The Rhythm Of The Poetry For Children

Introduction

Children are naturally attracted to the poetries and the rhythms, and that is why their responses to the poetry are instinctive and innate. The relationship of children with the poetry starts in the mother’s womb when the child becomes familiar with the rhythm of the mother’s heartbeat. The children always enjoy the rhythms and thus, they are hard-wired to the musical language. The rhythms of the mother’s heartbeat, songs, and poetry give pleasure to the children, and that is why they enjoy the rhyme, rhythm, and repetition of words. Tony Harrison, a poet, pointed out that the scansion of the poetry unites the attention and that is why the babies rock with rhythm, lullabies, and other poetries. The attraction towards rhythm is a universal phenomenon and that is why the focus of the poetries of children is the rhythm and the repetition of words. The rhythm of the poetry attracts not only the children but also the human being.

The best poetry says something that lasts. It leaves a footprint deep in the earth of what it means to be human (Styles, 2011)

Rhythms in poetry or lullabies amuse and pacify the child. Iona and Peter Opie are the scholars who showed in their studies that the children are highly attracted by the rhythms and that is what they exactly demand in poetries for them. Sometimes, the rhythm and the music of the poetries develop physical movement in the children, such as bumping toddlers up and down (Iona, 2002). The poetry is the expression of love, enhanced by the repetition of the rhythmic words. The child in the womb enjoys the heartbeat of their mother; after birth, he enjoys the lullabies of his mother; as he grows, he enjoys the poetry rhythm; and finally, at 7 or 8 years, the child enters into the domain of the playground rhymes. This shows that the rhythm plays a very effective role in the lives of the children.

Poetry is an intense form of language, which may be either universal or personal. Poetry can derive the minds either to enlarge the sympathies or to help develop a better understanding. Poetry gives pleasure to the children and can offer them insight into the different scenarios of being human. Poetry is another word for the expression of feelings, which provides a better way to give order to experience. Simply, poetry is a power, and a poet can use it in any way. Especially for children, poetry is highly dependent on the selection of words by the poets, and thus, the children imbibe poetry from people who bring it some passion. However, poetry may be different for adults because they can understand the poetry lines, can write new ones, and can be bold readers of demanding poetry.

“Children imbibe poetry from people who bring to it some ease and passion … young people can be bold readers of rich and demanding poetry – and writers of it too – when they come to it as participants, rather than as passive consumers.” (Blackwater, 2016)

The poetry and the rhythm of poetry matter a lot for the children because they are the ones who are experiencing the world through the poetry words for the first time. That is why it would not be wrong to say that children are a worthy audience for poetry.

“For the child possesses by nature that valuable quality all adult artists seek to retain or regain: the ability to be able to view the world … as if for the first time … unblurred by time or experience or tact or expediency.” (Helena, 2017)

The poetry and its rhythm are not only used by children for entertainment purposes, but they can also be used by religious writers to attract children towards the religion. The children are highly attracted by the lullabies, and after that, they can be attracted by the religious poetry and its lyrical hymns at the Church. The best thing about the Church is that it is not associated with either rich or poor children; instead, it is the place where everyone can experience the musical language on Sundays.

When poetry is used for religious purposes, then the children are attracted to the poetry and rhythm, and so they are attracted to religion. The children read the poetry and then understand that, which gives them a vision of what religion is. However, initially, in the United Kingdom, the poets were not that interested in children’s poetry. With time, the importance of poetry increased, and thus, the poets began to write lullabies and other poetry lyrics for the children to give them a positive vision of the world and the existence of human beings. Now, in the UK, the authorities arrange literary festivals and library events in which they offer poetry to the children. The purpose of this act is to get the children to indulge in the reading and understanding of the lyrics written by popular poets.

Morag, in her report about the poetry for the children, said that there must be some scales for the poetry of children. Every poet must be encouraged to write rhythmic poetry for the children through which they will get an approach to the concepts of life. The appreciation and encouragement to the poetry is creation which may leave a very deep impact on the lives of the children. This is because through the charge of poetry’s rhythms, various colorations of language, the configuration of words, and the mingling of the senses, children may feel a profound connection with interior spaces and can understand the wider links with the world.

