133 Sentences With "assonance" | Random Sentence Generator

The "witchet" may just be assonance to create a pleasing sound.

It is hard to read Churchill's words and not hear their assonance.

The assonance on "Threesome" is like ice-cold wind, persistent and stinging.

He still slurs his syllables, and he still leans heavily on assonance.

Kodak Black is a sleepy-sounding vocalist who swallows his words, a tactic that obscures his enthusiasm for twisty assonance.

Rhymes ring with the assonance of the currencies and the inflexion slips along the line of the belly in profile.

It was back when you were studying meter, assonance, consonance, and all the blah-blahs associated with Yeats, Bishop, and all that jazz.

She needn't have worried; such is her command of metaphor and assonance that she could rivet a reader with a treatise on toast.

"Lil Me" (Letter Racer) is his first solo album, and it's of a piece with his work in Ratking, preoccupied with smoking weed and relentless assonance.

" Pay attention to the assonance in the lines, "Tunechi F Finessin', I'm a legend / straight up out the Crescent / fly your bae down for the Essence.

Remember that in a poem, every word, line break and mark of punctuation carries meaning, so have fun experimenting with repetition of words, alliteration, assonance or anything else that enhances what you would like to say.

And remember, too, that in a poem, every word, line break and mark of punctuation carries meaning, so have fun experimenting with repetition of words, alliteration, assonance or anything else that enhances what you would like to say.

Poetry's sonic aspects—such as syllable sounds, rhyme, rhythm, assonance, dissonance, and meter—are meant to "accompany" the content, to set the mood, to refer to and elicit a sensory experience related to the emotions and images of the poem.

Wilbur's revisions are clever — they even elicited widespread laughter at the production Harold Prince directed at New York City Opera in January — but according to Mr. Pollack, they don't achieve the soaring assonance of Latouche's lyrics: Dearest, how can this be so?

COLD WAVE Rely on Oprime39 and Superbad Solace — the brothers who make up the Queens duo Timeless Truth — for preservation of old-school New York rap values: burly formalism, gut-punch assonance, beats that sound as if they've been dragged under a subway line.

In terms of Joron's own poetic practice, this musical tuning toward criticality —toward the emergence (and emergency) of ontological lament — plays out on the page through a formidable ensemble of techniques, including the use of densely patterned consonance and assonance, internal rhyming, strategic caesuras, the masterful modulation of vowel sounds, and entrancing homophonic orchestration.

" JON PARELES The open-car-window anthem of summer in Brooklyn is "OOOUUU," a hypnotically chill, casually brooding boast by an upstart female rapper, Young M.A. She's an entrancingly calm stylist, full of brutish assonance: "When it's time to pop they a no-show/Yeah, I'm pretty but I'm loco/The loud got me moving slo-mo.

He allows, though, that pending the discovery of such an inscription, mere assonance is also possible.

Paulin 1998, pp. 229–70. Poetic imagery, similes,Paulin 1998, p. 234. and devices like assonance and alliteration abound.

6; quoted in Paulin 1998, p. 233. is tied together by a "subtle assonance" in "thriving" and "quivering", according to Paulin.Paulin 1998, p. 233.

While the section with assonance would typically be considered the older of the two sections, it appears from the romantic elements of this section that the assonance section is in fact of a later date, perhaps written by a poet desiring an archaic tone.Kibler, 16. The existing 13th century (composed c. 1200 Kibler, 5) epic appears to have been composed in three different stages: an early 12th century assonanced section concerning the hero Raoul; a late 12th century reworking into rhymes of the original section, plus the addition of a section concerning Roaul's nephew Gautier; finally, an early 13th century addition (inspired by romances) in assonance of the story of Bernier.

There is a heavy use of assonance, the reuse of vowel sounds, and a reliance on alliteration, repetition of the first sound of a word, within the poem including the first line: "In Xanadu did Kubla Khan". The stressed sounds, "Xan", "du", "Ku", "Khan", contain assonance in their use of the sounds a-u-u-a, have two rhyming syllables with "Xan" and "Khan", and employ alliteration with the name "Kubla Khan" and the reuse of "d" sounds in "Xanadu" and "did". To pull the line together, the "i" sound of "In" is repeated in "did". Later lines do not contain the same amount of symmetry but do rely on assonance and rhymes throughout.

For example, Palaestrio says, "linguam, perfidiam, malitiam atque audaciam, confidentiam, confirmitatem, fraudulentiam" (MG ll. 188-9). Also used, as seen above, is the technique of assonance, which is the repetition of similar-sounding syllables.

In the novel the planet "Tazenda" (the name of which comes from the English expression "Star's End") plays an important role. The choice, according to Tazenda, of this name was because of an assonance with their own language.

Medieval Spanish poets recognized the Mester de Juglaría as a literary form written by the minstrels (juglares) and composed of varying line length and use of assonance instead of rhyme. These poems were sung to uneducated audiences, nobles and peasants alike.

It has assonance instead of rhyme and its lines vary in length, the most common length being fourteen syllables. This type of verse is known as mester de juglaria (verse form of the minstrels). The epic is divided into three parts, also known as cantos.

The first 109 laisses exhibit assonance in the decasyllables, but the last 56 laisses are rhyming. This sudden shift may indicate a change in authorship. The dialect of the poem is Francien with Picard characteristics. The noun case system is preserved (with some poetic licence).

This reliance on vowel sounds is not unique to this ode, but is common to Keats's other 1819 odes and his Eve of St. Agnes.. The poem incorporates a complex reliance on assonance—the repetition of vowel sounds—in a conscious pattern, as found in many of his poems. Such a reliance on assonance is found in very few English poems. Within "Ode to a Nightingale", an example of this pattern can be found in line 35 ("Already with thee! tender is the night"), where the "ea" of "Already" connects with the "e" of "tender" and the "i" of "with" connects with the "i" of "is".

The Jackpine Sonnet is a form devised by Milton Acorn, designed to be as irregular and spikey (and Canadian) as a jack pine tree, but with internal structure and integrity. Of no fixed length and with erratic line lengths, the Jackpine Sonnet depends on interweaving internal rhymes, assonance and occasional end-rhymes.

Quoted in Brault, I. Introduction, p. 8. including repetitions of material from one laisse to another. Such repetitions and formulaic structures are common of orality and oral-formulaic composition. When medieval poets repeated content (with different wording or assonance/rhyme) from one laisse to another, such "similar" laisses are called laisses similaires in French.

He deliberately writes in prose styles that follow natural speech cadences. He also frequently uses alliteration and assonance. Deary considered poetry to be "another weapon in the writer's armory" rather than a specialized form that may only be used in specific circumstances. He maintains that the impersonal language used in textbooks alienates the reader.

Shippey adds that the poem offers Wordsworthian "romantic glimpses of 'old unhappy far-off things'", as well as echoes of Keats's "magic casements opening on the foam / Of perilous seas, in faery lands forlorn" (with Shippey's emphasis on the alliteration and assonance, similar to some of the devices used by Tolkien in the poem).

Like most other oral forms of poetry, the authors are unknown and poem are passed down from generation to generation. There is a strong link between Sotho music and Sotho poetry. A Sesotho praise poet characteristically uses assonance and alliteration. Eloquence or ‘bokheleke’ is highly valued in the sotho culture and people who possess this skill are respected.

