Assonance examples from fiction. Russian language and literature

(From the French assonance - consonance)

This term, unfortunately, has two meanings.
Assonance refers to both one of the varieties of rhyme and repetitions of vowel sounds in poetic fabric. Assonance as a rhyming phenomenon will be discussed in the article on rhyme. And here we will talk about assonance as the sound pattern of a verse.

Like alliteration, assonance serves as a stylistic device that enhances the expressiveness of emotional speech. However, assonance is superior to alliteration in its aesthetic effect. And it’s not that alliteration is worse than assonance. It’s just that assonance comes across much less often than alliteration, which is due to an objective reason. In our language, vowel sounds are several times smaller than consonants, while their occurrence in speech is only one-fifth lower than the occurrence of consonants. Therefore, it is relatively more difficult for vowels to stand out from the usual sound background into perceptible repetitions. The effect of assonances can be compared to the effect of precious stones:

Oh, spring without end and without edge -
An endless and endless dream!
Block

The rooster crows, it's dawn, it's time!
There is a mountain of silver underfoot in the forest.
Zabolotsky

Assonances are especially frequent in folk poetry and in white original verse, where they peculiarly compensate for the lack of rhyme:

Grass spreads across the meadows.
What a grass, what an ant!

Down Mother Volga,
Along the wide expanse...

This folk style element was brilliantly recreated by Lermontov in the speech of the old soldier, the nameless hero of the Battle of Borodino:

Our ears are on top of our heads,
A little morning the guns lit up
And the forests have blue tops -
The French are right there.

Assonances pull words together into a single semantic and emotional knot. Here is how, for example, N. Zabolotsky conducts the “musical theme” of sirens:

And the first siren sang:
“Come to me, Mr. Odysseus!
I will definitely heal you
With my zealous love!
The second promised wealth:
“Come to me, shipmaster, come to me!”...
And the third promised oblivion
And the cup rose with wine:
“Drink and you will find healing
In the arms of a magical dream!

If the poet, following an artistic task, consciously avoids assonance, then verbal images stand out more clearly and are perceived as a gradation that enhances the impression of the typical or, on the contrary, highlights the inconsistency of feelings. For example, A. Blok possessed the secrets of such charm:
In taverns, in alleys, in twists...

Night, street, lantern, pharmacy...

Again with you... Humiliated, angry and happy.

Sometimes assonances can evoke certain specific associations in us. In the lines of S. Marshak:

And you will go into the forest and wilderness,
The dry land smells like formic alcohol -

the ear emits a resounding “ah”: oh, I wish I could get lost in the wilderness. Or the assonances in Fet’s poem “Cuckoo”:

Lush tops bend,
Mleya in spring juice;
Somewhere far from the edge
It's as if you can hear: cuckoo.

As can be seen from the examples, assonances play not an independent, but a subordinate role: they depend on the nature of the experiences expressed by the poet.

Other terms on the site

Free verse (His history and nature)

Free verse is any text arranged in a column, which gives it an external resemblance to poetry. None of the currently known definitions of free verse are complete and therefore accurate. The most accurate (though overly long) definition of free verse can only be a listing of all the properties of verse under a minus sign. Because of this, it is a mistake to classify free verse as poetry.

Dissonance, unlike assonance, is known in dictionaries under one meaning. This term served to name a rhyme in which the dissonance of stressed vowels is brightened up by the consonance of neighboring sounds, in contrast to assonant rhyme, where consonance rests primarily on the coincidence of stressed vowels.

Metaphor l in a broad sense - any word or expression used in a figurative sense: the clock is running, time flies, remorse or its awakening, etc. Such metaphors, common in our speech, refer to phenomena of the national language, and not artistic figurativeness, if , of course, in the system of poetic text they do not acquire other semantic shades.

Rhythm illustration

The methods of using assonance are determined primarily by the articulatory and acoustic features of vowels and their role in the speech flow. The “singing” acoustics of vowels provides them with a central position, the role of a supporting link in the formation of the melody and rhythm of speech. Vowel sounds, especially stressed vowels, create the rhythm of poetry. But assonance can illustrate the rhythm of movement depicted in the text. Thus, in B. Pasternak’s poem “Mirror” one can observe an intermittent assonance, the meaning of which is not immediately clear.

In the holdO using A r I ets I h A w To A To A To A O,

TO A h A ets I tulle and straight

Dor ABOUT zhoy in s A d, in burel ABOUT m and x A os,

The hold runs towards the swing ABOUT.