In actuality, the rhythmic lyrics of the children’s poetry represent life in a beautiful way that the children will find a kind of life in itself. The rhythm of the poetry provides a self-sufficient delight to the children, which helps them to look forwards to their future. Also, the poets can use different concepts to convey positive messages to the children, which they should follow for the rest of their lives. For example, nowadays, it is our responsibility to take care of our planet, Earth, by growing plants and by taking care of cleanliness. Thus, different poets use this concept and make interesting, rhythmic poetries for them to give them an awareness of the importance of growing plants and taking care of the planet in the best possible way. Such concepts, when transferred to the children once, remain in their minds forever. Poet Laureate is a new poet of children’s poetry who produces the best poetry for children, making its readers howl with laughter. His poetry makes the children able to think intensely about the human condition and the nature of the wider world.

However, this study is more about the rhythm of the poetry for children instead of discussing the importance of good poetry. When concerned about the importance of rhythms in children’s poetry, there exist several reasons why rhythm is important for children. When the children come in the learning phase then it is essential to attract them towards the story books and literature of the children. Reading big story books and learning the boring lines may be difficult for the children because it is not attractive in any way. However, when the poets write poems for the children in a storytelling manner with amazing rhythms, then the poetry becomes exciting for the children. This helps them to learn the stories in an attractive way. Most importantly, toddlers enjoy listening to musical poems or rhythmic stories instead of focusing on long stories. Long stories may divert the interest of the children towards other things and they may be distracted from the learning of new things. Thus, rhythm attracts the children and prepares them to learn things about the world and to understand new concepts to get ready for their future.

Thinking about the toddlers, the rhythm of the poetry helps them to understand the words, the sentence making, and the use of language. This means that the rhythm in the poetries of the children helps them to develop their language learning skills. The more the child is attracted to the rhythm of the poetry, the earlier he will learn the poem, and so he will learn the use of words in a meaningful way. Even when considering the infants, the lullabies and their rhythm attract the infant towards the language words. This helps them to get familiar with their language and the use of language. A serious conversation with a toddler or a boring storytelling methodology can never help the child learn the language and understand the use of proper words in meaningful ways. Thus, the rhythm, music, and attractive poems enable the children to develop their language-learning capabilities (G, 2014).

When children join schools, they cannot read the stories or poems like the adults. They need something to get attracted to their books and course content. In this way, the rhythmic poem helps them. The teachers play the poems with music via which a rhythm is developed for the children. The children are encouraged to read the poems aloud with rhythm, which creates an attraction in learning. Moreover, the rhythmic poems help the children to join their voices together and to read the poems aloud with great interest. This develops an activity, via which the children enjoy their time at school and begin to learn poems, course content, and other knowledgeable things.

The rhythmic poems also develop a love for book reading. When children enjoy reading poems then, they love to read more and more poems, and thus, they really enjoy reading poem books, reading them, and understanding them. This also enhances the book reading habit in the children. Nowadays very interesting poem books with audio and music are available. The children turn the pages of the poem book, and an audio tape reads the poem with rhythm and music, via which the children understand the written words in the book and enjoy learning. This also develops an interest in the children to learn more from their poem books and to read more and more poems. Also, the audio helps them to realize that which poem must be read in which rhythm and this use of rhythm helps them to learn the wording and use language for that poem.

The most important and beneficial thing about rhythmic poems is that the children enjoy reading the poems in rhythm, and so they enjoy using words in a proper manner. This also enhances their vocabulary because, in this way, the children learn the meaning of new words and the appropriate use of those words. Thus, rhythmic poetry increases the children’s vocabulary and enhances their sense of using that vocabulary.

