Postcard History

Alliteration, the captivating repetition of initial consonant sounds within a phrase or sentence, is a valuable tool in a writer’s arsenal. Alliteration has the power to saturate language with rhythm, and it does so with an almost subconscious emphasis. Like a carefully constructed musical phrase, alliteration draws the ear, creating a sense of flow and connection between words that might otherwise stand in isolation. To truly appreciate this linguistic artistry, one can examine a simple yet illustrative example: Susan swings, is smart, sings, sews, scowls, and is shy. Within this seemingly straightforward sentence lies a fascinating interplay of alliterative sounds, revealing the multifaceted nature of Susan and the art of this sonic device.

This six-postcard set may have been created to explain the art of alliteration, but even if it wasn’t done so intentionally, it is a perfect example of how such a set should be designed. It is a dated, signed artist set by L. P. H. in 1912. There is a publisher’s mark on the address side as being from Liberty & Co. Ltd. (Liberty could well be London’s Liberty department store.)

The dominant sound resonating throughout the set is the “s” sound, a sibilant murmur that weaves a thread connecting Susan’s various characteristics. The initial “Susan swings” establishes this sonic motif immediately. The repetition of the “s” in close proximity creates a sense of momentum, mirroring the physical act of swinging. It’s a gentle, almost playful introduction to Susan, hinting at a lightheartedness that is part of her nature. This initial alliteration is not just decorative; it sets a tone, preparing the reader for what comes next.

As the sentence unfolds, the “s” sound persists, linking Susan’s intelligence and artistic inclinations. “Is smart, sings, sews” continues the pattern, but with subtle variations in the following vowels and consonants. The “smart” introduces a different aspect of her personality, while “sings” and “sews” highlight her creative pursuits. The consistent “s” sound underscores the idea that these are all facets of the same individual, Susan. It creates a sense of unity amidst the diversity of her traits, as if the “s” is the very essence of her being.

What a reader must know is that alliteration is not only about relentless repetition. The inclusion of “scowls” introduces a slight dissonance, a break in the otherwise smooth flow. While it still begins with the “s” sound, the following “cow” sound creates a different sonic texture. This deliberate shift in sound reflects a potential complexity in Susan’s personality. The alliteration in “scowls” is still present, linking it to the other “s” words, but the slight disruption in rhythm hints at a less gentle, perhaps more challenging aspect of Susan’s character. This demonstrates how alliteration can be used not only to connect but also to subtly differentiate, adding layers of meaning to the description.

Then as a finale, the sentence concludes with “and is shy.” The return to a softer, more familiar “s” sound in “shy” brings the phrase to a gentle close. This concluding alliteration reinforces the idea of Susan’s introverted nature, providing a quiet counterpoint to the more active descriptions of swinging, singing, and sewing. The consistent “s” sound throughout the sentence paints a picture of a complex individual.

In the end this simple sentence, “Susan swings, is smart, sings, sews, scowls, and is shy” serves as a compelling illustration of alliteration. If the cards had been mailed one after the other the recipient could not help but wonder what would come next. They would want to know the meaning and impact of the words as they were used to name the movements of a symphony of Susan’s being.

Bach, Beethoven, nor Brahms could have done any better!