Syntactic parallelism examples from folklore. What is parallelism, examples of parallelism

Parallelism

I. A term of traditional stylistics that denotes the combination of two or more composed sentences (or parts of them) through strict correspondence of their structure - grammatical and semantic. Example: “Your mind is as deep as the sea, || Your spirit is as high as the mountains” (Bryusov V., Experiments, M., 1918). P. is widespread in oral and ancient written lit-pax, in many systems of versification acting as a principle for constructing a stanza; especially known for the so-called parallelismus membrorum of Hebrew versification, in which P. is combined with a synonymous variation of images, for example. “Put me as a seal on your heart || and like a ring on your hand" (Song of Songs). P. occupies a large place in alliterative and even rhymed Germanic verse of the Middle Ages. It is no less important in the Finnish epic “Kalevala”, where it is combined with mandatory gradation. Wed. “He finds six grains || he raises seven seeds.” In written lit-pax, P. acquires a very complex character, combining with anaphora, antithesis, chiasmus and other figures, for example. “I am a king, I am a slave, I am a worm, I am a god” (Derzhavin). The doctrine of parallelism received great development in ancient rhetoric. Rhetoric, Stylistics, Figures.

II. In Russian folklore, the term “P.” is used in a narrower, specific sense, denoting a feature of a poetic composition, which consists in comparing one action (the main one) with others (minor ones) observed in the world external to man.
The simplest type of P. is two-term:

“A falcon flew across the sky,
Well done, he walked around the world.”

More complex types probably evolved from it: polynomial (several successive parallels); negative (the parallel taken from the outside world is given in order of negation):

“It is not the white birch tree that bows to the ground -
The red maiden bows to the priest”;

formal (the logical connection between the members of the P. is lost):

“I’ll drop the ring into the river,
And a glove for ice,
We signed up for the commune,
Let all the people judge.”

For the connection between P. and choral action, see Amoebaic composition. From folklore, P. widely penetrates into artistic song (individual Kunstlied). Bibliography:
Veselovsky A., Psychological parallelism and its forms in reflections of poetic style, Collection. works., vol. I, St. Petersburg, 1911.

Literary encyclopedia. - At 11 t.; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929-1939 .

Parallelism

(from the Greek parallelos - walking alongside), a stylistic figure that establishes the similarity of adjacent syntactic segments of text (verses, sentences or parts of a sentence). By projecting the word order of one syntactic segment onto another, they distinguish straight parallelism (“The animal Dog is sleeping, / The bird Sparrow is dozing…” in the poem by N.A. Zabolotsky“The signs of the Zodiac are fading...”) and converted (“The waves are playing, the wind is whistling...” in “Sail” by M. Yu. Lermontov). Inverse parallelism is also called chiasmus(Greek chiasmos - imagery, cruciformity; from the name of the Greek letter X
"hee") When comparing the number of words in paired segments, complete parallelism is identified (“The amphorae are emptied, / The baskets are overturned...” in the poem by F.I. Tyutcheva“The feast is over, the choirs have fallen silent...”) and incomplete (“Slow, slow, evening day, / Lasted, lasted, charm...” in his poem “Last Love”).

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

Parallelism

PARALLELISM- such an arrangement of individual words or sentences in which one verbal group contains images, thoughts, etc., corresponding to another group, and both of these groups constitute or are included in one whole. As Valery Bryusov notes, for example, a poem by the ancient Jews was built on the parallelism of images; we have systems of parallelisms in the Finnish Kalevala, in Chinese poetry, etc. See, for example, parallelism from Chinese poetry given by Bryusov in his "Experiences":

Your mind is as deep as the sea

Your spirit is as high as the mountains.

The sharpness of parallelism lies in its unexpectedness and in the somewhat obscured connection between its members. Comparisons or contrasts (see antithesis), which usually serve as the theme of parallelism, do not need to be clearly clear. Therefore, comparison, for example, is often negative in parallelism, as in Pushkin:

It's not the chamois that goes under the cliff...

The bride wanders alone in the hallway...

We have a peculiar case of, so to speak, antithetical parallelism in Tyutchev’s poem: “Twilight.” This poem consists of two stanzas: in the first, the poet depicts the plunge of the world into darkness, in the second he turns to the “quiet darkness” with a request to overwhelm his feelings with the “mist of self-forgetfulness” and let him “taste destruction.” The first stanza begins with the verse: “The gray shadows mixed,” and the second ends with the verse: “Mix with the slumbering world.” The parallelism of these two verses, obscured by the separation of one verse from the other (there are 14 verses between them), clearly speaks of the difference in the nature of both stanzas of the poem: the first is descriptive, and the second is optative, pleading. Parallelism in the broad sense - parallelism of the positions of characters, descriptions, characteristics, etc. - can be used as the basis for the composition of an entire work. An example of the use of parallelism as a compositional device is Gogol’s Nevsky Prospect. The story of both heroes of this work begins with a description of the society to which they belong, followed by a story about the events that happened to them, and these stories end with the author’s lyrical reflections on human fate. And, as if in a frame, the stories of Piskarev and Pirogov are enclosed in the description of Nevsky Prospect, with which the work begins and ends. We find the technique of, so to speak, false parallelism, aimed at achieving a comic effect, in Gogol’s story about how Yves quarreled. Iv. with Iv. Nikifor. Characteristics of Iv. Iv. and Iv. Nikif. Gogol begins with the words: “You can best recognize their character from comparison.” But, further giving a comparative description of Iv. Iv. and Iv. Nikif. with the help of parallelisms, Gogol, by the way, introduces the following parallels: 1) “Iv. Iv. gets very angry if a fly gets into his borscht,” “Iv. Nikif. loves to swim extremely” or 2) “Iv. Iv. some