Introduction

Literature has been present from very early times until today. It has survived generations and generations retelling the stories and making history that one would never imagine if not through it. You can’t make such sweeping statements as they appear unsophisticated – what do you mean by literature? Printed, oral, manuscript? Maybe start, instead, with stories: stories are the oldest form of narrative communication through which humans attempt to make sense of their lives as well as their histories. Poetry, for instance, is the oldest type of literature. You need to finesse what you mean by ‘literature’ – I would avoid using the term unless you are referring to printed material. Many material things such as buildings, houses, books and paintings have lost their identity over the years due to wars. Cut such massive generalizations as they will make your reader lose confidence. However, the oral transmission of rhyme, songs and lullabies always remained the same because civilizations never ceased to repeat them. They didn’t remain the same – the adapted and mobilized across different moments and different forms of acculturation, that’s the power of oral transmission, For example, the oral transmission began in early days when civilizations had no access to paper or ink to register their stories. But they didn’t speak because they didn’t have paper; they spoke because this was the formative mode through which stories were told. These rhymes and songs were pieces of poetry that worked as the vehicle to unite societies, reminding them about their past that was forgotten, their customs and roots and emphasizing their identity grammatically awkwardness. Then, things started to get easier for civilizations, paper was firstly manufactured in China^[1] by the second century BC and got circulated by Arabs to the Middle East during the 8^th century CE, arriving in Europe only in the 12^th century. Tici this is all very oversimplified – I would avoid it and talk about the contexts through which stories were told; you should read Jack Zipes on The Irresistible Fairy Tale/ As a consequence of the shift in civilization’s history, battles and culture, many of the stories, rhymes were fully rooted in mythology and religious books and many carry similar structure and common features. Rhymes, therefore, become the bridge that keeps humanity having something in common: to share stories, whether in humorous, dramatic or tragic tones and the opportunity to learn and relive moments that were cherished by their ancestors. Again, I would avoid such generalizations and keep it specific to the moment you are working. Then, poetry becomes essential to humankind, historically and socially speaking. Many of today’s poetry was inspired by nursery rhymes and songs that survived over years and years. Many of these old verses do not have a specific meaning, and if they have, it is extremely difficult to access since it’s been ages since they were created, and we’d have no knowledge about the backgrounds from which they sprung. This is a very clumsy sentence that needs rewriting. However, it is striking to explore the emergence of rhymes and how their importance remained particularly effective in the memories of trillions of people. A close analysis of the function of rhyme, meter and rhythm in some rhymes can illuminate their origins and the behavior of societies during that period as well.

The Emergence Of Oral Tradition

As mentioned previously, civilizations survived centuries without having the skills and accessibility to paper and ink to record their memories from their past, occurrences from their daily life and even create literature. However, from ecclesiastical days meaning since Christ or the establishment of the Church? Which `church? , there was always a man who had the skills to write and register one’s words. The Old Testament, for instance, recounts thousands of narratives about births, deaths, battles, punishments and even a collection of poems in Psalms. Every civilization had a literate person; however, many citizens had no chance to share their stories for many natural reasons meaning? , unfortunately only the most recalled narratives do you mean orally transmitted from generation to generation? Survived. Jacob and Wilhelm Grimm (the Brothers Grimm[2]), for example, were the main reason why we know short stories from 18th-century Europe. European fables, like Rapunzel, Cinderella and many others, were retold by villagers to Brother Grimm, who used to travel to different villages where peculiar things happened. This is not the case – they were collected by Basile, among others and Perrault and transmitted in different modes. This is how folk fables spread, by mouth and then by writing; the same occurs with nursery rhymes and poetry. As Walter J. Ong states: ‘In an oral culture, knowledge, once acquired, had to be constantly repeated or it would be lost…’[3]; this emphasizes the importance of not breaking the oral transmission. Through oral transmission, moral teachings and values were passed to illiterate people, which provided them the ability to imagine, create different perspectives and improve their ways of living. Yes, think about the function of fairy tales. Furthermore, epic narratives such as the Iliad or Odyssey by Homer[4], dated 8th century BC, still remain extremely important to our history. The dramatic events were transmitted from time to time by oral transmission, enabling uneducated civilizations from an early age to experience art and the musicality of texts and have access to information and culture. But also, those stories are told and retold in different ways so that they become ‘memes’ ideas and narratives repeated,d which acculturate and adapt, evolve and replicate. It is thought that the Iliad and Odyssey were first introduced through oral transmission. These narratives are composed of thousands of lines, and they were all memorized by their poet. You need to explain this more clearly. Certainly, Poets in those days had a very extended vocabulary and skills to transmit massive poems, and all of this survived long periods of time without the need for technology or printed books.