The Old English epic poem Beowulf is in alliterative verse. Rhyme, alliteration, assonance and consonance are ways of creating repetitive patterns of sound. They may be used as an independent structural element in a poem, to reinforce rhythmic patterns, or as an ornamental element. They can also carry a meaning separate from the repetitive sound patterns created.

"Ode on Indolence" relies on ten line stanzas with a rhyme scheme that begins with a Shakespearian quatrain (ABAB) and ends with a Miltonic sestet (CDECDE). This pattern is used in "Ode on Melancholy", "Ode to a Nightingale" and "Ode on a Grecian Urn", which further unifies the poems in their structure in addition to their themes. The poem contains a complicated use of assonance (the repetition of vowel sounds), as evident in line 19, "O why did ye not melt, and leave my sense", where the pairs ye/leave and melt/sense share vowel sounds. A more disorganized use of assonance appears in line 31, "A third time pass'd they by, and, passing, turn'd", in which the pairs third/turn'd, time/by, and pass'd/passing share vowel sounds.

In addition to this, the songs also have the effect of helping to generate a sense of local identity and cohesion. The steps have an appearance not unlike that of the waltz, though in the case of the jota, there is much more variation. Furthermore, the lyrics tend to be written in eight-syllable quartets, with assonance in the first and third verses.

Gottfried's rhetorical style is very distinct among his contemporaries. It is incredibly complex, marked by the extensive use of symmetrical structure in his organization of Tristan as a whole, as well as in the structure of individual passages. Gottfried also uses detailed word and sound patterns, playing with such things as rhyme, alliteration, and assonance. See Batts (1971) for a detailed analysis.

Māori poetry was always sung or chanted; musical rhythms rather than linguistic devices served to distinguish it from prose. Rhyme or assonance were not devices used by the Māori; only when a given text is sung or chanted will the metre become apparent. The lines are indicated by features of the music. The language of poetry tends to differ stylistically from prose.

It has a very regular pattern that both the music and the lyrics follow. It also opens with the phrase Je vais vous dire quelques mots which is very similar to the traditional opening of broadside ballads, O come ye listen to my story. The influence of French folk music can be seen in the use of enumeration and assonance.

Montague's poems chart boyhood, schooldays, love and relationships. Family and personal history and Ireland's history are also prominent themes in his poetry. Montague is noted for his vowel harmonies, his use of assonance and echo, and his handling of the line and line break. Montague believes that a poem appears with its own rhythm and that rhythm and line lengths should be based on living speech.

Most modern authors hold that the songs were composed in Chinese and their words translated (where possible) into equivalent Pai-lang words or phrases, retaining the metrical structure of the Chinese original. This view is disputed by Christopher Beckwith, who claims that the Pai-lang version shows patterns of assonance and consonance when the characters are read in a southwestern variety of Eastern Han Chinese.

Charlemagne is depicted as the model Christian prince, while Roland is the peerless Christian knight who loses his life in battle for his Faith. Yet the influence of the folk-epic is quite evident, as, for instance, in the passage where the emperor's dazzling eyes are described. Altogether, there are 9094 verses. The form is the short rhymed couplet, the rhyme being often mere assonance.

Kerrang! gave the album a generally positive review. "Throughout the six tracks, there's richness of sound that throws a nod in the direction of Don Caballero, but they are capable of utterly kicking you arse when they want to with rushes of percussive violence and frantically mangled guitar, occasionally delving into the kind of assonance that makes your teeth hurt," reviewer Dan Slessor writes, giving it three K's out of five.

Cernuda continued to eschew rhyme and assonance but, like Bécquer's Rimas the stanzas are short and self-contained and their language is restrained.Connell p 206 Sometimes, the poems return to the world of the Primeras poesías. The first poem alludes obliquely to Serafín, the archangel who is named explicitly in a later poem "Mi arcángel". The leit- motiv of the angel recurs in "II" and in "XII", among others.

Louvain: Peeters, 2003. p. 131. Hugh divided metrical composition into three kinds: quantitative verse (carmina), verse based on syllable count and assonance (rithmi), and "the mixed form ... when a part is expressed in verse and a part in prose" (prosimetrum).Dronke, p. 2. The derived adjective prosimetrical occurs in English as early as Thomas Blount’s Glossographia (1656) where it is defined as "consisting partly of Prose, partly of Meteer or Verse".

Despite the maintenance of the use classical vocabulary in his writing, the overemphasis of assonance, the use of per tempora, and the quasi-paratactic structure were all examples of his falling way from the classical model. The later poems also "lack intensity" and were deficient of metaphorical language. The references he included in the poems were sometimes incoherent with the central theme of what he wanted to say.Witt, 2000, p. 104.

Because verbs carry much of the pitch in the English language, assonance can loosely evoke the tonal elements of Chinese poetry and so is useful in translating Chinese poetry. Consonance occurs where a consonant sound is repeated throughout a sentence without putting the sound only at the front of a word. Consonance provokes a more subtle effect than alliteration and so is less useful as a structural element.

Ningbo speech is a dialect of Wu Chinese that has preserved many aspects of ancient Chinese phonology. Its original wording mode can be found in classical reference books. It can be found that the trisyllable and tetrasyllable phrases or proverbs in Ningbo dialect make it most unusual and dynamic. Moreover, the onomatopoeia, assonance words, collocations, inversions, and other language characteristics within Ningbo dialect all add spice to people's life.

Writers such as Celia Dropkin, Anna Margolin, Kadia Molodowsky, Esther Kreitman and Esther Shumiatcher Hirschbein created bodies of work that do not fit easily into a particular category and which are often experimental in form or subject matter. Margolin’s work pioneered the use of assonance and consonance in Yiddish verse. She preferred off-rhymes to true rhymes. Dropkin introduced a highly charged erotic vocabulary and shows the influence of 19th century Russian poetry.

Alliteration is usually distinguished from other types of consonance in poetic analysis, and has different uses and effects. Another special case of consonance is sibilance, the use of several sibilant sounds such as /s/ and /sh/. An example is the verse from Edgar Allan Poe's "The Raven": "And the silken sad uncertain rustling of each purple curtain." (This example also contains assonance around the "ur" sound.) Another example of consonance is the word "sibilance" itself.

In four-line stanzas, the second and fourth line are in assonant rhyme, while the first and third are free. In three-line stanzas, the assonance is between the first and the third. Some examples: ;A three-line stanza :No se me daba cuidao :me hago cargo que ha sío un ensueño :y a lo pasaíto pasao. :;Translation ::I didn't mind ::I know it was just a dream ::and past things are past.

The legendary Finnish storyteller Väinämöinen with his kantele Oral traditions face the challenge of accurate transmission and verifiability of the accurate version, particularly when the culture lacks written language or has limited access to writing tools. Oral cultures have employed various strategies that achieve this without writing. For example, a heavily rhythmic speech filled with mnemonic devices enhances memory and recall. A few useful mnemonic devices include alliteration, repetition, assonance, and proverbial sayings.

