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A syllable is a sequence of speech sounds (formed from vowels and consonants) organized into a single unit. Syllables act as the building blocks of a spoken word, determining the pace and rhythm of how the word is pronounced.
The three structural elements of a syllable are the nucleus, the onset, and the coda.
Syllables can be structured several ways, but they always contain a nucleus, which is (usually) formed from a vowel sound. The nucleus is the core of the syllable, indicating its individual “beat” within a word; the number of syllables in a word will be determined by the number of vowel sounds forming their nuclei.
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the minimal articulated unit of speech, consisting of one or several sounds that form a compact phonetic entity and that occur during one chest pulse. Proponents of various theories concerning the syllable believe that a syllable is produced by one muscular contraction, by modulation (narrowing and widening) of the pharynx, or by the degree of sonority and the order in which sounds are uttered.

A syllable is composed of a beginning (onset), a peak (nucleus), and a final part (coda). A peak is formed by simple vowels (ma-ma), by sonorants in some languages (Czech prst, “finger”), and occasionally by obstruents (psst!). A syllable’s beginning and end are formed by one or more consonants; in some languages a syllable may consist only of a peak (o-ni, “they”). Syllables are closed when they end in a consonant and open when they end in a vowel. They are uncovered when they begin with a vowel and covered when they begin with a consonant. The commonest syllable structure, found in all languages of the world, is consonant followed by vowel.

Division into syllables often does not correspond to division into morphemes. In the word ruchka (“handle”), morphemes for example, there are two syllables (ru-chka) but three morphemes (ruch-k-a). In syllabic languages, such as Chinese, morphemes are generally monosyllabic and syllable and morpheme boundaries coincide. In such languages, the beginning of a syllable is contrasted to its end, which is limited to certain permissible sounds.


References in periodicals archive ?
Even though Byron mitigates his earlier attacks on Scott by acknowledging the Scottish poet's "triumph" over the "fatal facility" of the octosyllabic verse he employed in The Lay of the Last Minstrel, it is clear from the letter that Byron still regards the heroic couplet as the form best suited for the English language, "our language," thereby linking poetic meter with national identity.
608), but his octosyllabic stanzas, each composed of a quatrain plus a concluding couplet, rein in and offer a critique of any impulse towards the sublime.
The 1600+ octosyllabic verses represent a rather jumbled parade of explicitly designated historical characters--L'Outrecuide (the Proud Man) is none other than controversial French colonialist and Catholic polemicist Nicolas Durand de Villegagnon; L'Affame (the Starving Man) is actually strident Catholic apologist Artus Desire--mixed with such more traditional allegorical figures as Truth and the Church.
Decimas "Some of the decimas May come in octosyllabic or and a few of the shorter hexasyllabic meters, aguinaldos show real in- "Hexasyllabic decimas spiration, and many a dealing with love and Spanish poet has not adventure and especially written better poetry" with biblical traditions, (Espinosa, 1918, p.
There is a strange blend here of visceral descriptiveness and metaphysical abstraction, carried by the Marvell-like octosyllabic couplets.
It is a startlingly complex and memorable image, especially coming at the tail of an otherwise rather light-hearted bawdy poem in Burnsian octosyllabic couplets.
Not much can be said about Morris' meter, however, which does not even share the octosyllabic consistency ofTennyson's "Mariana.
The lyrical, octosyllabic stances (pronounced in soliloquy, as in several of Corneille's tragedies), in which the actor-become-martyr renounces the false pleasures of the world for death leading to celestial light, seem to capture a moment of extratheatrical truth.
In this translation, Glowka renders Wace's rhymed octosyllabic couplets into unrhymed English iambic tetrameter, preserving the line structure and imitating the cadences of the original French in Ivor Arnold's two-volume edition.
We agreed on Marvellian octosyllabic rhyming couplets and that he would start the ball rolling.
Thus, for instance, the French form of octosyllabic couplets was introduced but, as Curran implies, it was net always skilfully handled by those writing in the vernacular.
Similarly, the interpolated "Rex tremendae" also takes shape as a mensuration canon, this time pianissimo in rising octaves matched to the octosyllabic structure of the textual phrases.