bending; another—brother
3.Polysyllabic rhyme: glamorous—
amorous
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End rhyme: rhyme occurs at the
end of verse lines.
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Internal rhyme: rhyme occurs
within a verse line.
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5.3 Alliteration(头韵)
Definition: the repetition of the
initial consonant cluster in
stressed syllables.
 Notes:
 A) A syllable consists of three
parts: an initial consonant cluster,
a vowel or diphthong and a final
consonants cluster.
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B) Only the main stressed syllable of
a word which greatly carries the
alliteration.
e.g. Long alliterates with unlovely
C) Alliteration in idioms, tongue
twister and title of literary works etc.
1) now and never
2) sense and sensibility
3) pride and prejudice
4)last but not least
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Tongue twister
A big bug bit the little beetle but the little
beetle bit the big bug back.
 Betty Botter bought some butter, but she
said this butter's bitter!
 I wish you were a fish in my dish.
 Six sleek swans swam swiftly southwards.

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5.3.2 Functions of Alliteration
 1)
To link together words that are
similar in feeling and thought, e.g. (2)
 2) To echo the sense or meaning
conveyed by the two lines;
 3)To help to create a heavy and
depressed mood, e.g. (3).
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Functions of Alliteration
 4)
To give great emphasis to these
words, only through hard and intense
struggle can freedom and liberty be
won, e.g. (4)
 5) To form a connection of both
similarity and contrast, e.g. (5)
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5.4 Assonance（腹/中韵）
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Definition: the repetition of identical
vowel or diphthong in stressed syllables.
Analysis of Ex18.
1)Find the words that form assonance
2) What is the cohesive relationship
among the words?
3) what is the indication for such
relationship?
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Analysis of Ex18
1) The cohesive meaning of tree,
leaves, seed indicate that they
represent the cycle of life: from the
organic to the inorganic and from
the inorganic to the organic.
 2) To contribute to music quality,
but its meaning.
 3) Combination of Sound and
sense
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Discussion of Ex 19
 Questions:
 Which words form assonance in
the poem?
 Group 1:Open, rose, snow, oh, told,
row
 Group 2: scale day, tale
 Group 3: street, leap, steeple

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What is the indication for each
group?
1) Generally, most instance of
assonance chiefly function to unify
words and ideas.
Group 1: (a)/әu/ connects the two
lines together, which express an
independent idea: the way morning
opened resembles the way that a
rose unfolds itself.
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 (b)
When /әu/ in snow, rose and
oh are produced, our mouth must
open—just as morning light
spreads or a rose unfolds.
 (c) The “oh” expresses the wonder
at the scenes of color and beauty.
 (d) Since /әu/ takes longer duration
to produce than monophthongs, it
may suggest the way morning
slowly unfolds in the poem.
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Interpretation
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Group 2: The day is like a fairy tale, a
beautiful and sunny day.
Group 3: The street leaps towards the
light, a personified description of the
beginning of the day when the lamp are
turned out.
Finally, the sunshine leap from steeple
clock to row of shop, like the scale of a
fish when rippling the bricks.
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5.5 Consonance（尾韵）
Definition: the repetition of the final
consonant cluster in stressed syllables.
 Example(20) by Emily Dickinson
 Who can write down the word forming
consonance on the BK?
 crumb, home, seam, swim
 How about ocean and noon? No. they are in
unstressed syllable.
 What is the implication of the consonance?
Make the text organized and add music
quality of the poem, e.g. (20).

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Explanation
(a) What does the poem try to depict? A
bird, which eats a worm, pecks at the
grass, hops by a beetle, and glances
around fearfully. The creature is frightened
by the speaker and flies away.
 What was the image of the bird?
 An
emblem for the quick, lively,
ungraspable wild essence that distances
nature from the human beings who desire
to appropriate or tame it.
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Explanation
What metaphor is used in the
final stanza?
 Dickinson provides one of the
most breath-taking descriptions
of flying. Simply by offering two
quick comparisons of flight and
by using aquatic motion (rowing
and swimming), she evokes the
delicacy and fluidity of moving
through air.
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Example (21)
What is the consonance? Call,
gull, well, still
 Implication: The repetition of /l/
unites the key words of the
stanza. The sound of has the
lingering, almost echoing effect,
which reinforces the tone of the
poem, e.g. (21).
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Review
Dictation
 Identification of assonance, consonance
and alliteration, etc.
 Function of the phonemic patterning
 What are the types of rhyme?

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5.6 Rhyme
Definition: the identity of sounds between
words and verse lines extending back from
the end to the last fully accented vowel
and not further. Function of Rhyme
To get the texts more organized
To bestow ‘music’ to the texts
To bind lines which are closely associated
in content.
Discussion of examples
What type of rhyme in Example 6, 7,8? M
or F?
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Understanding of Example(11)
What is the grammatical
structure of the poem?
 What did the narrator do?
 Whom did he meet?
 Where did he meet his friends
and enemies?
 Where is I, the narrator?
 What did he do to the persons?
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Understanding of Example (13)
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What feeling does the narrator try to
describe?
What does the weather look like?
Where does the narrator depict?
What does the narrator regret in the
past days?
What is the day Spencer described?
What did he see on the bank of the
Thames?
What can we do for the flowers?
What was Spencer’s changing emotion
in the poem?
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Understanding of Example 15
 What does the narrator compare to?
 What is the similarity between summer
and his lover?
 What is the difference between summer
and his lover?
 How can his lover be in eternal?

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Example 6 and 10
Who’s she?
 How does Byron describe her beauty?
 What’s her face and her eyes look like?
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What is hope?
 What features are Hope endowed with?
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英诗押韵格式(Rhyme Scheme)

Rhyme scheme: rhymes are arranged in a
pattern within a poem.
1. 交替式 (alternate rhyme) abab, cdcd…
2. 英雄双韵体（heroic couplet） aa, bb,
3. 四行四步式（four-beat）abab或abcd
4. 连环式（rime couee）aab, bbc, ccd…
5. 七行体(又叫君王诗体)（rhyme royal）
ababbcc
6. 八行体（ottava rima） abababcc
7. 九行体（Spencerian stanza） ababbcbcc
8. 十四行体（商籁体）（sonnet）
Br. abab, cdcd, efef, gg
Italian abba, abba, cdcdcd
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5.7 Onomatopeia
Definition
 (A)The use of word formed in
imitation of natural sounds associated
with the object or action involved.
 (B) The recurrence of phonemes in a
text, which suggests certain natural
sounds which reinforce the meaning
conveyed in that text unit.
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But when loud surges lash the
sounding shore,
 The hoarse, rough verse should like
the torrent roar.
 Explain on P107-108
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Part II Rhythmic Patterning
Rhyme is concerned with the
consonants and vowels in the
stressed syllables.
 Rhythm is concerned with the
stressed and unstressed syllables.
 (1) Stress embraces primary stress
and secondary stress, the former
indicated with high vertical stroke
and the latter with low vertical stroke.
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(2) open class words, including nouns,
verbs(not auxiliary verbs), adjectives,
adverbs are stressed in utterance; closeclass words, including pronouns, articles,
prepositions are unstressed in utterance.
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5.8 Meter
Rhythmic patterning is depicted
with meter.
 Two step to analyze meter
 A) to examine the types of foot
 B) to see how many feet there are
in each line
 A) Foot: the unit of stressed and
unstressed syllables which is
repeated to form metrical patterns.
 Four types of Foot:
 Iamb, Trochee, Anapaest,Dactyl
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5.8.1 Four types of foot
(a)Iamb: the commonest type of verse
foot. It has a pattern alternating
stressed and unstressed syllables
beginning with an unstressed
syllable(抑扬格),e.g. the sea
 (b)Trochee: alternating stressed and
unstressed syllable, beginning with a
stressed syllable（扬抑格,e.g. on the
sea.
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Four types of foot
(c)Anapaest: a pattern in which one
stressed syllable alternates with two
unstressed syllables, but beginning
with the two unstressed syllables（抑
抑扬格）e.g. pretty.
 (d)Dactyl: a pattern: a pattern
alternating one stressed and two
unstressed syllable,
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beginning with the stressed
syllable（扬抑抑格）,e.g. beautiful.
 (Note: A and B belong to the rising
rhythm, C and D belong to the
falling rhythm.)
 5) Spondee: two stressed syllables
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5.8.2 Song for the foot