But how does oral transmission contribute to one’s memory and culture? Rhyme and meter are present in our everyday speech, in our every routine, even when we don’t acknowledge it. Can you give examples? Rhyme adds musicality and rhythm to a text, especially a recited poem; it gains life. Maybe look, too, at Konner’s Evolution of Childhood as well as Frank’s Letting Stories Breathe It is thought that the first vocabulary consisted of only semi-vowels and consonants^{[5]; thankfully}, the Greeks introduced vowels to the alphabet, which brought a whole different musicality to texts; this needs greater depth and exploration paraphrasing Walter J. Ong: undoubtedly the alphabet was the most extraordinary thing the Greeks created, for it was invented only once^[6].’’ By reaching this new level, it became easier for people to recall poems, songs and nursery rhymes to their children so they could pass them on to their generations.

Oral Transmission < Use of Additive + Rhyme = memories

Most of the children’s nursery rhymes were first introduced to children in domestic environments and then in schools. Children normally, this is a very culturally loaded term – perhaps explain or replace it? Like sharing rhymes, jokes and poems when they carry a strong rhythm and sound pattern. Nursery rhymes for children are products of a society that envisioned teaching and passing on customs and manners through fables and narratives. Retelling stories and singing nursery rhymes has become a very old tradition, which is the reason why Children’s Literature has emerged in grammar. Popular folk songs for children and nursery rhymes were retold in the first manner. And children’s literature has adapted itself through these joyful and old traditions. This is very vague and needs explaining and finessing. It could be said that before having contact with nursery rhymes, children used to take part in adulthood events, such as social and political, witnessing wars and celebrations across their nations without experiencing the joys of childhood. According to who? Children have, since ancient cultures, created their own versions of childhood within the limitations of what they have – they will ‘play’ in war zones, find toys in weapons and domestic materials and create cultures in adversity. Nursery rhymes have made childhood more meaningful. They would never experience certain emotions and be exposed to aspects of their culture if not for singing and listening to fables, jingles and songs that contributed to their cultural development. This is a huge statement that needs justifying and exploring.

It is thought that from the very beginning of primary oral cultures expression remains important to the style of oral traditions I don’t know what this means? Who are ‘primary oral cultures’?. For instance, thought and expression in various cultures tend to be presented in noticeable what makes a thought noticeable? Forms, for example, the need for additive narratives rather than subordinative. As Walter J. Ong explores in Orality and Literacy^[7], the Holy Scripture is our first example of primary oral traditions with a high presence of additive words. Genesis’s first chapter, for example, strongly emphasizes how creation was formed in continuous form by the use of ‘and’ in almost every line:

‘In the beginning, God created heaven and earth. And the earth was void and empty, and darkness was upon the face of the deep, and the spirit of God moved over the waters. And God said: Be light made. And light was made^[8].’

Not unlike Abrahamic texts, people were also inclined to create and narrate their fables and nursery rhymes by using additives. Although originally written in Hebrew in the 6^th century BC, it is visible that translators employed the additives (and) to keep with the flow of the narrative. This remains the same until today’s rhymes and literature because people never ceased creating stories within their history and eventually retelling them. Considering the use in terms of rhetorical power and the use of ‘piling up’ clauses as propounded by Cicero In Oranges and Lemons^[9], the nursery rhyme Aiken Drum highly demonstrates the presence of an additive, which adds an unceasing effect to the narrative: Before you tackle the rhymes you need to establish your critical approach and methodology which, at the moment, is too vague.

‘There was a man lived in the moon, lived in the moon, lived in the moon,

There was a man lived in the moon,

And his name was Aiken Drum;

And he played upon a ladle, a ladle, a ladle, a ladle,
And he played upon a ladle,

And his name was Aiken Drum,

And his hat was made of good cream cheese, good cream cheese,

good cream cheese,
And his hat was made of good cream cheese, good cream cheese,

good cream cheese,

And his coat was made of good roast beef, good roast beef,

good roast beef,

And his coat was made of good roast beef, good roast beef,

good roast beef^[10]…’

This rhyme was common in Scotland around 1821^[11]; however, the name Aiken Drum could be taken from a jingle about the Sheriffmuir battle in the Jacobite Rebellion. So what does this tell us? The constant use of ‘and’ is clearly an employed rhetorical device (repetition) that keeps the rhythm flowing and raises more interest from the listener’s grammar; repeated words are normally used to reinforce the key idea or ‘repetition is a central feature of amplification’. However, in nursery rhymes, repetition also helps the message. What is the message? You haven’t discussed the moral and socializing function of nursery rhyme to be memorized with more efficiency, repeating the same sentence and word to children for a couple of times makes their learning more absorbable grammar!. Another example of repetition is encountered in If All the Seas Were One Sea^[12]:

‘If all the seas were one sea,
What a great sea that would be!

