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PECULIARITIES OF PHONETIC STYLISTIC DEVICES IN POETRY
Dilnoza Davranbekovna Umurzakova
Senior teacher of the Foreign languages department,
Academic lyceum of Uzbek State World Languages University, Uzbekistan
https://doi.org/10.5281/zenodo.13858925
Abstract.
This article discusses peculiarities of phonetic stylistic devices in poetry.
Examples from poetry are given in this research work and they are of great importance for
learning stylistics
Key words
: syntactical level, ellipsis, asyndeton, parallelism, inversion.
The sentence, as a unit of a certain level, is a sequence of relatively independent lexical
and phrasal units (words or word combinations), and what differentiates a sentence from a
word is the fact that the sentence structure is changeable; it does have any constant length: it
can be shortened or extended, complete or incomplete, simple, compound or complex. Besides,
its constituents, length, word-order, as well as communicative type: assertion, negation,
interrogation, exhortation are variable [3]. So, to analyze the sentence stylistically on the
syntactic level, we will admit that most common and currently used are two-member sentences
containing subject and predicate and perhaps, some secondary elements, having normal word
order and the function. Syntactic expressive means and stylistic devices of the English language:
An elliptical sentence is such a syntactic structure in which there is no subject, or
predicate, or both. The main parts of elliptical sentences are omitted by the speaker
intentionally in cases when they are semantically redundant.
based on
reduction of the
initial sentence
model: ellipsis,
aposiopesis,
nominative
sentences,
asyndeton;
based on
extension of the
initial sentence
model: repetition,
enumeration,
tautology,
polysyndeton, "it
is (was) he,
who...", the
emphatic verb "to
do", parenthetic
sentences;
based on change
of word-order:
inversion,
detachment;
based on
interaction of
syntactic
structures in
context: parallel
constructions;
based on
transposition of
meaning and
connection of
constituent parts:
rhetoric
questions,
parceling
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In poetry, the omission of words whose absence does not impede the reader’s ability to
understand the expression. For example, Shakespeare makes frequent use of the phrase “I will
away” in his plays, with the missing verb understood to be “go.” T.S. Eliot employs ellipsis in the
following passage from “Preludes” [1].
The possessive “your” is left out in the second and third lines, but it can be assumed that
the woman addressed by the speaker is clasping the soles of her own feet with her own hands
[2]. Ellipsis saves the speaker from needless effort, spares his time, reduces redundancy of
speech. Elliptical structures may also reveal such speakers' emotions as excitement,
impatience, delight, etc. As a stylistic device, ellipsis is an effective means of protagonists'
portrayal.
In the poem “Dream Variations,” Langston Hughes uses ellipses to indicate a dreamy
trailing-off, a kind of pause in rhythm that lets the reader take a moment to picture the dream
he describes [3]:
These are very famous lines from “Stopping by the woods in the snowy evening” of Frost.
Here the person is standing in the snowy evening along with his horse. He is pondering at the
beauty of surrounding when his horse alarmed him. He is ready to go back because he has to
perform worldly duties and tasks. Here through repetition, the poet wants to express his
devotion towards his responsibilities and also gives rhythm to the lines [2].
Parallelism is a stylistic device of producing two or more syntactic structures according
to the same syntactic pattern:
You curled the papers from your hair,
Or clasped the yellow soles of
In the palms of both soiled hands.
Rest at pale evening . . .
A tall, slim tree . . .
Night coming tenderly Black like me.
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The parallel structures in the poem “We real cool” by Gwendolyn Brooks” give it a little
waltz and jingle feel. Each parallel sentence follows a basic pattern, starting with pronouns and
ending with nouns and adverbs, except the first line, which ends with an adjective [1].
Syntactic parallelism is polyfunctional. It creates rhythm and is typical of poetry. It makes
speech persuasive and is a feature of the publicist and oratory styles. It underlines important
information and is widely used in everyday speech. Parallel structure creates fluency in writing
and enhances readability, as it uses patterns of words in a way that readers can easily follow,
and relate them to each other. It makes language appear refined, especially in writing and
advertising. It also lends consistency to professional writing, as it provides rhythm and balance
that lead the readers to the exact idea, without any misguidance. In addition, parallel structures
synchronize, repeat and emphasize the words and thoughts of the writers.
In conclusion, the aim of this study was to analyze phonetic stylistic devices and
expressive means in poems as well as to analyze which functions, they carry out in poems.
What’s more, the results yielded by the data analysis and the benefits of literature received
positive perceptions. It is suggested that the analysis of linguostylistic means should be made
clear to people who are studying stylistics at the very early of the course.
References:
1.
Vyshenskaya Yu. P. (2023). Phonetic stylistic devices in late medieval English courtly
chivalric poetry. Philological sciences. Theoretical and practical issues. 3, 189-192.
2.
Klychkova M. A. (2021). Stylistic techniques in modern English song discourse. Teacher
XXI century, (2-2), 376-385.
3.
https://poetry4kids.com
We real cool.
We Left school.
We Lurk late.
We Strike straight.
We Sing sin.
We Thin gin.
We Jazz June.
We Die soon