While his use of pararhyme with heavy reliance on assonance was innovative, he was not the only poet at the time to use these particular techniques. He was, however, one of the first to experiment with it extensively. His poetry itself underwent significant changes in 1917. As a part of his therapy at Craiglockhart, Owen's doctor, Arthur Brock, encouraged Owen to translate his experiences, specifically the experiences he relived in his dreams, into poetry.

It usually does not translate short French (and German) quotes or phrases. It does describe the business or nature of even well-known entities, writing, for example, "Goldman Sachs, an investment bank". The Economist is known for its extensive use of word play, including puns, allusions, and metaphors, as well as alliteration and assonance, especially in its headlines and captions. This can make it difficult to understand for those who are not native English speakers.

Dashiell Hammett's 1929 novel The Maltese Falcon (novel) has a bit of dialogue referring to "Baumes rush" in reference to a hoodlum who'd left New York for San Francisco, the implication being he had been chased out by the law, so perhaps the "Baumes" variant was back-fit to the existing one given the assonance of the name. Hammett, Dashiell (1989). "The Maltese Falcon". Alfred A. Knopf, Vintage Books Edition, p. 94.

A characteristic that differentiates them from the tonás, normally in major mode, is their modulating character, constantly going from major to phrygian mode. The stanza of the martinete is the cuarteta romanceada: four eight-syllable lines, rhyming in assonance abcb. The subject matters often contain allusions to persecution, prison, and the environment of the forges. Carceleras are usually considered a subclassification of martinetes, with prison as the subject matter of their lyrics.

The provisional nature of religious poetic speech corresponds to the form of the collection, with its loosely arranged poems, the scope of which are very different. Rilke played with a wide variety of verse forms and used numerous virtuoso lyrical means at his disposal: enjambment and internal rhyme, suggestive imagery, forced rhyme and rhythm, alliteration and assonance. Other distinctive characteristics include the popular, often polysyndetic conjunction "and" as well as frequent nominalization, which is sometimes regarded as mannerist.

Additionally, a brief introduction to art history is included. The Economics Basic Guide reviews fundamental economic concepts in addition to the basics of macroeconomics and microeconomics. The Language and Literature Basic Guide provides students with a basic grounding in the analysis of literature and introduces key terms such as synecdoche, metonymy, assonance, and aphorism. The Math Basic Guide offers a general overview of major topics in high school math, including algebra, geometry, trigonometry, calculus, and statistics.

Instead, he must offer the "Ram of Pride". Then follow the last two lines of the poem diverges from the Biblical account, set apart for greater effect: "But the old man would not so, but slew his son, / and half the seed of Europe, one by one." "The Parable of the Old Man and the Young" is written loosely in iambic pentameter. It does not use traditional rhyme; instead, the lines are bound together by assonance, consonance, and alliteration.

Traditional Māori poetry was always sung or chanted,"Literary Forms", B.G. Biggs, Encyclopaedia of New Zealand, (1966) musical rhythms rather than linguistic devices served to distinguish it from prose. There is a large store of traditional chants and songs."Chapter VIII. — The Poetry of the Maori", The Maori: Yesterday and To-day, James Cowan, 1930 Rhyme or assonance were not devices used by the Māori; only when a given text is sung or chanted will the metre become apparent.

The three texts have little in common to connect the three movements, though they all concern faith, hope, and love, in various ways . "Die Nachtigall" is a poem concerning a lone nightingale singing melodiously against a crowd of noisy, frightened birds. Vring's German translation of the text of employs assonance and alliteration in a manner that recalls medieval poetry. The solo soprano, as the nightingale, represents the lost beloved, who remains alive only in remorseful memory .

Later attempts concentrated on features such as repetition, verse form, and rhyme, and emphasized the aesthetics which distinguish poetry from more objectively- informative prosaic writing. Poetry uses forms and conventions to suggest differential interpretations of words, or to evoke emotive responses. Devices such as assonance, alliteration, onomatopoeia, and rhythm may convey musical or incantatory effects. The use of ambiguity, symbolism, irony, and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations.

The oldest extant version of the tale is an anonymous Old French chanson de geste, Quatre Fils Aymon, which dates from the late 12th century and comprises 18,489 alexandrine (12 syllable) verses grouped in assonanced and rhymed laisses (the first 12,120 verses use assonance; critics suggest that the rhymed laisses derive from a different poet).Urban Tigner [U.T.] Holmes Jr.. A History of Old French Literature from the Origins to 1300. New York: F.S. Crofts, 1938, 94.

Consonance is a stylistic literary device identified by the repetition of identical or similar consonants in neighbouring words whose vowel sounds are different (e.g. coming home, hot foot). Consonance may be regarded as the counterpart to the vowel-sound repetition known as assonance. Alliteration is a special case of consonance where the repeated consonant sound is at the stressed syllable,Alliteration - The Free Dictionary as in "few flocked to the fight" or "around the rugged rock the ragged rascal ran".

Like his contemporaries John Todhunter and William Butler Yeats, he turned to Irish mythology for inspiration. His most famous poem is The Nameless Doon, about a stone ringfort, over 4000 years old and long abandoned, in Drumboghill, County Donegal. He attempted in his poetry to adopt some of the traditional Irish verse forms such as the use of assonance. In his later years, he devoted himself to a translation into English of the Irish philosopher John Scotus Eriugena's De divisione naturae.

The origin of the name Verolengo seems to be linked to the numerous pig farms (verro, also present on the coat of arms) of the territory. According to other interpretations, the verro on the coat of arms was chosen by assonance with the name of the municipality, which would be linked to ancient settlements of the barbarian population of the Eruli (hence Verulengum). One of the historical associations of the town (the Erulia Association) took its name from the origins of the place.

Eichenbaum, however, criticised Shklovsky and Jakubinsky for not disengaging poetry from the outside world completely, since they used the emotional connotations of sound as a criterion for word choice. This recourse to psychology threatened the ultimate goal of formalism to investigate literature in isolation. A definitive example of focus on poetic language is the study of Russian versification by Osip Brik. Apart from the most obvious devices such as rhyme, onomatopoeia, alliteration, and assonance, Brik explores various types of sound repetitions, e.g.

It deserves the term "rap opera" more than most "rock operas" deserve theirs. It's something special, just like it was always planned to be." Christopher R. Weingarten of Rolling Stone said, "It helps that his voice is simply elastic – reminiscent at times of everything from Pusha T's steely grimace to T.I.'s effortless assonance to Eminem's giddy singsong: a finessed tool consistently going "hamhock" on some of the hardest beats this side of Illmatic. A not-as-good-kid traversing the same m.A.A.d.

For example, the first antiphon of the first nocturn: :Gregorius ortus Romæ :E senatorum sanguine :Fulsit mundo velut gemma :Auro superaddita, :Dum præclarior præclaris :Hic accessit atavis. This transitional author does not make use of pure rhyme, only of assonance, the precursor of rhyme. A prominent example is the Office of the Trinity by Archbishop Pecham of Canterbury. The first Vespers begins with the antiphons: :Sedenti super solium :Congratulans trishagium :Seraphici clamoris :Cum patre laudat filium :Indifferens principium :Reciproci amoris.

It seems that many of these events are limited to the phenomenon of war, merely because war in and of itself foments not only hostilities amongst men, but also severely transposes the character of a society in general. The poetry of Walt Whitman, for instance, reflects scenes of the American Civil War which occurred during his lifetime. In addition, figurative devices such as alliteration, assonance, metaphor, and simile are invariably used to layer these historical poems with expanding, enriching meanings.

The study took the lyrics of 94 artists and plugged 10,082 songs into an algorithm that Malmi created to detect assonance rhymes. Linne was preceded in the rankings only by Inspectah Deck of Wu-Tang Clan, Rakim and Redrama. Linne is married to Blair, and has a son Sage. He is currently an assistant pastor at Del Ray Baptist Church in Alexandria, VA, having previously been a member of Capitol Hill Baptist Church in Washington, D.C. and Epiphany Fellowship in Philadelphia.

Poets make maximum use of the language to achieve an emotional and sensory effect as well as a cognitive one. To create these effects, they use rhyme and rhythm and they also apply the properties of words with a range of other techniques such as alliteration and assonance. A common topic is love and its vicissitudes. Shakespeare's best-known love story Romeo and Juliet, for example, written in a variety of poetic forms, has been performed in innumerable theaters and made into at least eight cinematic versions.

The son of Count Tullio Ginanni Corradini (who was also mayor of Ravenna) and brother of Bruno Corra (Ginna and Corra names were suggested by Giacomo Balla by assonance with the words gym and run), studied at the Academy of Fine Arts in Ravenna, and graduated in Florence. He focused on the occult sciences, theosophy and Eastern philosophies. In 1910 he published a book with his brother entitled Method and New Life. He theorized about a future non-figurative painting with chromatic music, i.e.

Though he was educated, Francis's poetry was beneath the refined poetry at the center of Frederick's court. According to legend, Francis dictated the hymn Cantico del Sole in the eighteenth year of his penance, almost rapt in ecstasy; doubts remain about its authenticity. It was the first great poetical work of Northern Italy, written in a kind of verse marked by assonance, a poetic device more widespread in Northern Europe. Other poems previously attributed to Francis are now generally recognized as lacking in authenticity.

Irish bards formed a professional hereditary caste of highly trained, learned poets. The bards were steeped in the history and traditions of clan and country, as well as in the technical requirements of a verse technique that was syllabic and used assonance, half rhyme and alliteration known as Dán Díreach. As officials of the court of king or chieftain, they performed a number of official roles. They were chroniclers and satirists whose job it was to praise their employers and damn those who crossed them.

Spuren der Machart in Ernst Jandls ottos mops, p. 80. The poem is composed of 41 words with o-assonance, but is only built out of 15 different root words that are continually repeated. There are only two acting characters: Otto and the pug. They are assigned verbs that appear in the first person singular indicative present tense, the only exception to this being the imperative "komm" [Eng: come] with which Otto calls his pug back, and which stands out because it is repeated.

Throughout the album, Doom uses a number of literary devices, including multi-syllable rhymes, internal rhymes, alliteration, assonance, and holorimes. Music critics also noted extensive use of wordplay and double entendres. PopMatters wrote, "You can spend hours poring over the lyric sheet and attempting to grok Doom’s infinitely dense verbiage. If language is arbitrary, then many of Doom’s verses exploit the essence of words stripped of meaning, random conglomerations of syllables assembled in an order that only makes sense from a rhythmical standpoint", the critic added.

The bards were steeped in the history and traditions of clan and country, as well as in the technical requirements of a verse technique that was syllabic and used assonance, half rhyme and alliteration, among other conventions. As officials of the court of king or chieftain, they performed a number of official roles. They were chroniclers and satirists whose job it was to praise their employers and damn those who crossed them. It was believed that a well-aimed bardic satire, , could raise boils on the face of its target.

Peter Dronke (2007), "Arbor eterna: A Ninth-Century Welsh Latin Sequence," Forms and Imaginings: From antiquity to the Fifteenth Century (Edizioni di Storia e Letteratura, ), 222, cites this as a commonality with the contemporary Welsh sequence Arbor eterna. Structurally the poem is syllabic with proparoxytone rhythm and inconsistent (half-)rhymes; it consistently ends on the sound -a. This last feature (assonance) may suggest a connection with the liturgical Alleluia. The Swan Sequence, along with the rest of Carolingian and vernacular literature, are borrowing from the patristic, exegetical, and liturgical traditions.

Quill & Quire, In 1977, Acorn introduced the Jackpine sonnet, a form designed to be as irregular and spikey (and Canadian) as a jack pine tree, but with internal structure and integrity. Without a fixed number of lines and with varied line lengths, the Jackpine sonnet depends on interweaving internal rhymes, assonance and occasional end-rhymes. In July 1986, he suffered a heart attack and was admitted to the hospital. Acorn died in his home town of Charlottetown on August 20, 1986, due to complications associated with his heart condition and diabetes.

Most of the forms depend on number of syllables per line, as well as assonance, consonance, and alliteration. Although end rhyme is represented, it does not function in the ways most modern English speakers expect (forms include AAAAAAAA, and AAAABBBB), and plays a very minor role. Understanding this work will be much easier if the First Grammatical Treatise is also available to hand. Many scholars have suggested that the form of Háttatal suggests a classical influence deriving from the traditions of Christian learning to which Snorri was doubtlessly exposed.

Socialist realism is, unfortunately, characterized by the restraining of structures and styles and vocabulary. [...] So when I was asked to write in a rigid and simplified manner, I tried to do my best, but after awhile, I switched to literature for children because it was the only field where metaphors were still allowed, where imagination was tolerated and assonance was permitted.” At least some of her children's stories and books have been translated to English but are not available in bookstores anymore today. Cassian was later married to Al. I. Ştefănescu.

The most prized limericks incorporate a kind of twist, which may be revealed in the final line or lie in the way the rhymes are often intentionally tortured, or both. Many limericks show some form of internal rhyme, alliteration or assonance, or some element of word play. Verses in limerick form are sometimes combined with a refrain to form a limerick song, a traditional humorous drinking song often with obscene verses. David Abercrombie, a phonetician, takes a different view of the limerick, and one which seems to accord better with the form.

The first name for the juices was given the name of the company itself: the word "Wimm Bill Dann" was coined in assonance with the English "Wimbledon". The company was one of the first Russian producers of fruit juice under the "J7" brand. In response to a decline in the census of dairy cattle in Russia, the company spent US$7 mm in 1999 to modernize its suppliers' milking and refrigeration equipment, using state-of-the art Swedish technology. The company listed on the New York Stock Exchange in 2002.

The stanza of the polo is the cuarteta romanceada, typical of most flamenco songs and Spanish folklore: four octosyllabic verses, the second and fourth rhyming in assonance. It is usually sung with the following typical lines: Carmona tiene una fuente con catorce o quince caños con un letrero que dice: ¡Viva el polo sevillano! Translation: Carmona has a fountain With fourteen or fifteen jets And an inscription that reads Long live the Sevillan polo! Often, the last line is replaced by another saying: "Viva el polo de Tobalo" ("Long live the polo de Tobalo").