If all the trees were one tree,

What a great tree that would be!

And if all the axes were one axe,

What a great axe that would be!

And if all the men were one man,

What a great man that would be!

And if the great man took the great axe,

And cut down the great tree,

And let it fall into the great sea,

What a splish-splash that would be!’

Although this nursery rhyme first appeared in 1842^[13] and there is no information about its origins, it shows how the additive form was still functional in oral traditions and children’s books in that period. Repetition helps the reader/listener to be on the track, especially face-to-face story-telling. I don’t know what this means: on the track of what? The narrative? But is that paramount in nursery rhymes? , where sometimes rhymes demand more dynamic to entertain than an actual piece of paper that is being read this doesn’t make sense. In oral delivery, along with gestures and facial expressions, there must be fluency and rhythm in the text so that audiences can fully enjoy the message. You should also consider how, traditionally, the speaker acted as the embodiment of the veracity of the tale. When a text is properly delivered in an interactive way, the audience will be able to pass it on since it becomes impressive and easier to retell. However, if not well transmitted according to its meters and rhymes, the nursery rhyme will die and won’t deliver the message with efficiency (no pattern of sounds will help people memorize it), nor will it entertain the listener/audience. This needs explaining, as it doesn’t really make sense. Repetition makes mnemonics highly motivating to the memorization process in everyone’s minds you need to explain. Plus, repetition influences people to create other versions and extend the primary rhymes, this shows how effective it can also be the creative process of the mind. How and in what ways? Children’s oral memorization develops significantly when nursery rhymes carry a strong presence of additive words (repetition), such as in the examples provided above. Can you justify this?

Rhyme

Sounds are extremely essential to humanity. Sounds move one’s interiority. Listening to music makes the listener wonder about things, travel in time and even discover unhidden feelings they had. This is a massive generalization that states the obvious and needs refining and developing in terms of audibility, musicality and the effects of harmony. Paraphrasing Walter J. Ong, ‘sounds exist when they go out of existence[14]’ and, because there is a gap in between the syllables after we pronounce them, our minds can absorb and paint the picture according to the message. You need to explicate this quote from Ong as it’s too elliptical. The message can be joyful or not. Children in special especially? , they are very attracted to sounds. In nursery rhymes, sounds are commonly known for carrying a pattern called rhymes. Most nursery rhymes entertain and color meaning. Children’s minds encourage their imagination. This needs to be expressed with greater clarity and detail. Rhyming shows children how language functions. It helps them notice and work with the sounds within words. You need to give some evidence for this and also acknowledge cultural and linguistic differences. Once children become familiar with the rhyming pattern of a text (such as a nursery rhyme), they automatically anticipate the rhyming word. These predictions strengthen their reading skills. Yes, why? Though? There are a few types of rhymes that we should consider before analyzing.

The most common rhyme happens to appear by the end of each line in a poem’s grammar, which means the last stressed vowel in the sentence will get the emphasis and create a rhyming pattern, an end rhyme, in other words, which follows the iambic stress pattern. Normally, monosyllables are as known as masculine rhymes, such as rat/cat in This is the House That Jack Built song:

‘This is the cat,

That killed the rat,

That ate the malt

That lay in the house that Jack built^[15]’.

When there are two syllables (disyllable) as danger/stranger, letter/better, it is called feminine rhyme found in the Sneeze on Monday. But it’s not just about the number of syllables. It’s also about the stress patterns – unstressed endings are feminine.

‘Sneeze on Monday, sneeze for danger,

Sneeze on Tuesday, kiss a stranger,

Sneeze on Wednesday, receive a letter,

Sneeze on Thursday, something better^[16]…’

Rhyming pairs (each last word from two lines) are known as rich rhyme or full rhyme; the consonants are identical^[17] even if their spellings differ dock/clock in Hickory, Dickory, Dock:

‘Hickory, dickory, dock

The mouse ran up the clock.