T A m s ABOUT VR dreams A sk A chku in ABOUT spirit with A days I T

Small ABOUT y. There by the way

The front garden lost its glasses on the grass,

There's a Shadow reading a book...

In the first line there is multiple assonance of stressed and unstressed A towards the end of the line it is reinforced by the alliteration of three ka : bowls ka kaka O / Ka expected … .

Note that in connection with the reduction of unstressed vowels in the Russian language, predominantly stressed vowels are usually taken into account; unstressed ones (except for the high vowels U, I, Y) can only spread the assonance formed by the stressed ones.

In the second line this theme continues and ends with the word Ka hA etsI , the meaning of which explains that this entire sequence a a a a ka ka ka ka a a should have left the impression of a quick, small movement of the tulle when the window was open, and this impression should have been strong and clear enough to compensate for the lack of direct reference to the open window. Note that here it is precisely the abundance of unstressed A forms the rhythm of the small flickering of the edge of the tulle curtain, which is very important for the poet: such a rhythm will subsequently combine the movement of the curtain inside the room with the movement of a myriad of small leaves of the garden outside the window, symbolizing the outside world. Note that here and below, assonances “crawl” from one line to another, destroying the boundaries between lines; so the unity of rhythm overcomes the boundary between external and internal: what is reflected in the mirror and the reflection itself.

Only by finishing the second line can the reader discover the assonant rhyme dressing table - straight , framing the couplet and the image of the interior of the room. Word direct , highlighted with rhyme, may help a sensitive reader to pay attention to the fact that this internal space is organized by geometrically regular lines and shapes: dressing table and a window with tulle – rectangles, cup - circle. But in the third line it is most definitely revealed that the assonance is on O not only continues, but enters into a relationship of opposition with assonance on A. If A with many unstressed “flickers”, then O can only be percussive. Assonance on O immediately organizes the rhythm of the third line by alternating drums O/(A) – O A ́ O ́ A ́ ( A ) , subordinating this rhythm and the ongoing assonance to A .

The fourth line ends with the word dressing table, which now forms a repetition framing the quatrain and a triad of rhymes dressing table - straight – dressing table . The second series of alternating assonances, organized by alternating drums, begins with the same word O And A . But now the semantic content of the line tells us that in this case the assonance illustrates the rhythm of the swaying of the pine trees. As is known, they produce a rhythmic monotonous sound. We heard this sound in the third line, but did not yet recognize it, since the pines were not named, introduced into the field of our perception.

Rhythm-forming assonances are quite frequent and common; rhythm-illustrating ones are much less common.

Sound illustration. Onomatopoeia

Among the sound-illustrating assonances, the most obvious and provable is onomatopoeia. A rare example of vivid onomatopoeia is found in the fable of I.A. Krylov "Elephant and Moska". The dog's bark is illustrated by two surprisingly long assonant percussion rows A .

Seeing the word n A, n at n A n his me T A there is,

And l A I T b, and growl A T b, and rv A there is –

Well T A k and leze T V d r A hello with him!

……………………………………

In T T O- T about me and d ear with d ae T ,

H T oh I'm completely without d r A ki

Can n O n A is in b big for b And I To And.

Pus To A oh G ovor I t co b A To And:

« A th Mos To A! Z n A oh, oh n A si l b n A,

What l A it's on s l O n A!

It should be noted, however, that throughout the assonance series several series of alliterations appear (the corresponding letters are highlighted), some of them are involved in the illustration of barking and the growling that accompanies it.

Associative sound illustrations

Much more common is the illustrative use of assonance, which we will carefully call associative. The widely used term “sound symbolism” reflects, in our opinion, an insufficiently differentiated set of phenomena around which, since ancient times, many interpretations, explanations, and refutations have accumulated, commenting on which is not within the scope of our tasks. The term “phonosemantics”, which has become popular in our time, also already has its own history, adherents and opponents. The third term associated with explaining the physiological basis of the phenomenon we want to describe is “synesthesia.” This concept is interpreted even more ambiguously. The essence of the problem, perhaps, is that the phenomenon is considered by researchers of different scientific specialties, operating with information presented in different terminological systems. Thus, in a number of textbooks on medical psychology, synesthesia is presented as a perceptual anomaly, inherent in a small percentage of people who “suffer” from seeing black and white letters in color (in association with speech sounds) or hearing noise when perceiving silent video recordings; on the Internet, the term is interpreted in the reference book of diseases. Neurophysiologists explain this phenomenon by the proximity of the brain centers that provide the perception of different types of information (sound and visual).

