what is the difination for alliteration?
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its a poetic device where the first sounds in the words in a sentence are the same\neg: Five fathom full the father lies\nnotice the repetiotion of the f sound. it gives a rythmic effect to the sentence
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Palindromes.  The same fowards as is backwards.  Like "Madam, I am Adam."
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SYMBOLS  \n\n         I AM
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Dont worry , I know the book that has done it for you.\nthat is :"Compilers: Principles, Techniques, and Tools. Alfred V.                    Aho, Ravi Sethi, Jeffrey D.Ullman"\nif you could not reach that book search its slides on the web or refer to Jeffry D.Ullman web site to get lecture notes at: http://infolab.stanford.edu/~ullman/\nit has a complet source code for a lexical analyzer for a sample grammar.\nat first step you must write a garmmar that has no left recortion\nand for any nonterminal write a function that calls other nonterminals or matches terminals.
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All\nDay\nI\nDream\nAbout\nSex
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[i]  = I\n[d]s = does (without the s it would be do)\n[t]  = to or the\n[o] = of\n\nAnyway I think all the [ ] are suppose to be abbreviations and these are the most likely.◘
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Joyeux Paques!\nPaques with ^ on a, I don't know how to do!
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It is a figurative form of alliteration. Alliteration is a stylistic device, or literary technique, in which successive words (more strictly, stressed syllables) begin with the same consonant sound or letter. Alliteration is a frequent tool in poetry but it is also common in prose, particularly to highlight short phrases. Especially in poetry, it contributes to euphony of the passage, lending it a musical air. It may add a humorous effect. Related to alliteration are assonance, the repetition of vowel sounds, and consonance, the repetition of consonant sounds.\n\nAlliterative verse in one form or another is shared by all of the Germanic languages. In the English language, alliteration occurs in Old English poetry, of which it was a central component. In the Romantic era, it was once more given attention: the Romantics were generally interested in making poetry more musical, and in the ancient heritage of their native languages. Richard Wagner, for instance, used alliteration extensively in his operatic texts. (cf. Stabreim)
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Alliteration - The commencement of two or more words of a word group with the same letter, as in Apt Alliteration's Artful Aid \n\nAllusion - A passing or casual reference; an incidental mention of something, either directly or by implication: an allusion to Shakespeare. \n\nAnalogy - A similarity between like features of two things, on which a comparison may be based: the analogy between the heart and a pump. \n\nAssonance - \n1. Resemblance of sounds.  \n2. Also called vowel rhyme. Prosody. rhyme in which the same vowel sounds are used with different consonants in the stressed syllables of the rhyming words, as in penitent and reticence.  \n\nBlank Verse - Unrhymed verse, esp. the unrhymed iambic pentameter most frequently used in English dramatic, epic, and reflective verse.\n\nImagery - The formation of mental images, figures, or likenesses of things, or of such images collectively: the dim imagery of a dream. \n\nMetaphor - A comparison that does not use the words; "like" or "as"\n\nMeter - Poetic measure; arrangement of words in regularly measured, patterned, or rhythmic lines or verses. \n\nOnomatopoeia -  The formation of a word, as cuckoo or boom, by imitation of a sound made by or associated with its referent.  \n\nPersonification - Giving an inanimate object human traits.\n\nRepetition - The act of repeating; repeated action, performance, production, or presentation\n\nRhyme Scheme - The pattern of rhymes used in a poem, usually marked by letters to symbolize correspondences, as rhyme royal, ababbcc. \n\nRhythm - Metrical or rhythmical form; meter. \n\nFree Verse - Verse that does not follow a fixed metrical pattern.\n\nSimile - A comparison using the words; "like" or "as"\n\nStanza - An arrangement of a certain number of lines, usually four or more, sometimes having a fixed length, meter, or rhyme scheme, forming a division of a poem.\n\nSymbol - A word, phrase, image, or the like having a complex of associated meanings and perceived as having inherent value separable from that which is symbolized, as being part of that which is symbolized, and as performing its normal function of standing for or representing that which is symbolized: usually conceived as deriving its meaning chiefly from the structure in which it appears, and generally distinguished from a sign. \n\nTone - To give a particular tone or inflection to. \n\nNext time, do your own homework!