The clock struck one,

The mouse ran down,

Hickory, dickory, dock^[18].’

The imperfect rhyme is also known as half rhyme or near rhyme, it creates a different range of pattern of sounds in the poem. This gives a certain freedom to the poem. Imperfect rhymes present two words that almost fully carry similar sounds at the end of the lines, such as buttons/ribbons in Oh Dear, What Can The Matter Be?: Yes, this is clearer, but I still don’t know what your argument is – in other words, what is the research question that this paper seeks to answer and how are you answering it?

‘He promised to buy me a pair of sleeve buttons,

A pair of new garters that cost him but two pence,

He promised he’d bring me a bunch of blue ribbons,

To tie up my bonny brown hair^[19].’

On the other hand, the internal rhyme is normally found within the text and between syllables in the same line. These rhymes are often used to heighten and amplify. The meaning of words in a poem creates a different sound pattern, something more unexpected since rhyming couplets are commonly seen in many poems, so what alternative meanings does this function produce? In Hark, Hark, the Dogs Do Bark^[20], for instance, we have internal rhymes in lines 1 (hark/bark) and 4 (rags/tags):

‘Hark, hark, the dogs do bark,

The beggars are coming to town,

Some in rags and some in tags,

And one in velvet gown.’

All these different rhymes deliver great musicality, which can be perceived by children and adults when singing along. Another common feature of nursery rhymes is the meter. Metre is the mechanical feature that emphasizes the sounds that words carry. According to the Dictionary of Literary Terms, the meter is ‘the pattern of measured sound-units recurring more or less regularly in lines of verse[21].’ Metre is essential to nursery rhymes since they are the rhythmic part of them. While rhymes bring musicality and life, meter organizes these sounds.

Then, without a meter, nursery rhymes would only transmit musicality but not the order in which Poets and writers meant them to be. You need to explain what you mean here because how can you separate music from meaning as well as authorial intention?

Metre

In the English language, the meter is normally known as an accentual-syllabic meter, which is mostly found in every English verse. There are different types of meter in the English language, and they are named after the number of feet/stress/unstressed which syllables resemble. The length of a metrical line is dimeter (two feet), trimester (three feet), tetrameter (four feet), pentameter (five feet), hexameter (six feet) and heptameter (seven feet). In nursery rhymes, we also normally find various types of a meter; for example, in Humpty Dumpty^[22], there are four stressed syllables in the first two lines (tetrameter) as follows: This is fine, but, again, I still don’t know what your argument is and why we are looking at the meter – the other thing I think you need to consider is whether you are only focusing on sound and rhythm rather than content: you don’t mention the narrative or language of these rhymes, and I think you need to in order to make the point about rhythm – the words are not there only for their musical and rhythm qualities, but those qualities are harnessed to amplify the meaning and to aid recall so you cannot ignore the text, as it were.

‘Humpty Dumpty sat on a wall,

Humpty Dumpty had a great fall.

All the king’s horses,

And all the king’s men,

Couldn’t put Humpty together again.’

The function of a tetrameter in this nursery rhyme resounds like horses marching. This correlation could exist, though, according to Richard Rodney Bennett’s children’s opera All The King’s Men[23]; this old rhyme is about an incident that took place during the Civil War in England grammatically incomplete sentence. Charles I employed Dr. Chillingworth to build a machine so they could overcome their enemies. Then, Dr. Chillingworth decided to build something that resembled a similar machine that the Romans used, called the ‘tortoise.’ The design of this machine was round to roll down the steep slope on wheels, cross the bridge over River Severn and cover way over the walls of the city so the King’s men could enter safely. The tetrameter makes the rhythm more like a knightly thing, almost making its sounds turn into mounted troops. Thus, these emphasized stresses contribute to the reader’s imagination, especially children. OK – good, so you are saying that the rhyme and sounds emphasize but also tell the story alongside the semantics? The tetrameter pattern, when once introduced, becomes easy to follow. Furthermore, the presence of fall/wall in couplets supports the mnemonic function of nursery rhymes. Although the third line comes after a short break, it can be easily identified as an internal rhyme, for the third line begins stressing all, which keeps the flow from the previous word in the second line, wall. The forth line keeps emphasizing that all the king’s horses and men could not help putting the machine back in one piece. Internal rhymes such as all and kings ease the rhythm of the lines. For instance, the pronunciation of all followed by the K sound (as in kings) highlights plosive^[24] sounds. By repeating these two middle lines twice, the reader can recall? Imagery and sound according to the content of the rhyme. Clearly, these are examples of successful mnemonics present in old rhymes. They all contribute to the process of learning, memorizing and retelling.

