Etymology of Cacophony
The term “cacophony” has originated from the Greek word kakophonia. It means “bad sound” or “discordant noise.” The word is a combination of kakos, meaning “bad” or “evil,” and phone, meaning “sound” or “voice.” In ancient Greek literature, “kakophonia” was used to describe harsh or unpleasant sounds. Now the term “cacophony” is used in English to describe any harsh or discordant sound, having an unpleasant or jarring combination of sounds.
Meanings of Cacophony
- Refers to a harsh, discordant mixture of sounds
- Derived from Greek words “kakos” (meaning “bad” or “harsh”) and “phone” (meaning “sound”)
- Describes an unpleasant or jarring combination of noises or voices
Definition of Literary Device of Cacophony
This literary device refers to the deliberate use of harsh, jarring, and discordant sounds in language to create a specific effect. Writers use it to create a sense of discomfort, tension, or unease in the reader or listener. This is often achieved through the use of words with hard consonant sounds, such as “t,” “k,” and “p,” as well as words with a harsh or abrasive quality.
Types of Cacophony
Here are some of the most common types:
| Type of Cacophony | Definition | Example with Explanation |
| Consonance | Repetition of the same consonant sound in close proximity | Example: “The crackling crunch of leaves” utilizes the repeated “k” and “l” sounds, creating a cacophonous effect through the combination of harsh consonant sounds. |
| Dissonance | Use of harsh or unpleasant sounds to create a jarring effect | Example: “Grinding, gnashing teeth” employs the harsh sounds of “gr” and “gn” to evoke a sense of tension and unease. This sows the good use of cacophony. |
| Alliteration | Repetition of the same consonant sound at the word’s beginning | Example: “Peter Piper picked a peck of pickled peppers” features the repeated “p” sound, generating a cacophonous effect through the successive use of the same consonant at the start of each word. |
| Rhyme | Words with the same ending sound | Example: “The chime of time” utilizes the repeated “ime” sound, creating a jarring effect through the rhyming words, contributing to a sense of discord or dissonance, showing the use of cacophony. |
| Onomatopoeia | Words that sound like what they represent | Example: “The hissing snake” uses the harsh “s” sound, representing the snake’s sound, and creates a sense of tension and unease, contributing to a cacophonous effect. |
Common Examples
Here are some common examples of cacophony in everyday language:
- Rush hour traffic with honking horns, engines, and sirens blaring
- A busy cafeteria during lunchtime with the clatter of dishes and the hum of conversation
- A construction site with machinery, drills, and hammers creating a chaotic noise
- A classroom full of students talking loudly and chairs scraping against the floor
- A crowded market with vendors shouting to attract customers, combined with various sounds from different stalls
- An urban park with street performers, children playing, and music from nearby shops all blending into a cacophony of sounds
- A household during a family gathering with people talking, children playing, and kitchen appliances running
- A music festival where multiple bands are playing simultaneously, creating a cacophony of different melodies and rhythms.
Literary Examples
| Example | Explanation | Impact on the Work |
| From “The Love Song of J. Alfred Prufrock” by T.S. Eliot: “Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table;” | The heavy use of “t” and “s” sounds creates a jarring auditory effect, mimicking the speaker’s anxiety and uncertainty. | The cacophony in phrasing mirrors the poem’s exploration of inner turmoil and hesitation, immersing readers in the emotional struggle. |
| From “The Fall of the House of Usher” by Edgar Allan Poe: “During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country.” | The repetition of “d” and “s” sounds evokes a sense of monotony and gloom, amplifying the eerie atmosphere and impending dread. | The cacophonous language sets a haunting tone right from the start, foreshadowing the unsettling events and contributing to the story’s mood. |
| From “The Jabberwock” by Lewis Carroll: “Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe.” | The playful but dissonant sounds created by the invented words like “brillig,” “slithy,” and “borogoves” contribute to an otherworldly and nonsensical auditory experience. | The cacophony of whimsical words reflects the poem’s fantastical and imaginative nature, transporting readers to a dreamlike realm of wordplay. |
| From “The Tell-Tale Heart” by Edgar Allan Poe: “But the beating grew louder, louder! I could distinguish the ticking of the clock! It was the ticking of the clock!” | The repetition of “t” and “k” sounds imitates the intensifying heartbeat and the ticking of the clock, intensifying the narrator’s growing panic. | The cacophony here immerses the reader in the narrator’s escalating anxiety, contributing to the story’s suspenseful and unsettling ambiance. |
These examples show how writers use cacophony to create a range of effects, from establishing a specific mood or tone to emphasizing certain words or ideas.
Suggested Readings
- Abrams, M. H. A Glossary of Literary Terms. Cengage, 1999.
- Barthes, Roland. Image-Music-Text. Hill and Wang, 1977.
- Brooks, Cleanth. The Well Wrought Urn: Studies in the Structure of Poetry. Houghton Mifflin Harcourt, 1985.
- Culler, Jonathan D. Literary Theory: A Very Short Introduction. Oxford University Press, 2011.
- Eagleton, Terry. Literary Theory: An Introduction. University of Minnesota Press, 2008.
- Leitch, Vincent B., editor. The Norton Anthology of Theory and Criticism. W. W. Norton & Company, 2010.
- Lodge, David. The Art of Fiction. Penguin Books, 2002.
- Wimsatt, William K., and Beardsley, Monroe C. The Verbal Icon: Studies in the Meaning of Poetry. University of Kentucky Press, 1946.
