Volume 02 Issue 11-2022
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Pages:
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ABSTRACT
The article discusses the features of the functioning of alliteration and sound repetition as a poetic device in the work
of the outstanding poetess of American romanticism Emily Dickinson. Examples of the most frequent cases of the use
of alliteration are given, which are analyzed on the basis of the organizational and compositional principles. As a result
of the analysis of different types of alliteration, a classification of alliterations characteristic of the individual author's
style of the poetess is proposed.
KEYWORDS
Expressiveness, alliteration, onomatopoeia, aesthetic effect, phonostylistics of literary text, consonance, rhythm,
poetic form.
INTRODUCTION
In works on the stylistics of the English language, many
scientists single out sections devoted to phonetic
stylistic devices [2, 275-279; 12, 122-132; 15, 66-70],
studies continue to appear that testify to the
accumulation of experience in the field of
phonosemantics of a poetic text [3; 5; 7]. The phonetic
organization of the poetic text, its instrumentation
play a primary role in creating the expressiveness of
the text. At the phonetic level, the emotional and
aesthetic effect is achieved with the help of
alliteration, assonance, consonance, different types of
Research Article
PECULIARITIES OF ALLITERATION IN EMILY DICKINSON’S POETRY
Submission Date:
November 05, 2022,
Accepted Date:
November 15, 2022,
Published Date:
November 29, 2022
Crossref doi:
https://doi.org/10.37547/ijll/Volume02Issue11-12
Norova Mavluda Fayzulloyevna
Associate Professor At The Department Of English Language At The Bukhara State Medical Institute Named
After Abu Ali Ibn Sino Doctor Of Philosophy In Philology, Phd, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 02 Issue 11-2022
77
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
02
I
SSUE
11
Pages:
76-81
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
OCLC
–
1121105677
METADATA
IF
–
5.914
Publisher:
Oscar Publishing Services
Servi
rhymes, meter and rhythm. Sound expressive means
also include sound writing, onomatopoeia, sound
symbolism, sonorous words [2, 145]. A poetic text, as
you know, operates with a word in its phonetic and
semantic integrity, achieving a new meaning, a new
view of the world through the sound of a selected
word or group of words. Sound repetition in poetic
language is one of the key techniques, not only an
important structural tool that organizes a work of art,
but also semantic, contributing to the emergence of
new possibilities for interpreting a word or phrase, as
well as aesthetic, contributing to harmonization [9, 4].
Alliteration - the repetition of sounds in stressed
syllables - is of particular importance for English-
language poetry: on the one hand, as a means of
updating units of the phonetic level of a literary text
and an indicator of an individual author's style, and on
the other, as an ancient poetic tool that goes back to
the tradition of German alliterative verse. Alliterative
verse, characteristic of the oral poetic form of the Old
English and Middle English periods, brings speech
closer to music [13, 11].
The study of phono stylistic means of a literary text in
general, as well as in the work of individual writers,
does not lose its relevance due to the interest that this
topic causes at the present stage of development of
phono stylistics. The material of this study was the
poetic texts of E.Dickinson, the most saturated with
alliterations. Alliteration literally permeates her poetry,
providing a unity of meaning within a single line, stanza
and work as a whole. It should be emphasized that the
poetry of the chosen author was practically not studied
from the point of view of phonostylistics. Dissertation
researches studying the work of E.Dickinson are
devoted to the analysis of topics and problems raised
in her poems (in particular, philosophical and religious
topics), key images, color picture of the world of
Dickinson's poetry [4; 8]; comparative analysis of the
work of E.Dickinson and E.Bronte from the point of
view of romantic traditions [11]; analysis of Uzbek
translations of her poetry [1; 10]. At the same time, the
work of the outstanding poetess of American
romanticism is a rich material for studying the phonetic
organization of a poetic text. The purpose of the article
is an attempt to analyze alliteration as an
organizational, compositional and auxiliary stylistic
device in E. Dickinson's poetry, as well as to propose a
classification of the main types of alliteration in the
poetess's poetic work. The continuous sampling
method identified 250 most striking cases of the use of
alliteration, the analysis of which allows us to draw
certain conclusions about the features of the
functioning of this technique in the texts under study.
