Making Sense Of Sounds: Onomatopoeia

 

Tweet tweet tweet!!!

Whoosh… Whoosh…

Ka-boom!!!! Ka-boom!!!

There is a whimsicality about certain sounds in the natural world… the songs of birds or even monkeys playing. Some sounds possess a calm feeling, such as the booshy whoosh of a restless sea against the cliffs. Some are not so peaceful… such as a volcano erupting, fireworks, or animals fighting.They all invoke emotions…. playful, serene, fearful…

These sounds may be incorporated into poetry through onomatopoeia. Onomatopoeia  is simply an obnoxiously long (and weird to spell term!) referring to using action words in a sentence that sound exactly like what they say… essentially “word sounds”… words like POW, BANG, and CRASH!!!  

Onomatopoeia is a favorite device used in children’s poetry since it engages a child’s imagination. It works for adults as well!! Take this fun poem by Jaymie Gerard called Piddle-Paddle for example… it is most effective in its simplicity… the suggestions of the sounds facilitating particular actions:

“Piddle paddle, piddle paddle,

splash, splash, splash,

into the pool with a great big dash!

“Piddle paddle…” implies friends playing about, “splash splash….” making a commotion in the water… and finally “Into the pool with a great big dash”… suggesting a running cannonball!

Another example could include “The Fourth” by Shel Silverstein. Although Silverstein also wrote children’s poems, his work always had depth and used many poetic tools. Here, explosions of fireworks accentuate the action between the lines of this poem… as if a conversation were being interrupted during each cannonade…

“Oh

CRASH!

my

BASH!

it’s

BANG!

the

ZANG!

Fourth

 WHOOSH!

of 

BAROOM!

July

WHEW!”

Another form of onomatopoeia is known as phanopoeia, which is a sort of blanket perception based on sounds within the words themselves. D.H. Lawrence does this in a poem entitled “Snake”, where he used constant alliterations with the s consonant to simulate a hiss… suggesting a snake.

Onomatopoeia is such an engaging device! It really can incorporate different dimensions within poetry due to its sensory invocations, prompting readers’ imaginations based on sounds rather than imagery or cognitive suggestion alone! 

The very idea of a noise near you should instantly make your mind say, “What was that?!” Poof!!

Matt Elmore

Poetic devices 7: Internal rhymes

When I first started writing poetry, way back in my late teens, I wrote in a fairly simplistic style. I'll admit, most of my lines were written to be incorporated into rock songs as lyrics. But some of my verses stood alone as poems. I learnt to use end rhymes because that is often the way song lyrics are constructed. 

It was only much later in life that I unearthed internal rhymes. I discovered that can add another dimension to my poetry. They take a little more thinking than simply writing a poem with, say, ABAB end rhymes. Choice of words is important, but so too is attention to the sound of words or phrases. Poets can manipulate the pace and feel of poetry using internal rhymes.

This poem was written recently, and you'll see it exploits the idea behind internal rhymes. Line 7 in particular uses 3 rhymes (page, sage, age) in one line. It also uses another literary device known as enjambment, which will be the topic of another blog post.

Lines 3 and 4 weave in and out of two separate internal rhymes. It's a little more complex, but effective. Hopefully this creates a cool tempo and injects a little more interest into the composition:

All That Sin

Your grin will soon begin to thin
when all that sin is factored in.
Your smile will ail and guile will fail
when all your style begins to pale.
The arrogance of second chance
completes a dance of circumstance.
You close the page of sage; old age
departs the stage with silent rage.

It's not that difficult to master if you think about it. But word choice is vital. Think of phrases that also might rhyme inside a line. 

The poem Galoshes by Rhoda W. Bacmeister is very popular with school children. It's used to show them what can be achieved by using internal rhymes to create musicality and rhythm in poetry. It is also a useful example of onomatopoeia, alliteration, repetition and assonance - all in one poem!

Galoshes

Susie’s galoshes
Make splishes and sploshes
And slooshes and sloshes,
As Susie steps slowly
Along in the slush.
They stamp and they tramp
On the ice and concrete,
They get stuck in the muck and the mud;
But Susie likes much best to hear
The slippery slush
As it slooshes and sloshes,
And splishes and sploshes,
All round her galoshes!

There are more outrageous internal rhymes in poetry. You just have to look out for them. Or perhaps you can create your own? I will leave you with one more example from the absolute master of the internal rhyme - one of my favourites - the English spoken word artist Harry Baker. This is a verse from his poem Knees, taken from his Unashamed collection:

Knees

My knees make your knees 

weak at the knees.

For my knees your knees

get down on one knee.

They ask my knees to join your knees

in holy matrimo-knee.

My knees say wait and see.

My knees have been known to tease.

I love the multiple internal rhyming, and absoloutely adore the pun in line six! You can have a lot of fun with internal rhymes. Have a go!

Steve Wheeler

Image from OpenClipArt

Other posts in the Poetic Devices Series:

1. Simile

2. Metaphor

3. Repetition and refrains

4. Alliteration

5. Assonance

6. End Rhymes