The horse Bayard carrying the four sons of Aymon, miniature in a manuscript from the 14th century. The oldest extant version of the anonymous Old French chanson de geste Quatre Fils Aymon dates from the late 12th century and comprises 18,489 (12 syllable) verses grouped in assonanced and rhymed laisses (the first 12,120 verses use assonance; critics suggest that the rhymed laisses derive from a different poet).Holmes, 94. It is one of the longest of all the chansons de geste. Other versions range from 14,300 to 28,000 verses.

English, with its irregular word endings adopted from other languages, is less rich in rhyme. The degree of richness of a language's rhyming structures plays a substantial role in determining what poetic forms are commonly used in that language. Alliteration is the repetition of letters or letter-sounds at the beginning of two or more words immediately succeeding each other, or at short intervals; or the recurrence of the same letter in accented parts of words. Alliteration and assonance played a key role in structuring early Germanic, Norse and Old English forms of poetry.

In skaldic poetry, the dróttkvætt stanza had eight lines, each having three "lifts" produced with alliteration or assonance. In addition to two or three alliterations, the odd- numbered lines had partial rhyme of consonants with dissimilar vowels, not necessarily at the beginning of the word; the even lines contained internal rhyme in set syllables (not necessarily at the end of the word). Each half- line had exactly six syllables, and each line ended in a trochee. The arrangement of dróttkvætts followed far less rigid rules than the construction of the individual dróttkvætts.

Bahasa Binan (or bahasa Béncong) is a distinctive Indonesian speech variety originating from the gay community. It has several regular patterns of word formation and is documented in both writing and speech. Boellstorf (2004): 248 One pattern of word formation modifies standard Indonesian roots (normally composed of two syllables) to have e as the first vowel and ong closing the second syllable—hence providing regular assonance with the standard Indonesian word bencong , a male homosexual, trans woman, or male crossdresser. Another word formation pattern adds -in- infixes to other Indonesian roots.

This branch of the activity was mainly ruled by the Ministero della Cultura Popolare (Ministry of popular culture), commonly abbreviated as Min. Cul.Pop. (with a weird assonance). This administration had competence on all the contents that could appear in newspapers, radio, literature, theatre, cinema, and generally any other form of communication or art. In literature, editorial industries had their own controlling servants steadily on site, but sometimes it could happen that some texts reached the libraries and in this case an efficient organization was able to capture all the copies in a very short time.

The first stanza, although it is in ballad meter (4-3-4-3), seems stilted when following the four downbeats of trochaic ballad; it is read most naturally with anapests at the start of line 1 and at the beginning and end of line 3. Stanzas two and three appear to shorten the beginning of each line (3-3-4-3), creating an abrupt effect. End-rhyme follows a scheme of abcb defe ghih jklk, a typical ballad pattern. There is alliteration, consonance, and assonance scattered throughout the poem.

As with other classical Latin poetry, the meter is based on the length of syllables rather than the stress, though the interplay of meter and stress is also important. Virgil also incorporated such poetic devices as alliteration, onomatopoeia, synecdoche, and assonance. Furthermore, he uses personification, metaphor and simile in his work, usually to add drama and tension to the scene. An example of a simile can be found in book II when Aeneas is compared to a shepherd who stood on the high top of a rock unaware of what is going on around him.

The Name Terebinthus originates from a passage in the Naturalis Historia of Pliny the ElderNat. Hist., 17,44 which writes that in a place in the Ager Vaticanus grew a large terebinth tree (a tree belonging to the family of the Anacardiaceae). According to the religious traditionPseudo-Marcellus, Acta Petri et Pauli Saint Peter was buried under a terebinth, and due to the assonance between the two words terebinthus and tiburtinum Pietro Mallio, canon of Saint Peter, around 1180 named the monument Terebinthus, moving the place of the crucifixion of Saint Peter at the top of today's via della Conciliazione.

Around 263 BC, the city was variously known as Catĭna () and Catăna (; ). The former has been primarily used for its supposed assonance with catina, the Latin feminization of the name catinus.Holm Adolf (1925), Catania Antica, G. Libertini Catinus has two meanings: "a gulf, a basin or a bay" and "a bowl, a vessel or a trough", thanks to the city's distinctive topography. Around 900, when Catania was part of the emirate of Sicily, it was known in Arabic as Balad al-fīl () and Madīnat al-fīl (), respectively meaning "the Village (or Country) of the Elephant" and "the City of the Elephant".

A calligram by Guillaume Apollinaire. These are a type of poem in which the written words are arranged in such a way to produce a visual image. Poetry has traditionally been distinguished from prose by its greater use of the aesthetic qualities of language, including musical devices such as assonance, aliteration,rhyme, and rhythm, and by being set in lines and verses rather than paragraphs, and more recently its use of other typographical elements. This distinction is complicated by various hybrid forms such as the sound poetry, concrete poetry and prose poem, and more generally by the fact that prose possesses rhythm.

According to Fulcanelli, the Phonetic Cabala (Fulcanelli's term for a special use of language, drawing on phonetic similarities and other symbolic techniques for expanding the expressive reach of words) is not the Hebrew Kabbalah; even the derivation is different: Cabala is derived from the Latin caballus, a horse, as in the Horse of Troy in the Iliad. It is basically homophonic and symphonic rather than numerical; it is based on phonetic assonance and resonance to echo The Gay Science in the words of the ancient Greek deities spoken in sacred ancient Greek nomenclature.Patrick Riviere Fulcanelli, p. 42, Red Pill Press Ltd.

The novelist Robertson Davies once said that were an old enthusiasm of his. He said that the form was derived by the Welsh from the inscriptions on Roman tombs in Wales. According to him, must have four lines, the first one having ten syllables, then six, then the last two having seven syllables each. In the first line there must be a break after the seventh, eighth, or ninth syllable, and the rhyme with the second line comes at this break; but the tenth syllable of the first line must either rhyme or be in assonance with the middle of the second line.

Based on research in semantic conditioning from the 1950s, Weilgart theorized that whereas the conscious mind links synonyms (similar meanings), the subconscious mind associates assonance (similar sounds). That is, while we think about and distinguish similar-sounding words by their different meanings, we nonetheless feel at some level that they are (or ought to be) also related in meaning. Alliterative slogans may suggest a link in words unrelated by meaning but related by common sounds. Weilgart posited that such slogans were one of the many significant factors that could lead to war under desperate and incendiary conditions.

Elements of the structure of the poem, like rhythm and sound combinations (rhyme, echoes, assonance, etc.) are often more important than semantics per se. His translations include poetry, Chinese, Japanese, Greek and Hebrew texts. He translated, major names of world literature, such as Goethe (German), Ezra Pound, James Joyce (English), Mayakovsky (Russian), Mallarmé (French), Dante (Italian) and Octavio Paz (Spanish). On stage, his works have been performed by three actors: Giulia Gam (1989, Cena da Origem, directed by Bia Lessa), Bete Coelho (1997, Graal: Retrato de um Fausto Quando Jovem, by Gerald Thomas) and Luiz Päetow (2015, Puzzle, by Felipe Hirsch).

American author David Shields notes how much in contrast Robin's "Holy..." outbursts, his alliteration and assonance, his fast riffs were to the laconic Batman. According to film critics Deborah Cartmell and Imelda Whelehan, Robin's quip "Holey Rusted Metal!" in Batman Forever was an "explicit in- joke". Camp humour, through Robin's exclamations and other circumstances in the Batman series, have led some commentators to speculate on homosexual undertones in the relationship between Batman and Robin. Image Entertainment paid homage to Robin's quips with the title "Batman: Holy Batmania" in a 2004 2-disc DVD release containing four documentaries discussing the sixties TV series.

The following album, Bollicine ("Little Bubbles"), published in 1983, was his sixth in seven years, and was the album that consecrated him definitively as an idol of the new generation and an icon of Italian rock. The title track, whose lyrics are about Coke (but also demonstrate a clear assonance with cocaine), won the Festivalbar '83, and his tour that year was an enormous success. To celebrate this positive period in his career, Rossi released his first live recording in 1984, Va bene, va bene così ("It's alright, it's alright this way"). In April, however, he was arrested on charges of drug possession.

It is probably his first printed work in Italian. In 1782 one of his poems, La Fiera di Sinigaglia o sia saggio sul commercio, signed with the pseudonym Ligofilo (a term he himself coined on the Greek assonance, "lover of reading") was reviewed by the Bologna magazine "Memorie Enciclopediche", a bibliographic information journal created the previous year. Compagnoni came into contact with the director, the lawyer Giovanni Ristori, and in a short time he started an external collaboration with the newspaper. The magazine contained (seven pages out of eight) reviews of works in Italian just published.

The text of the Kitáb-i-Aqdas consists of several hundred verses, which have been grouped in 189 numbered paragraphs in the English translation most of which are just a few sentences. The style combines elements of both poetry (shi'r) and rhymed prose (saj) and the text contains instances of literary devices like alliteration, assonance, repetition, onomatopoeia, juxtaposition and antithesis, metaphors, alternation of person and personification. It is written to the individual reader, as there are no clergy in the religion. The text also moves between statements said to be plain and statements suggesting the key to understanding the book is to look at the text for clues to itself.

135 Baglione identified the right-hand panel as Paul in Third Heaven (mentioned in the Second Letter to the Corinthians) while others believe it represents Christ ordering Paul to leave Jerusalem (Acts 22:17-21) or even a synthesis of the two episodes. The setting of the fresco is celestial with Christ surrounded by angels and reclining on clouds. On the right is the constellation of Ursa Major, perhaps a hidden signature of Annibale, playing on the assonance of the word carro (meaning cart, the constellation is also known as Grande Carro in Italian) and his own surname, Carracci.John Rupert Martin, The Farnese Gallery, 1965, pp. 142-144.

Austin Clarke Bridge in Templeogue Austin Clarke (Irish: Aibhistín Ó CléirighAuthor name given for Clarke's book Filíocht na Linne Seo/Poetry in Modern Ireland, Mercier, (undated).) (9 May 1896 – 19 March 1974), born in 83 Manor Street, Stoneybatter, Dublin, was one of the leading Irish poets of the generation after W. B. Yeats. He also wrote plays, novels and memoirs. Clarke's main contribution to Irish poetry was the rigour with which he used technical means borrowed from classical Irish language poetry when writing in English. Effectively, this meant writing English verse based not so much on metre as on complex patterns of assonance, consonance, and half rhyme.

The collection is grouped into 5 sections, frequently book-ended by these longer poems, so that it has a more formally pleasing shape. The versification is also more varied; there are many more romances (octosyllabic lines with assonance in the even-numbered lines); Guillén starts to write sonnets; he introduces longer lines and also the assonantal quatrains of the longer poems. The longer poems are inevitably less abstract and impersonal but they do not show any real break with his approach to poetry. In place of the concentrated focus on one object or small group of objects, the longer poems have scope for a more comprehensive assessment of exterior reality.

The alliterative patterns of early Germanic poetry interweave meter and alliteration as a key part of their structure, so that the metrical pattern determines when the listener expects instances of alliteration to occur. This can be compared to an ornamental use of alliteration in most Modern European poetry, where alliterative patterns are not formal or carried through full stanzas. Alliteration is particularly useful in languages with less rich rhyming structures. Assonance, where the use of similar vowel sounds within a word rather than similar sounds at the beginning or end of a word, was widely used in skaldic poetry but goes back to the Homeric epic.

Added richness comes from Hopkins's extensive use of alliteration, assonance, onomatopoeia and rhyme, both at the end of lines and internally as in: Hopkins was influenced by the Welsh language, which he had acquired while studying theology at St Beuno's near St Asaph. The poetic forms of Welsh literature and particularly cynghanedd, with its emphasis on repeating sounds, accorded with his own style and became a prominent feature of his work. This reliance on similar-sounding words with close or differing senses means that his poems are best understood if read aloud. An important element in his work is Hopkins's own concept of inscape, which was derived in part from the medieval theologian Duns Scotus.

However, in the plagiarism case between King and Archibald Carey, almost half of King's doctoral dissertation was discovered to have been copied from another theology student. King simply changed the names of the mountains and used much more alliteration and assonance. Carey's and Graves' texts (source texts) were noticeably shorter, pithier and simpler in structure while Condon's and King's texts relied on 'purple' devices, extending the existing text and flourish their language significantly. Another famous example is that in the case of Theodore Kaczynski, who was eventually convicted of being the "Unabomber," family members recognized his writing style in the published 35,000-word Industrial Society and Its Future (commonly called the "Unabomber Manifesto") and then notified the authorities.

Another possible work was added to Barbour's canon with the discovery in the library of the University of Cambridge, by Henry Bradshaw, of a long Scots poem of over 33,000 lines, dealing with Legends of the Saints, as told in the Legenda Aurea and other legendaries. The general likeness of this poem to Barbour's accepted work in verse-length, dialect and style, and the facts that the lives of English saints are excluded and those of St. Machar (the patron saint of Aberdeen) and St. Ninian are inserted, make this ascription plausible. Later criticism, though divided, has tended in the contrary direction, and has based its strongest negative judgment on the consideration of rhymes, assonance and vocabulary.

It is important to note that the Mocedades is the last surviving example of Spanish chanson de gesta. From its breakdown were born, according to all indications, the romances. This text is close to those works in its novelistic and imaginative nature and in the majority amount of octosyllabic hemistiches of which the poem is formed. With merely placing the verses in two lines, one per hemistich, and taking into account the fragmentation and holes that the Mocedades contains, the nature of the Spanish romance is well explained, with assonance rhyming in the pairs of octosyllables, the beginning in medias res and ending interruptions, in addition to an elevated component of novelistic fiction in the recreation of historic events.

The Wimm Bill Dann (WBD) company was established in 1992 by Sergei Plastinin (his daughter Kira Plastinina) and Mikhail Dubinin. The business began with a leased juice bottling line and a loan of US$50 thousand. Plastinin and Dubinin invited David Yakobashvili. Together with other partners, they leased a juice bottling line at the Lianozovsky Dairy Plant. The first name for the juices was given the name of the company itself: the word "Wimm Bill Dann" was coined in assonance with the English “Wimbledon”. Developing the western theme, the founders of the company in 1994 came up with the brand “J7” (English Seven Juices), and a year later WBD bought the shares of the Lianozovsky Plant and began to produce dairy products.