Iambic feet are firm and flat
 And come down heavily like THAT.
 Trochees dancing very lightly
 Sparkle, froth and bubble brightly,
 Dactylic daintiness lilting so prettily
 Moves about fluttering rather than wittily
 While for speed and for haste such a
rhythm is the best
 As we find in the race of the quick
anapaest
(Marjorie Boulton, 1953:26)
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B) Step two: to see how many feet there
are in each line, such as monometer,
dimeter, trimeter, tetrameter,pentameter,
hexameter, meaning one, two, three,
four, and five respectively.
 Example: iambic pentameter(抑扬格五
音步)
 The Cur/few tolls /the knell /of par/ting
day
 Summary: analysis of the rhythm of a
poem must take into account the
variation on the basic rhythmic pattern.
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5.8.3 The functions of sound and meter
1) for aesthetic pleasure—sound and meter
patterning are fundamentally pleasing, in the
way that music is;
 2)to conform to a convention/ style/ poetic
form—as with clothes and buildings, poetry
has fashion, and different forms of sound
patterning have been popular at different
times.
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3) to experiment or innovate with a form—
poets innovate to create new poetic forms
and also to challenge assumptions about
the forms of language which are
considered appropriate to poetry.
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4) to demonstrate technical skill, and for
intellectual pleasure—there is a kind of
satisfaction to be derived from the
cleverness of some poems and the magic of
form and meaning being perfectly combined.
 5) for emphasis or contrast
 6) onomatopoeia—when the rhythm of a
line or its sounds imitates the sound of what
is being described.
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 5.8.4
Variation of rhythmic pattern
1)leaving one foot without a strong
stress;
2)putting two strong stresses in one foot;
3)inverting any foot;
4)putting a hypermetric syllable at the
end of a line or;
5)having a catalectic foot
(i.e. a foot having one or two syllables
short.)
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 Function:
these metrical variations have a
strong communicative function and can
create great aesthetic effects, for they
usually coincide with important words or
changes of emotion.
 Notes: people may have differ as to how to
analyze the rhythm of a poem. This may
not be a bad thing because the ambiguity
of rhythm only enriches the meaning of a
poem.
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5.8.5 Variation of rhythms
Reasons: to avoid monotony and
damage of contents by form
 Principle: the dominant rhythm should
remain unchanged
 Methods:
 A: substitution of the same kind of
rhythm(同类节奏的替代)
 B: monosyllabic substitution(单音节替
代)
 C: mixed substitution(混合替代: A + B)
 D: substitution by hypermetrical
syllable (超音步音节)and anacrusis (行
首轻音节)
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6.0 Types of poem in English
Origin: at different times, different
patterns of meter and sound have
developed and become accepted as
ways of structuring poems.
 These conventional structures often
have names, and when analyzing
poems, it is worth being able to
identify the more frequent
conventions that a poet use.
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6.1 Couplets
双句：包括两个相连的诗行的一种诗的单
位，通常压韵并具有同样的格律，经常组
成一个完整的意思和句法单位。
 Couplets are two lines of verse, usually
connected by a rhyme. Rhyming couplets
have been popular throughout most
periods of English poetry, the eighteenth
century in particular.
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Example
Her eyes are wild, her head is bare,
 The sun has burnt her coal-black
hair,
 Her eye-brows have a rusty stain,
 And she came from far over the
main[诗]大海; 大洋, [古]本土.

By Wordsworth
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6.2 Quatrains 四行诗
Stanzas of four lines, with iambic
meter and lines of nine and eight
syllables alternately. The ninesyllable lines end in unstressed
syllables, forming double rhyme. For
example:
 When lovely woman stoops to folly,

And finds too late that men betray,
 What charm can soothe her
melancholy,
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Example
What art can wash her guilt away?
 The only art her guilt to cover,
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To hide her shame from every eye,
 To give repentance to her lover,
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And wring his bosom---- is to die.