Linguists, especially phoneticians, take synesthesia for granted, since human speech is a constant correlation of motor articulatory sensations with auditory ones, and the primary adjustment, coordination of the activity of articulatory-kinesthetic sensations with the data of auditory receptors occurs during the period of infant babble.

S.V. Voronin convincingly explained the origin of ZIS - sound-illustrating words - by imitative movements of the speech apparatus, and considered imitation of various phenomena. For example, imitation of the emotional involuntary gesture of repulsion, he believed (and cited the opinion of Charles Darwin in confirmation), gave rise to stretching of the lips among different peoples, which became the basis for the pronunciation of the English labiolabial [w], with which many sound-illustrating words that name something begin something unpleasant, repulsive. It’s hard not to relate this opinion to personal experience: in Russian speech, the interjection “Oooh!” scare a child or express dissatisfaction, prefix y- means removal: remove, leave; movement in depth - gorge, take root; this sound is found in the roots, which carry the meaning of depth, heaviness - depth, load, labor. The origin of this sound in the examples given is different, and the meaning is not very definite, but these are individual words, and in fiction we are talking about a context with figurative meaning and about repetition, drawing attention to itself, overcoming the threshold of perception.

A psycholinguistic study by A.P. was conducted on the material of the Russian language. Zhuravleva. In the books supplied by A.P. Zhuravlev's tables show the results of psycholinguistic testing, establishing correspondences between speech sounds and combinations of sounds, on the one hand, and the impressions they create, on the other. It is difficult to use tables in educating a reader and interpreting a work in class. Having in mind the goal of lowering the reader’s threshold of sensitivity in perceiving the sound of poetry, we consciously rely on the experience of analyzing literary works.

Vowel articulation is mainly a change in the shape of the resonator (mouth), that is, a transformation of space. It is not surprising that it is spatial sensations that are conveyed by assonance. Even in ancient rhetoric, the feeling of breadth and openness of space conveyed by the sound [a] was mentioned: when pronouncing it, the mouth opens wide, and the tongue is slightly pulled back and does not rise, leaving the space of the oral cavity free. M.V. Lomonosov called this sound majestic, solemn, joyful, and associated its sound with a feeling of spaciousness and freedom. Assonance on [a] occurs most often in contexts where we talk about a large space in general (undifferentiated), or about a wide space in the horizontal dimension.

In B. Pasternak’s poem “Golden Autumn” the line

Halls, halls, halls, halls

Elms, ash trees, aspens... ([Λsin])

speaks of a large space both lexically, syntactically, and phonetically. The lines of F.I. are filled with a feeling of solemnity and spaciousness. Tyutchev about a thunderstorm, in each of which two stressed [a] are highlighted from the four stresses of iambic tetrameter:

...When the first day of spring ABOUT m,

How frisky I Xia and games A I,

Rumble ABOUT even the sky is blue ABOUT m.

Graham I t color A you are young

That's d ABOUT The rain is splashing, dust is flying...

A – the most frequent sound in the Russian language, therefore its repetition often serves as a contrasting background for other assonances; at the same time, the shades of meanings themselves A become more obvious.

The sound [o] is also associated with the feeling of large space, but in the vertical dimension. Therefore, the assonance on ABOUT in lines from a poem by F.I. Tyutcheva so clearly interacts with assonance on A in the description of thunder and rain. The majestic tread of a huge elephant in I.A.’s fable. Krylova is presented in contrast with the low fussiness of the little

Look, you're already wheezing, huh? ABOUT I'm on my way Yo T

And l A I don't notice yours at all A yeah...

Quite clearly the assonance on ABOUT vertical objects stand out in the works of different authors:

1. In p ABOUT Another Carian cave, dear to hunters, lurks,
2. Page ABOUT ynye with ABOUT dreams all around bent like branches, and shadow
3. In ABOUT d her screen E n on in ABOUT le wandering in the windings
4. Ivy, my love ABOUT delving into rocks and crevices.

(A. Pushkin)

Emotionally ABOUT also contrasts with A : there is less light and joy in it, but more importance, grandeur and severity.

The spatial meaning of the sound [y] is a reflection of the movement of the articulatory apparatus: the oral cavity is covered with elongated lips, the tongue moves back and seems to be aiming down. Therefore, sound forms a series of repetitions where it is necessary to create a sense of depth or contrast the internal with the external: in the sound image of the Duma, in contrast to the wave

DU ma for DU mine, wave after wave... (F.I. Tyutchev “Wave and Thought”);

In chapter at Bine Siberian r U d... (A. Pushkin);

...other at gie others U it's good at pirated in the air U may the oars be powerful... (A. Pushkin) etc.

The emotional content of sound is revealed, for example, in the contrast of assonances on U and on A in the first line of “Spring Thunderstorm” by F.I. Tyutcheva:

L yu bl Yu thunderstorms U // in n A h A le m Aya …

Only in the first line the thunderstorm is traditionally a little frightening, but then the event turns out to be quite optimistic, thunder rumbles in the blue sky and assonance U nowhere else.

Sounds AND And E – narrow, the resonator space during their pronunciation is minimal; this is especially noticeable against the backdrop of “spacious” ABOUT And A at the end of each line:

...In s E Are you happy? E sleep, in the wilderness E Do you need me? ABOUT re,

rear E in conclusion E NI, T A m for simple ABOUT re...

(F.I. Tyutchev)

Assonance on AND , as a rule, is found in lines that talk about a large number or extent of something. The lines of A.S. are often cited as examples. Pushkin:

Roman inspired AND teln s y, old AND nn s th,

Excellent for AND nn s th, dl AND nn s th, dl AND nn s th,

Moral teacher AND teln s th and h AND nn s th,

Without elegs AND Czech And x idea.

The attentive reader will notice that in these lines almost every drum AND there is a "shadow": unstressed And or s, enhancing the overall impression.

"Anti-assonance"

In comparison with any assonance, the expressiveness of “anti-assonance” can be revealed - the emphasized “variegation” of stressed vowels. This happens in the initial sentence of I.A.’s story. Bunin "On the Other Side":

Http://prometheus.kai.ru/mif_r.htm.

Voronin S.V. Fundamentals of phonosemantics. pp. 76–77.

Zhuravlev A.P. Phonetic meaning. L., 1974; Zhuravlev A.P. Sound and meaning. Ed. 2nd, rev. and additional M., 1991.

Lomonosov M.V. Complete set of works. M.; L., 1952. T. 7. P. 211.

Literary text is a space organized in a special way. Its main task is to influence the emotional component of the reader’s personality, to touch his spiritual world, to touch the innermost strings. Nurturing beauty, awakening love for the world, its beauty, aesthetic impact - these are the guidelines that masters of artistic expression strive for.

Language imagery

One of these organizational “tools” of a literary text is assonance. We can see examples of its use all the time, without even knowing what it is. Here are the famous lines of Alexander Blok: “Oh, spring without end and without end / Without end and without end, a dream...” What do they sound like? Drawing, free, melodious. Like a breath of sweet, fresh spring air. What creates this amazing effect? Assonance. An example of how repetition of the same can ennoble speech makes it clear how effective it is. The emotional and visual images that are born thanks to this poetic technique are bright, strong, and really tangible. This creates detail.

Possibilities of artistic technique

This is what makes the assonance remarkable. Examples of textbook lines from “The Stranger” by the same Blok clearly demonstrate the beauty of the language, the euphony of the Russian style, the sublime romanticism of the image of the main character of the poem: “Breathing with spirits and mists / She sits down by the window.” Thus, in an artistic, and especially a poetic text, not only the semantic, but also the phonetic side of speech plays an important role. Convey the mood, create an emotional message, expose the “nerve” of the poem, its energetic intensity - all this can be done by assonance. Examples of its organizing role prove the wide possibilities of this artistic technique.

Origin of the phenomenon

As we have seen, the repetition of identical vowel sounds performs certain functions in speech. Masters of words - some consciously, some intuitively - often use this technique to give euphony and more vivid expression to poems. Assonance in literature originates from Greek rhapsodists and storytellers-musicians. The term came to our language from French and is translated as “consonance”. However, it has existed in Russian folklore and folk songs since time immemorial, since it was originally characteristic of our phonetic system. Classical assonance - poetry, or rather Lermontov’s poetic lines from Borodino, reproducing the sound structure of folk speech: “Our ears are on top of our heads...”.

On the issue of terminology

However, the nature of this phenomenon is dual. In literary criticism, it is usually understood as not only the use of identical vowels in words standing next to each other and in adjacent lines, i.e., sound writing, but also the consonance of final syllables, i.e., rhymes. True, it is proposed to take into account exactly the same vowels, but the consonants may not coincide. Examples of assonance in poetry in this regard look like this: “rain - you are waiting”, “fight - love”, “give - yes”, etc. These are the so-called assonance, or incomplete, rhymes. You can encounter them especially often in Mayakovsky’s poetry.

The role of assonance

So, alliteration and assonance are examples of the important role that sound writing plays in prose, and especially in poetic speech. These techniques make it possible to highlight the semantic centers of literary texts, the so-called keywords. Here is the famous Yesenin: “I don’t regret, I don’t call, / Withered in gold....” The combination of vowels “e”, “u/y” and consonants “l”, “ch”, “n” give the lines that famous softness and melodiousness for which Yesenin’s poetry is famous. And the incomplete rhyme “crying-overwhelmed” does not spoil the overall impression, but corresponds to it. Another striking example of the interaction of sound-writing means is Marshak’s children’s poems: “Across the blue sky / A roar of thunder passed by...” The repetition of the sonorant consonants “r” - rolling, sonorous, in combination with the repeating “o”, imitates with amazing accuracy the sounds of the wild elements. In the context of the entire poem - cheerful, cheerful, cheerful, and these sounds are perceived not alarmingly, warily, but life-affirmingly. And a completely different impression arises when reading Blok’s “Factory”. The very first phrase with the assonance “o” creates some kind of painful tension, unpleasant and ominous: “In... the house the windows are zsolty...”. Further, as one immerses oneself in the poetic text, the atmosphere of despondency and hopelessness intensifies. The initially set correct tone helped Blok to reveal the theme and idea of ​​the work not only on a figurative, semantic level, but also through the sound shell of key words. What conclusion can be drawn from the examples given? Such that assonance is the strongest means of poetic linguistic expressiveness.

Assonance and rhythm

It is characteristic that assonance is inherent primarily in the syllabic system of versification. Consequently, it also plays an organizational-determining role. After all, a certain number of vowels creates a rhythmic pattern of lines individually and the verse as a whole. In this regard, assonance can be compared to that in music. In addition, the phenomenon of sound writing is interconnected with the length of vowel sounds. Their coloring in certain moods is not constant. The environment around other sounds has its influence on them. Approximate rhymes, increasingly popular in modern poetry, may not entirely correspond to classical harmony, but they add dynamics and energy to rhythm and movement. And at the same time they can help convey, for example, the state of mental discord, dissonance, duality and even despair that overwhelms the author and his lyrical hero. This means that this artistic technique, in addition to its main purpose, is almost a universal tool of “poetic cuisine”. It is multifunctional, therefore, from this point of view, the use of assonance was recommended by such of our poets as Trediakovsky, Sumarokov, Derzhavin. The development of literary mastery improved and honed the ability to use the sound organization of the text not only directly, but also indirectly. If you look into the creative laboratory of any talented writer, study his drafts, you can understand what titanic work he does, selecting exactly those words, that sound shell that would be optimal for a given work.

alliteration assonance English phonetic

There are several approaches to defining alliteration. Domestic linguists call repetition of consonants in any positions alliteration. In Kvyatkovsky’s poetic dictionary, alliteration is understood as “the oldest stylistic technique of enhancing the expressiveness of artistic speech, especially poetry, by repetitions of consonant sounds.”

Western linguists call alliteration the repetition of both consonant and vowel sounds at the beginning of closely spaced stressed syllables: Pride and Prejudice, Apt Alliteration's artful aid. In a broad sense, alliteration is considered as the repetition of consonant or vowel sounds at the beginning of closely spaced stressed syllables: Doom is dark and deeper than any sea dingle (W. Auden). Alliteration also includes repetition of initial letters: Apt Alliteration's artful aid (Ch. Churchill). Alliteration is found in folk poetry and in the literature of all peoples of the world. The poems of Homer, Hesiod, Horace, Virgil and many later European poets - Dante, Petrarch, Ronsard, Shakespeare - are rich in this stylistic phenomenon.

As for the English-language tradition, the definition of the word “Alliteration” in Webster’s dictionary is characteristic: “The repetition usu. initially of a sound that is usu. a consonant in two or more neighboring words or syllables (as wild and wooly, threatening throng)” . The definition of this term in the Oxford English Dictionary is also indicative: “The commencing of two or more words in close connection, with the same letter, or rather the same sound.”

Thus, alliteration in the English linguistic tradition is distinguished by:

• 1) predominantly the initial position of the repeated sound in a word;
• 2) the distinction between alliteration and assonance is not as strict as in Russian linguistics.

Alliteration is a special stylistic device, the purpose of which is to create an additional musical and melodic effect of the statement. The essence of this technique is the repetition of identical sounds or combinations of sounds at a relatively close distance from each other. For example:

Secret and self-contained and solitary as an oyster. (Ch. Dickens.)

The possessive instinct never stands still through florescence and feud, frosts and fires it follows the laws of progression (J. Galsworthy.)

Alliteration, like all other sound means, does not carry any semantic function. It is only a means of additional emotional impact, a kind of musical accompaniment to the main idea of ​​the statement, which very indirectly reveals the mood of the author.

Not only words, but also sounds have meaning. The ability to purposefully influence a person and his emotions with the help of certain words and phrases is widely known. Some of them are capable of causing not only certain emotions, but are also subconsciously perceived as certain images.

The influencing potential of individual sounds of human speech is well known - the so-called phonosemantics, formed by the associative component of sounds and the letters that convey them. These direct connections between sound and meaning are very vague, difficult to clarify and can be refuted by many examples, but they are felt, transmitted and at least partially have a general significance - for example, sound-depicting associations (rumble - "R", smoothness and ductility - " L", boring - "N", shrillness - "I", gloom - "U", etc.).

For example, the sound [r] is perceived as dynamic, decisive, courageous; sounds [p] and [b] - as solid, solid and reliable; [l] and [n] - as feminine, light, tender. It has been noted that the sound [o] gives the impression of softness and relaxation, even emotional warmth (t-o-o-lyy k-o-o-t). The predominance of sounds [a] and [e] in the speaker’s speech is associated with emotional uplift. It is not without reason that this effect is used by recognized songwriters. But the sound [s] gives the impression of something gloomy, incomprehensible; a similar feeling arises from the abundance of consonants, especially hissing ones. Psychologists have found that the presence or predominance of the vowel [and] in words gives the impression of something small, and in some cases simply insignificant.

An original experiment was conducted: children and adults were presented with two abstract cardboard figures of the same shape, but different in size. At the same time, they warned that one of them is called “pim”, and the other is called “pum”. And then the subjects were asked to determine which of them was “nim” and which was “pum”. More than 80% were convinced that the small figure is called “nim” and the large figure is called “pum”. Figures with the names “li” and “lau” were presented similarly. Also in this case, the result was unambiguous: “li” is small, and “lau” is large.

The basis of adequate phonetics of an advertising phrase is its euphony and correspondence of the sound composition to the meaning of the advertising message. This is achieved by using words that are dominated by sounds with semantics similar to the general meaning of the advertising message.

In general, it is recommended to use simple words in advertising. They appeared first and most clearly convey the correspondence of the sound composition to the represented object or phenomenon. For example, in the word “light”, sonorous [l] and piercing [i] convey the idea of ​​weightlessness, airiness, and subtlety. In the word “thick,” the heavy, deaf [g] and rounded [o] create the impression of a plump, voluminous shape of the object.

With the help of a successful sound solution, a slogan can convey not only the general idea, but also give a subconscious orientation to the product category, the method and situation of using the product. For example:

Toothbrush "Aquafresh"; Cleans brilliantly - works headlong. Combinations (h, st, ts and sk) - sounds of a brush while brushing your teeth.

Drink "Mirinda": An explosion of taste. (Взр, в и вк) - convey the idea of ​​an explosion.

The assonance on “and” and “o” gives melodiousness and lightness to the text of the advertising message; concepts that are similar in meaning are presented at the lexical level - “lightness”, “convenience”, “freedom”:

What lies in the [a]basis of the [a]building [a]ni [o]buviESSO? Comfort[a] and k[a]mf[o]rt during x[a]baby, [a]sensation of s[a]b[o]dy and l[o]gk[a]sti..? Not only that. To p[an"a]t [a]s[o]buy culture of ECSO, don’t[a]bh[a]dim[a] p[a]pr[o]b[a]v[a ]to wear these [about] shoes for yourself (“ECSO”).

The alliteration of hissing and whistling in the following example creates a sound image of the soft movement of a car, which is associated with the graceful movements of a woman - a stylistic feature of a new car model designed for a female audience:

Nothing flashes [f]en[s]tvennost like a man's [s"]tyum ("Toyota").