Under a veiled self-irony, the core of the texts sung by the group consists of a critique of modern rap, now known to everyone. The Gang, moreover, deals with globalization and the need to adapt to its rules to become rich and famous, which has always been the sole objective of the Gang itself. Drugs, the underworld, the passion for fashion, money and love are among the issues mainly dealt with by the group. Using a flow based on assonance, it is usual to use terms belonging to juvenile slang and typical trap sounds, various references to the cult characters of real life and neologisms belonging to the "alien" world of which they belong and which define themselves as such.

Begun in Cambridge, continued in London and completed in America, this is very similar to the previous collection in that it contains a mix of introspective and self-analytical works and shorter impressionist poems. As a result of his reading of Hölderlin, Cernuda had started to use enjambement. His increasing use of this device gave his poetry a duality of rhythm - the rhythm of the individual line and the rhythm of the phrase. Since he tended not to use rhyme or even assonance and was not very interested in writing poetry with a marked metrical pattern, the rhythm of the line tends to be swamped by that of the phrase, resulting in an effect that is often close to prose.

After studies with René Char, Gustaf Sobin developed a poetic style that relies heavily on assonance and consonance, as well as other methods of the sonic organization of speech. He published many books across different genres: fiction, essays, and translations (including a translation of Henri Michaux's Ideograms in China, a prose poem about Chinese orthography). More recent translations include The Brittle Age and Returning Upland, two volumes from Char's work of the mid to late 1960s that Sobin chose to translate in full, published posthumously in 2009, side by side with Char's French text. Among his many books are Breath's Burials (poetry, New Directions, 1995), Luminous Debris (1999) and Ladder of Shadows (2008) (essays, University of California Press), and Collected Poetry (2010).

According to the Uraicecht Becc in Old Irish Law, bards and filid were distinct groups: filid involved themselves with law, language, lore and court poetry, whereas bards were verifiers. However, in time, these terms came to be used interchangeably. With the arrival of Christianity, the poets were still giving a high rank in society, equal to that of a bishop, but even the highest-ranked poet, the ollamh was now only 'the shadow of a high-ranking pagan priest or druid.' The bards memorized and preserved the history and traditions of clan and country, as well as the technical requirements of the various poetic forms, such as the dán díreach (a syllabic form which uses assonance, half rhyme and alliteration).

Professor Gonzalo Rubio, an expert in ancient languages at Pennsylvania State University, stated: Stephan Vonfelt studied statistical properties of the distribution of letters and their correlations (properties which can be vaguely characterized as rhythmic resonance, alliteration or assonance) and found that under that respect Voynichese is more similar to the Mandarin Chinese pinyin text of the Records of the Grand Historian than to the text of works from European languages, although the numerical differences between Voynichese and Mandarin Chinese pinyin look larger than those between Mandarin Chinese pinyin and European languages. Practically no words have fewer than two letters or more than ten. Some words occur in only certain sections, or in only a few pages; others occur throughout the manuscript. Few repetitions occur among the thousand or so labels attached to the illustrations.

Academia associates the American performance poetry movement to a history of African American oral culture in its current manifestation as Def Poetry and Slam. Australia has yet to examine how Aboriginal oral culture and classical oral traditions fit into the history of 'soundings.' Since the 1960s, when regular rhyme and rhythm in poetry became replaced by a more freestyle expression, and the public soundings of these works relied less on familiar rhythms and more on the political, social and psychological interpretation of the words, sounded poetry, has been appreciated for many other qualities. The sound of words and word combinations, fragments of sentences, repetitions, mirroring within the text, alliteration and assonance and even internal rhyming became devices in the writing, and the line the basic unit of the poem, the breath determining the rhythm.

The cantar is composed of approximately 30 series of monorhyming heterosyllabic verses which predominate in absolute mode the assonance in á-o, which appear in fifteen series, that is, a total of 972 verses. The number of verses per series oscillates between the 264 of the number XVII and the two verses from various others (II, V, V, etc.). It is possible that many of these cases are regarding remains of incomplete series, because the text contains many holes. As in many Spanish cantares de gesta, there is no fixed number of syllables for each verse, even though there exists a tendency for these to measure between 14 and 16 metric syllables with a pronounced caesura, that divides the verse in two hemistiches, of which the first tends to be octosyllabic.

Tennyson's use of the musical qualities of words to emphasise his rhythms and meanings is sensitive. The language of "I come from haunts of coot and hern" lilts and ripples like the brook in the poem and the last two lines of "Come down O maid from yonder mountain height" illustrate his telling combination of onomatopoeia, alliteration, and assonance: : The moan of doves in immemorial elms : And murmuring of innumerable bees. Tennyson was a craftsman who polished and revised his manuscripts extensively, to the point where his efforts at self- editing were described by his contemporary Robert Browning as "insane", symptomatic of "mental infirmity". His complex compositional practice and frequent redrafting also demonstrates a dynamic relationship between images and text, as can be seen in the many notebooks he worked in.

Rux Revue is the debut album by Carl Hancock Rux, released by Sony 550 Music which operated through Sony Music's Epic Records division. The album was produced in Los Angeles by the Dust Brothers, featuring drummers Joey Waronker (formerly of R.E.M.) and James Gadson, bassists Atom Ellis (of Link Wray/The New Cars) and Carol Kaye, keyboardist James Hall, bass guitarist Wah-Wah Watson and additional keyboard, Keyboard, Piano and Melodica by Money Mark. The album mixes soul, gospel, blues, rock, classical and hip-hop into a collage of machine samples, drum machines, live instrumentation and sound effects, incorporating a gospel influenced Sprechgesang and Vocalese style reliant upon African American alliteration, consonance and assonance while abstaining from the common techniques of poetic monologue popular in spoken word and slam poetry.

Stylistically, the song follows a verse-chorus pattern typical in pop music, with Kesha adding traditional singing in the latter and the discordant enunciation and stresses of vowels to force assonance and rhyme that epitomize her rap technique in the former. The music video for the song premiered on January 11, 2013, and received positive reviews. "C'Mon" was well received in Canada, Ireland, New Zealand, Australia, Belgium, and the US. The song peaked at number twenty-seven on the Billboard Hot 100, becoming the first single not to reach the top ten of the chart since her debut single "Tik Tok" reached number one on January 1, 2010, beginning her eight song stretch. However, the single did peak at number nine in the Billboard Pop Songs Charts, making it Kesha's seventh top-ten hit since "Tik Tok".

The son of Count Tullio Ginanni Corradini (who was also mayor of Ravenna) and brother of Arnaldo Ginna (the names Corra and Ginna were suggested by Giacomo Balla by assonance with the words running and gymnastics), he spent his childhood and most of the youth in the hometown, adding to the more regular studies work with anarchists, dealing with all the learning, literature, art, philosophy, theosophy. At the end of 1912 he founded with Mario Carli and Emilio Settimelli the magazine The Centaur, which aimed at the expression of a non-dogmatic conception of art. In 1916, he participated in the making of the film Futurist Life, in collaboration with Balla and Marinetti, a film produced and directed by Ginna (now for this film there are only a few frames). In 1915 he published the novel Sam Dunn is dead, (Sam Dunn è Morto).

