What Does Alliteration In True Night Mean

"He had…split purple lips, lumped ears, welts above his yellow eyes, and one long scar that cut across his temple and plowed through a thick canopy of kinky hair…" Imagery is very effectively used by Knight in order to illustrate Hard Rock and incidents in the poem. Phrases such as "bored a hole in his head," "handcuffed and chained," "the jewel of a myth," and "barked in his face," paint vivid images in the readers mind. Knight's use of imagery keeps the reader interested in the poem while slowly drawing the reader into the story (emotionally). This element ultimately proves to be very useful to convey the motif of the poem.

She also presents a slight rhythm to the reading that allows for smooth reading. In keeping with her open form, there is no set scheme to the rhyme pattern. However, there is a single ending sound constantly repeated without a set pattern throughout the work. She also connects pairs of lines at random just for the sake of making connections to make that particular stanza flow. At the same time, she chose blatantly not to rhyme in certain parts to catch the reader’s attention.

Another technique this poem takes use of is alliteration. The alliteration used helps to express the themes importance through repletion of sound devices. A specific example of alliteration

From the quote on page 81, “But the stillness was the sleep of swords” (Hurston) this implies that the stillness between Janie and Jody represents how the conflict can still continue with silence, making the situation tense. The sleep of swords demonstrates there is some fight still going on, but is at rest. Simply put, it’s not a sign of peace between the two, but a sign of fighting that causes silence. The use of alliteration puts a primary focus on the letter “s”, the repetition of the "s" sound often illustrates a snake-like quality, which can imply slyness or danger. The emphasis on the letter “s” and word choices such as, “swords” or “stillness” creates a tone of restraint and provides a rhythm to the section. This helps the reader tune

The poem also uses end rhyme to add a certain rhythm to the poem as a whole. And the scheme he employs: aabbc, aabd, aabbad. End rhyme, in this poem, serves to effectively pull the reader through to the end of the poem. By pairing it with lines restricted to eight syllables. The narrator creates an almost nursery-rhyme like rhythm. In his third stanza however, his last line, cutting short of eight syllables, stands with an emphatic four syllables. Again, in the last stanza, he utilizes the same technique for the last line of the poem. The narrator’s awareness of rhyme and syllable structure provides the perfect bone structure for his poem’s rhythm.

The fact that enjambment is used throughout the poem such as in the lines, “like a colour slide or press an ear against its hive” portrays a lack of structure and therefore emphasizes the initial enjoyment one feels when reading a poem before the chore of analyzing it begins. This is also emphasized through the fact that the poem is a free verse poem.

Alliteration was also evident throughout the poem in the first line of the first stanza when he said “ south of the bridge on seventeenth”(Stafford, page 805, stanza 1). The alliteration is “south” and “seventeenth” because both words start with an “S”.

Modernism began around the late 1800s or early 1900s, with artists and writers in Europe producing many extraordinary and influential works. This period spans many events, including both World Wars and the Great Depression. World War I appeared to be a major event that helped to start Modernism; this was because of the destruction and ruin that came from it and events that followed. This poem is consistent with the values of Modernism because of alienation, time, and self- consciousness; however, it continues to resonate with readers today because isolation, change, and insecurities are things that humans may face.

With a few exceptions, the poem primarily follows the form of accentual-syllabic verse. The majority of lines are composed of three syllables, most often two unstressed and one stressed. Using a combination of structural technique and descriptive language, Williams emphasizes the action of visual perception.

He uses this in the poem to give it rhythm to engage the reader and

A word that follows another word with the same consonant sounds is alliteration. Alliteration is used quite often in poetry as it helps create a certain tone or mood for a poem. Words that use alliteration are effective as it uses sound to bring focus to specific parts of a poem that are vital in making an idea or an emotion known. The use of alliteration is very clever as it is a simple trick authors use to grab a reader’s attention and help readers understand what they are trying to say. Edgar Allen Poe uses alliteration quite often in his poem “The Raven” to create a somber and ominous mood. Poe uses phrases like “weak and weary” and “doubting, dreaming dreams no mortal ever dared to dream before” to emphasize the darkness of the poem. The alliteration used also gives readers a sense that nothing good will come at the end of “The Raven” as the phrases that use alliteration are dreary and unwelcoming.

In this poem, each stanza is made up of two couplets. These couplets because of their steady going rhyme, reminds the reader of the Tyger’s heartbeat, beating as we say the words as Blake intended them to be read. Blake states what words he thinks are the most important to the poem by using repetition. Repetition plays a key role, for example the word “dread” is repeated many times throughout the poem, particularly in lines 12 and 15. Every time Blake repeats this word it adds emphasis to the word or phrase its used in, contributing to the image of the Tyger in each readers mind.

However, the poem has fluidity despite its apparent scarcity of rhyme. After examining the alteration of syllables in each line, a pattern is revealed in this poem concerning darkness. The first nine lines alternate between 8 and 6 syllables. These lines are concerned, as any narrative is, with exposition. These lines set up darkness as an internal conflict to come. The conflict intensifies in lines 10 and 11 as we are bombarded by an explosion of 8 syllables in each line. These lines present the conflict within one's own mind at its most desperate. After this climax, the syllables in the last nine lines resolve the conflict presented. In these lines, Dickinson presents us with an archetypal figure that is faced with a conflict: the “bravest” hero. These lines present the resolution in lines that alternate between 6 and 7 syllables. Just as the syllables decrease, the falling action presents us with a final insight. This insight discusses how darkness is an insurmountable entity that, like the hero, we must face to continue “straight” through “Life” (line 20).

Free verse is not just prose written with irregular line endings. Free verse is poetry without regular patterns of rhyme, rhythm or meter. Note: free verse has rhythm and meter. The pattern, however, is irregular. Rhythm is often created through the use of other poetic devices, including repetition, alliteration, and other sound devices. Although it is "free" of metrical restrictions, it is still patterned and unified by the conventional poetic devices of repetition, assonance, and alliteration. The article "the", ordinarily disregarded, begins seven of the eleven lines and establishes a pattern that is seen on the page and heard when the poem is given voice. Alliteration lends ear-pleasing melody in

In poetry, there is often the use of many words that may seem a bit strange to the average reader. These words are often more complex than what is actually meant, but are used to enhance the reading and make it more enjoyable to the reader. Other words would make the poem less smooth, and that is why such complexity arises. These words shape a type of metaphor, which is referred to as a kenning.