A special type of parallelism is the so-called reverse parallelism or chiasmus. In the case of chiasmus, the individual parts of one parallel group are arranged in the reverse order to the order in which the corresponding parts are located in another group. In this way, moments are brought to the fore that would otherwise remain in the shadows if placed directly parallel. So, for example, we have chiasmus in the hemistiches of the following verse from Tyutchev’s poem: “Twilight”:

Everything is in me, and I am in everything.

Here, in first hemistich the poet puts forward the feeling that the world, dissolved in darkness, penetrates into him as well - in connection with this, the word “everything” comes first, and “me” comes second; in the second hemistich it is revealed that the poet himself begins to merge with the “dormant world” - that’s why “I” is here at the first place, A « All» - on the second.

Ya. Zundelovich. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925

Synonyms:

See what “Parallelism” is in other dictionaries:

parallelism- a, m. parallélisme m. 1. The parallel position of two lines or planes equally spaced from one another. Spassky Horn. sl. 1843 App. 45. Equal distance from each other of lines and planes throughout. Parallelism of lines. Parallelism of axes... ... Historical Dictionary of Gallicisms of the Russian Language

Parallelism- PARALLELISM is an arrangement of individual words or sentences in which one verbal group contains images, thoughts, etc., corresponding to another group, and both of these groups constitute or are included in one whole. How… … Dictionary of literary terms

1) comparative comparison of any objects or issues; 2) the same as parallelism, see PARALLEL LINES. Dictionary of foreign words included in the Russian language. Pavlenkov F., 1907. PARALLELISM Will compare, compare which... ... Dictionary of foreign words of the Russian language

PARALLELISM, parallelism, man. (see parallel) (book). 1. units only Equal spacing of lines and planes from each other throughout (mat.). 2. portable, units only The constant correlation and concomitance of two phenomena, actions. These facts... ... Ushakov's Explanatory Dictionary

Duplication Dictionary of synonyms of the Russian language. Practical guide. M.: Russian language. Z. E. Alexandrova. 2011. parallelism noun, number of synonyms: 6 duplication ... Synonym dictionary

In poetics, the identical or similar arrangement of speech elements in adjacent parts of the text, which, when correlated, create a single poetic image. Along with verbal figurative, or syntactic, parallelism (The waves splash in the blue sea./In the blue... ... Modern encyclopedia

PARALLELISM, huh, husband. Concomitance of parallel phenomena, actions, parallelism. P. lines. P. at work. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary

- (from the Greek parallelos, going side by side, parallel), independent development of similar characters in the evolution of closely related groups of organisms. As a result of P., the secondarily acquired similarity of different groups seems to be superimposed on their similarity... ... Biological encyclopedic dictionary

The meaning of the word PARALLELISM. in the Literary Encyclopedia

PARALLELISM.

I. A term of traditional stylistics, denoting the connection of two or more composed sentences (or parts of them) through strict correspondence of their structure - grammatical and semantic. Example: “Your mind is as deep as the sea, || Your spirit is as high as the mountains” (Bryusov V., Experiments, M., 1918). P. widespread

444 in oral and ancient written lit-pax, in many systems of versification, acting as a principle for constructing a stanza; especially known for the so-called parallelismus membrorum of Hebrew versification, in which P. is combined with a synonymous variation of images, for example. “Put me as a seal on your heart || and like a ring on your hand" (Song of Songs). P. occupies a large place in alliterative and even rhymed Germanic verse of the Middle Ages. It is no less important in the Finnish epic “Kalevala”, where it is combined with mandatory gradation. Wed. “He finds six grains || he raises seven seeds.” In written lit-pax, P. acquires a very complex character, combining with anaphora, antithesis, chiasmus and other figures, for example. “I am a king, I am a slave, I am a worm, I am a god” (Derzhavin). The doctrine of parallelism received great development in ancient rhetoric. See "Rhetoric", "Stylists", "Figures". R. S. II. In Russian folklore, the term “P.” is used in a narrower, specific sense, denoting a feature of poetic composition, which consists in comparing one action (the main one) with others (minor ones) observed in the world external to man. The simplest type of P. is two-term: “A falcon flew across the sky,