59–62 Declaring himself dissatisfied with the assonance of Junimist poetry, Florescu demanded a more thorough literary consonance. As noted later by the critic Perpessicius, this request was "bizarre" and "drunk on prosody", although Florescu had "his indisputable merits."Perpessicius (2001), pp. 62–63, 146 Perpessicius also proposes that it formed part of a press campaign "in bad taste", "as vociferous as it was impotent", seeking to undermine Junimeas steady rise,Perpessicius (2001), p. 85 with Florescu "in so very many ways, from the pestering to the inept, ready to censor Eminescu's budding oeuvre."Perpessicius (1943), p. 214 Florescu's review was immediately challenged by Nicolae Scurtescu, who sent Românul a letter in which he expressed solidarity with Eminescu, and asked to be struck out from Florescu's list of "good poets", suggesting that Florescu had no qualification to compile such lists.Perpessicius (1943), pp. 242–243; Pop, pp.

This same pattern is found again in line 41 ("I cannot see what flowers are at my feet") with the "a" of "cannot" linking with the "a" of "at" and the "ee" of "see" linking with the "ee" of "feet". This system of assonance can be found in approximately a tenth of the lines of Keats's later poetry.. When it comes to other sound patterns, Keats relies on double or triple caesuras in approximately 6% of lines throughout the 1819 odes. An example from "Ode to a Nightingale" can be found within line 45 ("The grass, the thicket, and the fruit-tree wild") as the pauses after the commas are a "masculine" pause. Furthermore, Keats began to reduce the amount of Latin-based words and syntax that he relied on in his poetry, which in turn shortened the length of the words that dominate the poem.

Along with other poems in MS. Douce 302, The Three Dead Kings is written in a dialect of Middle English local to the area of Shropshire and west Staffordshire. The poem has an extremely unusual structure, combining a four-stress alliterative line, a tight rhyme scheme, and regular use of assonance. The structure of the rhymes, ABABABAB in the first eight lines of each stanza and CDCCD in the final five, combines with the alliteration, and the use of the same final consonant on the fourth stress throughout the entire stanza, to produce an additional pararhyme between pairs of lines: :Þen speke þe henmest kyng, in þe hillis he beholdis, :He lokis vnder his hondis and his hed heldis; :Bot soche a carful k[ny]l to his hert coldis, :So doþ þe knyf ore þe kye, þat þe knoc kelddus. :Hit bene warlaws þre þat walkyn on þis woldis.

It is interesting that although Cernuda later expressed his affection for these poems he acknowledges that they give cause to one of the most serious objections that can be made to his work: that he was not always able to maintain the distance between the man who suffers and the poet who creates.Cernuda: OCP vol 1 Historial de un libro p 660 The bulk of the poems in the collection are shorter than in previous books and start to incorporate assonance more frequently in an attempt to concentrate the thematic material rather than explore it at length and also to seem more purely lyrical, even though these urges were not the result of a conscious decision. Among the other interesting poems is the one that opens the collection, "Aguila y rosa", a very sober, restrained account of the unfortunate marriage of Philip II and Mary Tudor, and Philip's stay in Britain. At times, it could be that Cernuda is projecting his own feelings onto the king.

The foregone conclusion that the child will live a life of treason and its apology proffered in advance for its death after it has lived as a "lethal automaton", offers a picture of a world akin to nothing but hell. MacNeice makes use of alliteration and assonance: "strong drugs dope me, with wise lies lure me" to create rhythm in the poem. The repetition of "I am not yet born" is used to give it the ritualised quality of a prayer. The author also talks of being a "cog in a machine" - this shows that he feels that society will mould the child to become part of everything else around him, he will be worthless, insignificant and merely a part of an entire collaboration. The uses “I” and “me” as the first and last words of each stanza contributes to an assertion of individuality in a time of mass mobilisation and of the mass extermination of individuals who belonged to the wrong category.

Bilbo follows the "Road ... with eager feet", hoping to reach the peace of Rivendell, to retire and take his ease; whereas Frodo sings "with weary feet", hoping somehow to reach Mordor bearing the Ring, and to try to destroy it in the Cracks of Doom: diametrically opposed destinations and errands. He notes that Rivendell was the home of Elvish song, among other things citing Tolkien's statement that the song invoking Elbereth was a hymn. Shippey writes, too, that Bilbo wrote and sang the Song of Earendil in Rivendell, making use of multiple poetic devices – rhyme, internal half-rhyme, alliteration, alliterative assonance, and "a frequent if irregular variation of syntax" – to create a mysterious Elvish effect of "rich and continuous uncertainty, a pattern forever being glimpsed but never quite grasped." Shippey remarks that Tolkien, a Christian, was extremely careful with dates and timelines, but that hardly any readers notice that the Fellowship sets out on its quest on 25 December, the date of Christmas, and succeeds, destroying the Ring and causing the fall of Sauron, on 25 March, the date in Anglo-Saxon tradition for the Crucifixion.

Luka Milovanov Georgijević composed his Opit nastavlenija k srbskoj sličnorečnosti i slogomerija ili prosidiji, but he came into sharp conflict with a censor and the church hierarchy and did not succeed in having his work printed during his lifetime. Vuk Karadžić considered Luka Milovanov to be, one of his teachers, he esteemed his work and published his manuscripts in a book only after Milovanov's death. Luka Milovanov Georgijević, the Bosnian refugee-emigrant, a student of law and later a teacher in Pest consecrated a study to Serbian prosody in Pest in 1810; it is particularly important that he wrote it in the people's idiom, in a standard language, and for that purpose, he established the modern Serbian Cyrillic orthography adopted and propagated by Vuk Karadžić, the reformer of the modern Serbian (and Croatian) literary language. Unfortunately, the publication of Luka Milovanov Georgijević's work was held up by censors, and his study "The Serbian Word -- Assonance and Syllabic Measure or the Trial Attempt for the Recital of Poetry" (Opit nastavlenia k srbskoj sličnorečnosti i slogomerija ili prosodiji) was published by the printing press of the Armenian monastery in Vienna in 1833, some five years posthumously.

A Perseid in 2007 Some Catholics refer to the Perseids as the "tears of Saint Lawrence", suspended in the sky but returning to Earth once a year on August 10, the canonical date of that saint's martyrdom in 258 AD. The saint is said to have been burned alive on a gridiron, and this tradition is almost certainly the origin of the Mediterranean folk legend that the shooting stars are the sparks of that fire and that during the night of August 9–10 its cooled embers appear in the ground under plants, and which are known as the "coal of Saint Lawrence". Falling stars and coal under the basil The Coal of Saint Lawrence The transition in favor of the Catholic saint and his feast day on August 10 and away from pagan gods and their festivals, known as Christianization, was facilitated by the phonetic assonance of the Latin name Laurentius with Larentia. Castrum Inui In 1835, Adolphe Quetelet identified the shower as emanating from the constellation Perseus. In 1866, after the perihelion passage of Swift-Tuttle in 1862, the Italian astronomer Giovanni Virginio Schiaparelli discovered the link between meteor showers and comets.