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7. SIBILANCE Almost every line in the poem contributes to a subtle sibilance. The sibilance serves two purposes: it emphasizes key words, and gives the poem the quality of a whisper, appropriate for the quiet, early-morning setting. Lines 2 and 3, for example, contain a cluster of /s/ sounds. Line two has “soul” and “pass.” Line 3 has “sight,” “its,” and “majesty.” The softness of breath streaming slowly from the teeth infuses the poem with the deep calm of the speaker. The soft /j/ sound adds to this tranquility. A large number of words in close proximity start with or contain /s/ sounds, and it’s no accident that many of them play an important role thematically. For example, “silent” in line 5 represents the unexpectedly peaceful descriptions of the city. In line 8, “smokeless” implies factory smoke. And in line 14, “still,” the last word of the poem, acts somewhat like “silent,” but has a different effect on the reader, who knows that the city is about to burst to life. Perhaps the most striking moment of sibilance occurs in line 13, with "houses seem asleep." Here the hushed quality of the /s/ sounds reflects the content of the phrase; it's as if the speaker is whispering so as not to disturb these sleeping houses. Where Sibilance appears in the poem: • Line 2: “s,” “ss” • Line 3: “s,” “s,” “s,” “s” • Line 4: “s,” “C” • Line 5: “s” • Line 6: “s,” “s,” “s,” “s,” “s” • Line 8: “s,” “ss” • Line 9: “s,” “s” • Line 10: “s,” “s” • Line 12: “s,” “s” • Line 13: “s,” “s,” “s,” “s” • Line 14: “s,” “s”