Alliteration

The Stabreim is a rhyme style and the German-language equivalent of the alliteration. However, the term is used primarily in connection with Germanic poetry. In the barrep, there is an equal number of adjacent sounding syllables. This means that words that stand side by side start with an equal sound. Words when they start with the same consonants or any vowel of the same quantity.

In principle, the stylistic means of alliteration and the concept of rod rhyme mean the same thing: namely, the fact that the stressed tribal syllables of neighboring words have the same initial character. Let’s look at a simple example from advertising.

Milk makes tired men happy.
Westdeutsche Milchwirtschaft created this advertising slogan in the 1950s. All initial noises, in this case the consonant m, are identical. Thus the verse is alliterative and the individual words: they thus form a staff rhyme. If the rod rhyme is thus understood, it is clearly equated with the alliteration. For more examples, see the sample alliteration.

However, the bar rhyme can also be delimited. In this case, he is reserved for a particular promise, and forms the basis for the so-called “Stabreim verse”. This is from the Germanic verse seal and was the metrical basis for the verses Dróttkvætt and Fornyrðislag as well as their original form, the Germanic line.

Note: Below we present the staff rhyme in the Germanic poetry. This means that in the following section the staff rhyme is considered as part of the staff rhyme verse, and not just as a synonymous concept of alliteration, although this is often the case in the department of German.

Stabreim and Langline
The principle of the rule of the staff should be shown by means of the Germanic line. After all, the staff rhyme for the old German poetry was characteristic until it was replaced by the final rhyme. It is obvious to portray him on the long line, which was already the verse of the Germanic heroic element, and is the source of further verses.

The line is divided into two short lines. These are called Anvers and Abvers. Anvers and Abvers are linked by means of staff. The short lines are divided into two four-fourths or long-timers. The short lines are separated by a break (redepause). Furthermore, both short lines have two elevations which carry the bars.

Often Scyld / Scefing || sceaþena / þreatum
Scyld has often grim enemies
The example is taken from the heroic poem Beowulf. Anvers and Abvers are separated by a caesura (||), both of which are divided into two long clocks (/). The elevations lie on scyld, scefing, sceaþena, and þreatum. This means that the bars could spread to these words.

But now it is so that in the long line only the anvers can carry rods on both emphasized words, whereas in the abverb only the first emphasized word should have a staff. According to this pattern, the individual rods are also set in the example, scyld, scefing, sceaþena staben, and are therefore connected to each other by the rod’s rst, because they have the same initial consonant (s).

This results in the example 1 2 || 3 4. That is, the staff rhyme is on the first, second, and third stressed words. The combinations 1 2 || are also conceivable 3 4 and 1 2 || 3 4.

Brief overview: importance, function and function of the staff room
In principle, the bar rhyme can be equated with the alliteration. Then both terms describe the fact that subsequent words have the same initial character. However, the staff rhyme can also be regarded as a binding element of the Germanic line, and has some peculiarities.
Nevertheless, both terms have in common that they relate to single words directly to one another, which is the result of the binding. Sometimes the rhyme is able to combine two or more words with each other – even more strongly than the meter – and thus make them a unit.
In modern times, alliterative verses, or even rhetoric, are used primarily in advertising. This is due to the fact that successive words with the same initials can be better remembered and thus remain in the memory.
Often, the rule of thumb is characteristic for the so-called hook style. Originally, a sense unit terminates in the line of the line and is only completed in the following line. The verse thus acquires a sentence or sense of meaning that “extends” beyond its end.

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