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Associate each word with a "root word" on the meaning of the word. Then go through the whole list and see if you can associate each term with the "root word" you chose. Then associate the "root word" with the rest of the meaning.\n\nFor example:\nIrony - The use of words to express something different from and often opposite to their literal meaning. \n\nI will choose the word "opposite" from the meaning, since it is the word that mostly characterize the word "irony"\n\nHence, I will study: "Irony - Opposite"\n\nThen, once I am good at associating each of the words I need to study, I add the rest of the meaning. Mostly, if you remember the associated word, it will give you hints on the rest of the meaning.
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The standard usage is for this to be written as a single word.  Separating the words would create a different meaning.\n\nFor example:\n—My brother has troubleshooting skills.\n—My brother has trouble shooting ducks.
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"E" \n\n(eternity -> eternitE)
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[title]\nI.[topic]\n  A.[subtopic]\n    1.detail\n    2.detail\n  B.[subtopic]\n    1.detail\n    2.detail\nII.[topic]\n  A.[subtopic]\n   1.detail\n   2.detail\n\n\n\nand just keep this pattern going till you nneed to stop.
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# extract all "words" from a string\n  while ($string =~ /(&#92;w+)(?# match a "word" )/g) {\n    print "Matched `$1'&#92;n";\n  }\n\n----------------------------------------------------------\n\nUsing /&#92;G.../gc in scalar context allows you to "inchworm" your way through a string, as you've just seen. But a more practical application of this is extracting quoted text from a string:\n\n  # modified from code by merlyn (Randal Schwartz)\n  # on the Perl Beginner's mailing list\n  \n  $_ = q{whatever "this" 'line is'};\n  \n  push @elements, $1 while\n    /&#92;G&#92;s*"([^"]*)"/gc or\n    /&#92;G&#92;s*'([^']*)'/gc or\n    /&#92;G&#92;s*(&#92;S+)"/gc;\n  print map "<<$_>> ", @elements;\n  # <<whatever>> <<this>> <<line is>>
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A comma.\n\nExample:\n\n(The tribe attacked savagly), and (we ran) \n\n*the parentacies denote where each independent clause is.
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(_o_)   Do you know what these symbols mean?\n\n (_x_)\n  \n (_!_)
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Yes, I would say it is. Sounds good. Be forewarned that alliteration is best taken in small doses. It can overwhelm the poem and the reader; then, there you are!\n\nal·lit·er·a·tion (ə-lĭt'ə-rā'shən)\n The repetition of the same sounds or of the same kinds of sounds at the beginning of words or in stressed syllables, as in “on scrolls of silver snowy sentences” (Hart Crane). Modern alliteration is predominantly consonantal; certain literary traditions, such as Old English verse, also alliterate using vowel sounds.[From AD– + Latin littera, letter.]\nthe repetition of the same starting sound in several words of a sentence. Probably the most powerful rhythmic and thematic uses of alliteration are contained in Beowulf, written in Anglo-Saxon and one of the earliest English poems extant. For example:\n\nÐa com of more under mist-hleopum\nGrendel gongan; Godes yrre baer...\n\n(Then came from the moor, under the misty hills,\nGrendel stalking; the God's anger bare).\n— Beowulf, Book XI The poet was drawing here on an even older Germanic tradition, just as he was setting a high standard for other poets in Anglo-Saxon, who produced such alliterative works as Widsith, Deor's Lament, The Wanderer, The Seafarer, and The Ruin. Although the tradition lay dormant for centuries, an alliterative revival occurred in England in the mid-1400s, as evidenced by such masterworks as Piers Plowman and Sir Gawain and the Green Knight (see Langland, William; Pearl, The). Shakespeare parodies alliteration in Peter Quince's Prologue in A Midsummer Night's Dream:\n\nWhereat, with blade, with bloody blameful blade,\nHe bravely breach'd his boiling bloody breast.\nModern poets have continually renewed the possibilities of alliteration, e.g., Gerard Manley Hopkins's “Pied Beauty”:\n\nGlory be to God for dappled things...\nLandscapes plotted and pieced—fold, fallow and plough;\nAnd áll trádes, their gear and tackle and trim.