language. Essentially, as the example above from
The Battle of Maldon
shows, alliteration links two or three stressed syllables in the long line
in terms of identical initial consonants. This itself demonstrates that
alliteration has a stylistic and functional meaning not dissimilar to
rhyme in later poetry. There are still questions to be asked, however,
notably, which syllables alliterate,
how many syllables alliterate, and
which sounds count as identical?
Usually alliteration is based on the first stressed syllable of the second
half-line and the initial consonant of that syllable must alliterate with
the stronger of the two stressed syllables in the first half-line. I cannot
here go into the vexed question of how we determine which syllable that
might be, but roughly speaking nouns,
adjectives, infinitives and par-
ticiples are stronger than verbs and adverbs. The other stressed syllable
of the first half-line may, however, participate in the alliteration also.
The same, however, is not true of the second stressed syllable of
the second half-line, which can only participate
in alliteration in very
special circumstances which are outside the scope of this work. There
are exceptions to the above, but they are mostly a matter of literary style,
and do not affect the fundamental linguistic points.
I still have to address the question of which sounds count as identical.
The essential position is that only one single consonant is involved in the
alliteration. But that leaves three cases to consider. Firstly, it is normally
the case that if there is an initial consonant cluster,
then alliteration still
remains associated with only the initial consonant, as can be seen in
another line from the same poem as before:
Dostları ilə paylaş: