1. 1 Phonological Overregularity 语音上的不规则现象

2.  Phonological overregularity is characteristic of literature, especially poetry. It consists of two aspects, namely phonemic patterning （音位上的构形） and rhythmic patterning （节 奏模式）.

3. Phonological Overregularity  Phonological overregularity consists of two aspects, namely phonemic patterning （音位 上的构形） and rhythmic patterning （节奏模 式）.

4. Phonemic Patterning Phonemic Patterning 音位上的构形 alliteration consonance assonance onomatopoeia rhyme

5. Alliteration  Alliteration is the repetition of the initial consonant cluster in stressed syllable.  It is usually used to form a connection or a connection of contrast.

6. Alliteration  what is meant by the initial consonant cluster?  In English, a syllable consists of three parts: an initial consonant cluster, a vowel or diphthong and a final consonant cluster.

7. Alliteration  The initial consonant cluster is formed by 0, 1, 2, or 3 consonants. For example, the longest initial consonant cluster ‘ strong ’ /str/, where there are three consonants.  cvc cvc=alliteration 头韵  last but not least  now and never  safe and sound  speech is silver, silence is golden.  great and grand ， pride and prejudice

8. Alliteration  Freedom is not given free to any who ask, liberty is not born of the Gods. She is a child of the people, born in the very height and heat of battle. (F. Norris)  Cold are the crabs （蟹类） that crawl on yonder hills, Colder the cucumbers that grow beneath … (Edward Lear, Cold Are the Crabs) as cool as a cucumber: cool and calm

9. Alliteration  Freedom is not given free to any who ask, liberty is not born of the Gods. She is a child of the people, born in the very height and heat of battle. (F. Norris)

10. Alliteration  Cold are the crabs （蟹类） that crawl on yonder hills, Colder the cucumbers that grow beneath … (Edward Lear, Cold Are the Crabs) as cool as a cucumber: cool and calm

11. Assonance  Assonance is the repetition of identical vowel or diphthong in stressed syllables. It is one of the important phonological features of literary texts.  cvc cvc= 元音垒韵

12. Assonance  e.g. (4) Think from how many trees  Dead leaves are brought  To earth on seed or wing …  (Vernon Watkins, The Compost Heap)

13. Assonance  trees, leaves and seed  the cycle of life  musical quality of a literary text  meaning of a literary text

14. Consonance  Consonance is the repetition of the final consonant cluster in stressed syllables.  cvc cvc= 和声  e.g.

15. Consonance  Like one in danger, Cautious,  I offered him a Crumb  And he unrolled his feathers  And rowed him softer home —  Than Oars divide the Ocean.  Too silver for a seam －  Or Butterflies, off Banks of Noon  Leap, plashless as they swim.  (Emily Dickinson, A Bird)

16. Consonance  (6) Nothing lovelier than that lonely call,  Bare and singular, like a gull,  And three notes or four, then that was all.  It drew up from the quiet like a well,  Waited, sang, and vanishing, was still.  (Jon Swan, In Her Song She Is Alone)

17. Onomatopoeia  Onomatopoeia is ambiguous and can be interpreted in several different ways. For our analysis, two interpretations are relevant.  Firstly, it refers to the use of words formed in imitation of the natural sounds associated with the object or action involved.  Secondly, the words which suggest natural sounds reinforce the meaning conveyed in the text unit.

18. Onomatopoeia  Onomatopoeia is referred to by Alexander Pope as a necessary part of a poet ’ s technique.

19. Onomatopoeia  The Brook  I chatter over stony ways,  In little sharps and trebles,  I bubble into eddying bays,  I babble on the pebbles.  (Tennyson, The Brook)

20. Rhyme  Rhyme is defined in Concise Oxford Dictionary as “ identity of sounds between words or verse lines extending back from the end to the last fully accented vowel and not further ”.  Thus, a rhyme word may in theory have one, two, three or more syllables, though in practice rhymes of more than two syllables are rare in serious literature.

21. Rhyme  One-syllable rhymes, which are in the vast majority, are referred to as masculine rhymes  two-syllable rhymes are called feminine rhymes.  Other kinds of rhymes may simply be called poly-syllabic rhymes.

22. Rhyme  She walks in beauty, like the night  Of cloudless climes and starry skies;  And all that ’ s best of dark and bright  Meet in her aspect and her eyes;  Thus mellowed to that tender light  Which heaven to gaudy day denies.  (Byron, She Walks in Beauty) masculine rhymes

23. Rhyme  Reflections on Ice-breaking  Candy  Is dandy,  But liquor  Is quicker.  (Ogden Nash) feminine rhymes

24. Rhyme Rhyme  Take her up tenderly,  Lift her with care,  Fashion ’ d so slenderly,  Young, and so fair!  (Thomas Hood, The Bridge of Sighs) masculine and poly-syllabic rhymes End rhymes occur at the end of verse lines

25. Rhyme Rhyme  Rhyme which occurs within a verse line is called internal rhyme.  Far from city ’ s strident jangle as I angle, smoke and dream. (Newman Levy, Midsummer Jingle)

26. Rhyme Rhyme  Rhyme which is formed by repeating either the vowel (or diphthong) or the final consonant cluster is called half- rhyme (semi-rhyme).  Hope is the thing with feathers  That perches in the soul,  And sings the tune without the words  And never stops at all.  (Emily Dickinson, Hope Is the thing with Feather)

27. Rhyme Rhyme  a rhyme-scheme （韵脚）

28. Rhyme Rhyme  For I have known them all already, known them all —  Have known the evenings, mornings, afternoons,  I have measured out my life with coffee spoons;  (T. S. Eliot, The Love song of J. Alfred Prufrock)