Bibliography

Baldick, Chris, The Oxford Dictionary of Literary Terms, 3rd edn (Oxford: Oxford University Press, 2008)

Bible, The Holy, “Genesis 1, English Standard Version (ESV) | Chapter 1 | The Bible App | Bible.Com”, Bible.Com, 2018 <https://www.bible.com/en-GB/bible/59/GEN.1.ESV> [21 January 2018]

Dictionaries, Oxford, “Plosive | Definition Of Plosive In English By Oxford Dictionaries”, Oxford Dictionaries | English, 2018 <https://en.oxforddictionaries.com/definition/plosive> [29 January 2018]

Dolby, Karen, Oranges And Lemons, 1st edn (London: Michael O’Mara Books Limited, 2015)

Harrowven, Jean, The Origins Of Rhymes, Songs And Sayings (London: Kaye & Ward, 1977)

Ong, Walter J, Orality And Literacy, 1st edn (London: Methuen, 1989)

Opie, Iona Archibald, and Peter Opie, The Lore And Language Of Schoolchildren (New York: New York Review Books, 2001)

1. Ong, Walter J, Orality And Literacy, 1st edn (London: Methuen, 1989) page 95. ↑
2. Wilhelm Grimm and others, The Original Folk And Fairy Tales Of The Brothers Grimm, 1st edn (Princeton University Press, 2014). ↑
3. Ong, Walter J, Orality And Literacy, 1st edn (London: Methuen, 1989) page 24. ↑
4. Homer and others, The Iliad And The Odyssey, 1st edn (Lulu Press). ↑
5. Ong, Walter J, Orality And Literacy, 1st edn (London: Methuen, 1989) page 28. ↑
6. Ibid, page 89. ↑
7. Ibid, page 37. ↑
8. The Holy Bible, “Genesis 1, English Standard Version (ESV) | Chapter 1 | The Bible App | Bible.Com”, Bible.Com, 2018 <https://www.bible.com/en-GB/bible/59/GEN.1.ESV> [21 January 2018]. ↑
9. Karen Dolby, Oranges and Lemons, 1st edn (London: Michael O’Mara Books Limited, 2015), p. 25. ↑
10. Ibid, page 26. ↑
11. Ibid, page 28. ↑
12. Ibid, page 31. ↑
13. Ibid. ↑
14. Ong, Walter J, Orality And Literacy, 1st edn (London: Methuen, 1989) page 91. ↑
15. Karen Dolby, Oranges and Lemons, 1st edn (London: Michael O’Mara Books Limited, 2015), page 40. ↑
16. Ibid, page 48. ↑
17. Chris Baldick and Chris Baldick, The Oxford Dictionary Of Literary Terms, 3rd edn (Oxford: Oxford University Press, 2008) page 288. ↑
18. Karen Dolby, Oranges and Lemons, 1st edn (London: Michael O’Mara Books Limited, 2015), page 100. ↑
19. Ibid, page 138. ↑
20. Ibid, page 30. ↑
21. Chris Baldick and Chris Baldick, The Oxford Dictionary Of Literary Terms, 3rd edn (Oxford: Oxford University Press, 2008) page 208. ↑
22. Karen Dolby, Oranges And Lemons, 1st edn (London: Michael O’Mara Books Limited, 2015), p. 51. ↑
23. Jean Harrowven, The Origins Of Rhymes, Songs And Sayings, 1st edn (London: Kaye & Ward, 1977) page 174. ↑
24. Oxford Dictionaries, “Plosive | Definition Of Plosive In English By Oxford Dictionaries”, Oxford Dictionaries | English, 2018 <https://en.oxforddictionaries.com/definition/plosive> [29 January 2018]. ↑