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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 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 .
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.
Old English metre is the conventional name given to the poetic metre in which English language poetry was composed in the Anglo-Saxon period. The best-known example of poetry composed in this verse form is Beowulf, but the vast majority of Old English poetry belongs to the same tradition.
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 Lay of the Children of Húrin (c. 1918–1925), an unfinished poetic version of the story of Túrin, going as far as Túrin's sojourn in Nargothrond.It exists in two versions, both incomplete; the first being 2276 lines long, the second containing only 745 alliterating lines, corresponding to the first 435 lines of the first version.