mellifluous

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Related to mellifluousness: inordinately, adroitly, succinctness
See: eloquent
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It is not clear to what the "two concernings" refers; the phrase "let them know that I knew, though I followed not," carries an impressive mellifluousness in its sound, as the sound of "know" changes to that of "knew," and then these sounds are picked up again in "followed not"--but what she knew, and what it means that she did not follow it, is unclear.
Under Whoriskey's gentle guiding hand, these characters and their relationships take shape fluidly in the leisurely first act, frequently energized by Dominic Kanza's soukous music and the entreating mellifluousness of Rashad's singing.
Perhaps Berube used Alabama in order to indulge the alliteration, since he could have selected any state for these purposes--which would not be the first time the word Alabama has found its way into print because of its convenient mellifluousness (for example, Kurt Weill and Bertolt Brecht's "Alabama Song" from the opera, Rise and Fall of the City of Mahagonny).
Under Labadie's seemingly relaxed direction, they perform with uncanny precision, integration and mellifluousness.
The love sonnets of Tennyson and Browning neatly encapsulate those stylistic features for which the two poets are renowned: one tending towards mellifluousness and ornamentation, the other striving for the impact and immediacy of actual speech.
Only after Barnabas' death does Maleux realize that the dead are spoiled food, corrupt and repellent, and that mellifluousness can be found only in the beauty of language.
The bells of the Town Hall clock chimed out from the beautiful campanile which rears its decorated head over Cardiff as a city with charming mellifluousness.
Nekrasov), it lacks Nekrasov's passion, intensity, and strong optimism as well as Nekrasov's lyricism, musicality, euphony, and mellifluousness.
8) His theater (fourteen comedies, two tragedies, and one tragicomedy), although replete with classical and commedia dell'arte characters, themes, and rule-bound formats, is very much a product of the Renaissance; it also utilizes a polyphony of diverse languages, dialects, and registers, fast and furious wordplay, the carnivalesque; and a mellifluousness that one can easily find in melodrama and on the operatic stage.
231, which comically parodies the mellifluousness of Rilke's early poetry.