Examples of alliteration in the poetry of E. Dickinson
can be classified according to the organizational
(syntactic) principle and compositional (the principle
of constructing a work). Alliteration of the initial
sounds of a word is found in a variety of syntactic
patterns: 1) “subject + predicate”: That Commerce will
continue / Bu savdo davom etadi; If Birds should build
as early / Agar qushlar tez orada uy qursa [16, 89]; 2)
«predicate + object + adverb»: And keeps the soul
serene / Tinchlik beradi [Ibidem, p. 89]; 3) «subject +
predicate + object»: The Soul selects her own Society /
Ruh o'z jamiyatini tanlaydi [Ibidem, p. 434]. The listed
syntactic models are the most frequent in the work of
the author under study, so we can talk about the
models of organizing a poetic text using alliteration
that are characteristic of her author's style.
Alliteration, which unites different members of a
sentence, emphasizes their syntactic unity and
enhances the meaning of the statement, forcing the
Volume 02 Issue 11-2022
78
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
02
I
SSUE
11
Pages:
76-81
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
OCLC
–
1121105677
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Servi
addressee to focus on the significant meanings of the
statement.
An interesting feature of the functioning of the
alliteration of E. Dickinson's poetic work in the
compositional aspect is
the “headline” alliteration. As
you know, most of the poems created by the poetess
do not have titles, so the title of the work is given by
serial number or by the first line. Often alliteration is
present precisely in the first line of the poem, which
immediately attracts the attention of the addressee,
adjusts to the perception of the harmony of the work:
Some Rainbow coming from the Fair! / Yarmarkadan
kelayotgan kamalak (162) [Ibidem, p. 198]; A fuzzy
fellow without feet / Mo'ynali oyoqsiz jonzot (171)
[Ibidem, p. 206]; The Sun and Moon must make their
haste / Quyosh va oy shoshilishlari kerak (1063)
[Ibidem, p. 932] and many others. Most often,
alliteration is based on the repetition of a voiceless
spirant consonant [s], alveolar sonorant [l], voiceless
labiodental fricative [f], less often voiceless pharyngeal
fricative [h], voiced bilabial plosive [b], voiced alveolar
plosive [d], bilabial nasal sonorant [m] and alveolar
nasal sonorant [n].
Another important type of alliteration as a
compositional technique in the poetic text of E.
Dickinson is “ring” alliteration: the alliterated word is
located in the first and final lines of the poem, thus
creating a ring composition in the strongest positions
of the text. In the poem I felt a Funeral, in my Brain /
Dafn marosimining ovozini boshimda eshitdim (340)
[Ibidem, p. 365], we observe the voiceless labiodental
fricative [f] alliteration only in the first and last lines: I
felt a Funeral, in my Brain / Dafn marosimining ovozini
boshimda eshitdim… And Finished
knowing
–
then / Va
bilish to'xtadi - keyin. So the poetess conveys her sense
of the funeral, associated with the end of knowledge.
This technique allows you to achieve the harmony of
the text, a very special aesthetic impact on the reader.
The sophistication of the poem My river runs to thee /
Mening daryom sen tomon oqadi (219) is largely due to
the alliteration of the trans-alveolar fricative sonorant
sound [r], which combines the subject and predicate,
subjects and object in the lines My river runs to thee /
Mening daryom sen tomon oqadi and My river waits
reply / Mening daryom javob kutmoqda and is also
present in the words graciously
–
lutfan, brooks
–
anhorlar, from
–
dan in subsequent lines [Ibidem, p.
246]. Sound repetition allows you to hear the murmur
of the river, its restless, seething movement to the sea,
metaphorically describing the desire of the lyrical
heroine (river) to its lover (the sea). In the last three
examples considered, alliteration performs an auxiliary
function. It contributes to the achievement of euphony
and the creation of meaning-tonality (the emotional
mood of the text, determined by the special
arrangement of lexical units that create the tone of the
sound) [6, 91] of the poetic text and strengthening the
stylistic devices used by the poetess (metaphor).
Based on our analysis, we draw the following
conclusions:
1)
in the poetic work of E. Dickinson, three types
of alliteration can be identified depending on its
function: organizational, compositional and auxiliary;
2)
alliteration is used as an organizational device
in a wide range of syntactic constructions (“subject +
predicate”, “predicate + object”, “object + adverb”,
etc.);
3)
alliteration acts as a compositional technique
that contributes to the creation of a special rhythm of
Volume 02 Issue 11-2022
79
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
02
I
SSUE
11
Pages:
76-81
SJIF
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FACTOR
(2021:
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705
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5.
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OCLC
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Servi
the work (“headline”, “through”, “end adjacent” and
“ring” alliteration);
4)
alliteration is an additional means of achieving
expressiveness and euphony, creating an emotional
effect and enhancing the effect of expressive means
and stylistic devices used by the poetess in order to
achieve a more vivid aesthetic impact.
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