The connection of S. with other branches of S. 1

Phonetical Expressive Means
They serve to provoke a certain accustic effect, giving prominance to the utterance and rising emotions in the reader. The sounds themselves, though they have no extra-lingual m-ng, possess (or seem to possess) a kind of expressive m-ng. A.Poe procalimed: “The sound must seem an echo to the sense”.
Euphony (многозвучие) – is the coordination b/w the m-ng and the sound to produce an artistic effect, when the sound imagery corresponds to the general mood of the utterance.
E. is based on:
- the prevelance of the vowels, especially diphthongs and long vowels
- sonorants
- voiced consonants (tone prevails over the noise; tone is melody)
Ex. Byron “Twilight”
“Death Of a Hero”, Augustin, the discription of tulips
Thus, we see, that not only separate sounds, but cluster of sounds may be repeated, produce a certain effect (“So all day long the noise of battle role” – the noise of the altilary)
Patterns of sound repetition:
a) assonance: great – fail
b) alliteration: great – grow
c) consonance: sand – hand
d) pararhime: great – greet
f) riversed rhyme: sand – sell
g) rhyme: great – date
Alliteration – is the repetition of the innitional consonants in neighbouring w-ds. It’s been a conventional device of Eng. poetry. It dates back to OE poetry, which was built on it. It was widely used by Eng. writers from the time of Beowulf. Folklor, proverbs, sayings, book titles are often based on it.
Ex. “Last Leaf”, “Pride And Prejudes”, “Silver Spoon”, “Swan Song”...
Functions:

• 
  aims at producing a melodical and emotional effect
  
• 
  it consolidates the sense of the utterance (integratinf function)
  
• 
  helps to render special shades of m-ng
  
• 
  the excessive use of A. may create an ironic effect (She’s got three things that matter in a wife, she told me, - breeding, brain and beauty).
  

The use of no-innitial consonants in successive stressed syllables may be considered a pattern of alliteration – zero-consonant repetition.
Ex I’m the heir of all the ages
Onomonotopia – is a deliberate use of w-ds, in which sounds immitate natural sounds.
Many linguists and poets ascribe some permanent m-ng to certain sounds: [i,m,n] are suitable for tender poems; [k,t,r]+back vowels convey some agressive m-ng. However, the statement of the sound-symbolists, that certain m-ngs are attached to certain sounds is not always true.
O. is subsidiary to sense; it strengthens the m-ngs expressed in a w-d. O. Is the repetition of sounds, which helps to create a certain effect. O. Is often combined with alliteration.
Essonance – is a repetition of vowel sounds in neighbouring w-ds.
Ex. And the rowen never fleeting is seating, still is seating, still is seating on the palid
bust of... (“Raven” by A.Poe)
The main function of the E. – melodious, rhythmical and intensifying.
Rhythm (Galperin) – is a regular altonation of similar or equal units of speech
The factors that enchance the R. in prose are:

• 
  parallel constructions
  
• 
  homogenious parts
  
• 
  sound repetition
  
• 
  the equal length of s-ces
  
• 
  polysyndeton
  
• 
  asyndeton
  

The greater regularity and balance help to create rhythmical prose. R. is always a periodisity, opposition, flow, movement.
Unit of poetic R.: syllable lies at the basis of meter (jambic – “Мой дядя самых честных правил…”; trocky – stressed::unstressed; anapest; dacktil; amfebrac)
Unit of prosaic R.: synt. str-re (phrase, syntagma, s-ce). Important feature – changability.