Alliteration and her sisters 

Round the rugged rock the ragged rascal ran. (rock not included)

Round the rugged rock the ragged rascal ran.

We all know that one, don’t we? Though I usually get rugged and ragged back to front. I have to remind myself that whilst a rascal can be rugged or ragged, a rock can pretty much only be rugged.

As we learned in junior school, alliteration is putting together words with the same initial letter. In the case of the above phrase, R, the pirate’s favourite letter.  This repetition is the foundation of our childhood tongue-twisters. English is not the only language to have these:

French ones:

Les chaussettes de l’archiduchesse, sont-elles sèches? Archi-sèches. (translation: The archduchesses socks: are they dry? Very dry.)

Ces cerises sont si sûres qu’on ne sait pas si c’en sont. (translation: These cherries are so sour, we’re not sure if they are (cherries).)

German ones: 

Schnecken erschrecken, wenn sie an Schnecken schlecken, weil zum Schrecken vieler Schnecken Schnecken nicht schmecken. (translation: Snails are shocked when they lick snails because to the surprise of many snails, snails don’t taste good).

Der Grabengräber gräbt die Gräben. Der Grubengräber gräbt die Gruben. Graben Grabengräber Gruben? Graben Grubengräber Gräben? Nein! Grabengräber graben Gräben. Grubengräber graben Gruben.  (translation:  The gravedigger digs graves. The ditchdigger digs ditches. Do ditchdiggers dig graves? Do gravediggers dig ditches? No!
Gravediggers dig graves. Ditchdiggers dig ditches.)

So now you know! Feel free to use these at virtual-parties, to amaze and impress your friends.

Amuse your cat with a large repertoire of tongue-twisters in various languages…

Alliteration can be a useful literary device when writing, and like most literary devices, it is used to make the reader feel, view or interpret your writing in a particular way by creating a mood or appearance. But use it sparingly. The problem with any literary device, is that all too easily it can draw attention away from what you’re writing and turn the focus to how you’re writing. This will distract your reader from your story in the same way you can sometimes fail to see the puppet-show because you’re focusing on the strings.  Having spent all that time gently leading the reader to suspend disbelief, you don’t want to ruin things by breaking the spell now.

Here are a few more literary devices:

Sibilance is the repeated use of an S sound, or a hissing sound. You put together words with lots of S, SH and soft C sounds: Sid’s silly scented snake slithered smoothly across the shiny façade. Unlike with Alliteration, the repeated sounds don’t have to be confined to the beginning of the word.

Assonance is the repeated use of vowel sounds: cut jug, heed beat,   or the same or similar consonants with different vowels: jiggle juggle, dilly-dally.

Consonance is the repetition of matching consonant sounds: ruthless cutthroats, repeated reports. It can quickly descend into Alliteration if only the initial letter(s) are repeated!

”A soldier’s life is terrible hard,’ said Alice.’

These are used to create a certain mood, or an attitude, or making the reader see a character or setting in a particular way. These can also imbue your writing with a poetic or lyrical quality. You might want your readers mesmerised by a particular scene if you are going to follow it with something spectacular: the calm before the storm effect.  Think of movies where there is a soft love scene before the hero goes into battle.

In fact most poetry contains one or more of these devices. Think of Wordworth’s poem I Wandered Lonely As A Cloud, with all the repeated Ls, the Hs, the Ds, the long vowels of wandered, lonely and cloud.  Or  Buckingham Palace by A A Milne, with its repeated lines and rhyming words. 

Or in this, one of my favourite short poems, there is a clever mixture of all these devices – see if you can spot them!

Song by Christina Rosetti 

When I am dead, my dearest

Sing no sad songs for me;

Plant thou no roses at my head,

Nor shady cypress tree:

Be the green grass above me

With showers and dewdrops wet;

And if thou wilt, remember,

And if thou wilt, forget.

I shall not see the shadows,

I shall not feel the rain;

I shall not hear the nightingale

Sing on, as if in pain:

And dreaming through the twilight

That doth not rise nor set,

Haply I may remember,

And haply may forget.

These literary devices can have a unifying effect, making all parts fit together with a repetition of shared letters and sounds, or by ensuring the reader remembers certain sounds or words. But like all good things, in prose it needs to be used in moderation.  Don’t make your writing just a collection of tongue-twisters!

***

2 thoughts on “Alliteration and her sisters 

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.