Oliver Goldsmith,1976
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6.3 Blank verse

Blank verse consists of lines in iambic
pentameter which do not rhyme. These
are very common in English literature:
Shakespere’s characters (the late
sixteenth century) frequently speak in
blank verse and other examples include
Milton’s epic poem, Paradise Lose (17th
century), Wordsworth’s The Prelude (late
18th century), and some of Robert
Browning’s dramatic monologues (mid-19th
century).
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Example
But do not let us quarrel any more,
 No my Lucrezia; bear with me for
once:
 Sit down and all shall happen as you
wish.
 You turn your face, but does it bring
your heart?
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6.4 Sonnet
（Shakespearean and Petrarchan）
The sonnet is a poetic form which has been
used in English since the mid-16th century.
The basic form is fourteen lines, each of ten
syllables, and usually in iambic pentameter.
 A variety of rhyming schemes are possible,
and the rhyming scheme usually indicates
the progression of ideas through the poem.
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The poem is organized into three groups
of quatrains with alternately rhyming lines,
and a final rhyming couplet.
 (1)Sonnet structured in this way are
referred to as Shakesperean sonnets. The
sonnet by Spencer used to illustrate
rhyming schemes is also an example of a
rhyming scheme linked to the progression
of ideas.
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
(2)Another common sonnet form is
the Italian (or Petrarchan sonnet),
where lines are rhymed in a group of
eight (an octave) and a group of six
(a sestet). A poem rhymed in this
way usually looks at an idea from an
angle for the first eight lines, and
then from another angle for the last
six.
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Shall I compare thee to a summer's day?
a
Thou art more lovely and more temperate:
b
Rough winds do shake the darling buds of May,
a
And summer's lease hath all too short a date:
b
Sometime too hot the eye of heaven shines,
c
And often is his gold complexion dimmed,
d
And every fair from fair sometime declines,
c
By chance, or nature's changing course untrimmed: d
But thy eternal summer shall not fade,
e
Nor lose possession of that fair thou ow'st,
f
Nor shall death brag thou wand'rest in his shade, e
When in eternal lines to time thou grow'st,
f
So long as men can breathe or eyes can see,
g
So long lives this, and this gives life to thee. g
Shakespere Sonnet 18
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6.5 Free verse
This is a form of verse that uses
little or no conventional rhyme or
meter. It has been very popular in
the 20th century.
 Pin Money
 On Friday mornings
 the whole estate smelt of glue.
 The women were sticking tassels
on to lampshades,
 earning their pin money.

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6.6 Limericks
Limericks are five-line verse in which
generally the first, second, and fifth
lines rhyme, and the second and the
third lines rhyme.
 The lines are usually anapestic (two
unstressed syllables, followed by a
stressed) with three feet in the first, the
third and the fifth lines, and two feet in
the second and third.
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There was a young lady named Wright
 Who could travel much faster than light
 She started one day
 In the ordinary way
 And come back the previous night
 Notice: the word ‘ordinary’ in the limerick
below needs to be pronounced with three
syllables in order to scan—this is elision which
was discussed earlier.
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英诗的分类
1. 按有无格律分
A 格律诗（metrical; either rhymed or not
B 自由诗 (neither metrical nor rhymed)
2. 按是否押韵分
A 押韵诗 （either metrical or not）
B 无韵诗
a blank verse (metrical)
b free verse (not metrical)
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6.7 Summary
All these forms may give the impression that
poetry can be a very rule-bound activity. This is
partially true.
 At some moments in history, poetry has
followed very strict conventions, and though
many poets today use free verse forms, poems
are still written which conform to strict
conventions.
 However, poets have always played with
conventions as well, and you will come across
poems form all periods which are experiment
with structural forms.

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7. Exercise
P.122 Identify the sound patterns in
Example(1)
 P. 129 Mark the rhythm of the stanza and
comment on the effects of the metrical
variation
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