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Alliteration essentially involves matching the left edges of stressed syllables. Early Germanic languages share a left-prominent prosodic pattern. In other words, stress falls on the root syllable of a word, which is normally the initial syllable (except where the root is preceded by an unstressed prefix, as in past participles, for example).
Alliteration is the repetition of consonant sounds at the beginning of words. Example: "...many a man is making friends with death/ Even as I speak, for lack of love alone." (Edna St. Vincent Millay's "Sonnet 30"). Alliteration is used by an author to create emphasis, to add beauty to the writing style, and occasionally to aid in shaping the mood.
Alliteration is the repetition of syllable-initial consonant sounds between nearby words, or of syllable-initial vowels if the syllables in question do not start with a consonant. [1] It is often used as a literary device. A common example is "Peter Piper picked a peck of pickled peppers".
Alliteration is a special case of consonance where the repeated consonant sound is at the stressed syllable, [2] as in "few flocked to the fight" or "around the rugged rock the ragged rascal ran". Alliteration is usually distinguished from other types of consonance in poetic analysis and has different uses and effects.
The first (of 10 lines) is written in normal alliterative metre, while the second (6 lines) includes internal rhyme in each line. First published in a poetry collection called A Northern Venture (1923). An unfinished Old English poem based on the Atlakviða (68 lines in two separate sections), published in The Legend of Sigurd and Gudrun.
The rules by which alliterative verse was composed in Middle English are unclear and have been the subject of much debate. No metrical rules were written down at the time, and their details were quickly forgotten once the form died out: Robert Crowley, in his 1550 printing of Piers Plowman, simply stated that each line had "thre wordes at the least [...] whiche beginne with some one letter ...