Well done, he walked around the world.” More complex types probably evolved from it: polynomial (several successive parallels); negative (a parallel taken from the outside world is given in the order of negation): “It is not the white birch tree that bows to the ground -

The red maiden bows to the priest”; formal (the logical connection between the members of the P. is lost): “I’ll drop the ring into the river,

And a glove for ice,

We signed up for the commune,

Let all the people judge.” For P.’s connection with choral action, see “Amoebic composition.” From folklore, P. widely penetrates into artistic song (individual Kunstlied). Bibliography: Veselovsky A., Psychological parallelism and its forms in reflections of poetic style, Collection. sochin., vol. I, St. Petersburg, 1911. V. Ch.

Literary encyclopedia. 2012

Comparative or syntactic parallelism.

Among all types of parallelism, syntactic parallelism is most often found in the literature. It is distinguished by the use of the same sentence structure, whether it is poetry or prose. The generalizing circumstance, as a rule, is placed in the first part of the sentence, while the objects being compared are placed in the second.

The use of this technique makes it possible to strengthen the generalizing circumstance, to make its description complete, voluminous, and vivid. The most often used circumstance or part of speech is the key one in the work, the so-called “main character”, strengthening which is sometimes simply necessary to understand the plot.

Use of syntactic parallelism.

This technique is very typical for English texts. In English, it is easy to compare words that are similar in consonance to compare certain parts of speech, circumstances, characters. In Russian, this form is used less frequently, since breaking the construction of a sentence is not always appropriate and stylistically correct.

The history of the appearance of syntactic parallelism takes its origins from the Hebrew language, which in turn was used to compose psalms. In the Middle Ages, the most revered and read texts were the sacred psalms, the Bible and the lives of saints. Such books were distributed both in Europe and Asia, and books telling about other values of life or other foundations were destroyed.

Medieval Germanic style also influenced syntactic parallelism. From this influence, fragmentary rhythm began to appear in poems and prose, and a combination of incompatible parts of speech arose to enhance the effect.

In addition, the Finnish epic “Kalevala” also had a hand in syntactic parallelism. In this epic, the use of similar structures is clearly visible, which in turn gives the work charm and a certain spirit.

Examples of syntactic parallelism.

Most often in Russian poetry, such compositions are found in Tyutchev and Fet.

"Only in the world is there something shady
Dormant maple tent.
Only in the world is there something radiant
Childishly thoughtful look.
Only in the world is there something fragrant
Sweet headdress.
Only in the world is there this pure
Parting to the left."
(A.A. Fet)

“The feast is over, the choirs have fallen silent,
Amphoras are emptied
Baskets overturned
The cups of wine are not finished,
The wreaths on the heads are crumpled, -
Only the aromas smoke
In an empty, bright hall...
Having finished the feast, we got up late -
The stars in the sky were shining
The night has reached halfway..."
(F.I. Tyutchev)

1)Sierotwiń ski S. Słownik terminów literackich.

“Parallelism. The phenomenon of parallelism, repeatability, analogy between parts of a structure forming a sequence. Parallelism may consist in the similarity of verbal systems, motifs, compositional and content elements<частиц>, often it is the basis of the composition in the lyrics, which is typical, for example, for folk songs. Parallelism in the full sense is a condition of rhythm, and intonation is a constant decisive factor in verse, since even in the absence of other versification requirements<он>follows from the division into verses, determines their equivalence and distinguishes verse from prose” (S. 182).

2) Wilpert G. von. Sachwörterbuch der Literatur.

“Parallelism<...>as opposed to chiasmus repetition of the same word order, corresponding symmetry. syntactic constructions with approximately equal number of words (approximately equal duration of sounds in columns<...>) in two or more consecutive sentences, parts of sentences or verses: “Hot love, cold snow.” The second and possible subsequent part of the statement tilts thoughts again in the same direction and brings depth to what is being said with the help of different formulations; form symmetry, mostly with more strict containment. relation or semantic unity mentally through antithesis or climax, externally often connected through anaphora, epiphora or homoioteleuton; esp. in sacred language: a conscious stylistic means of increased expression in Chinese, Babylonian, Egyptian, Arabic. and esp. Jewish poetry and prose<...>(S. 658).

"Parallelism- arrangement of parts of a whole so that equal elements (parts) are balanced within identical structures. This distribution applies to words, expressions, sentences, paragraphs and entire passages of a work. Parallelism, from a Greek word meaning “one after another,” is a rhetorical device used in all genres in all known types of literature” (p. 275).

4) Dictionary of World Literary Terms / By J. Shipley .

"Parallelism- 1) balanced repeatability of structural elements.<...>2) series of repetitions. This can be a repetition of sounds, structures, meanings; usually several repeating segments are of approximately the same volume or length” (p. 230).

5) Dictionnaire de la théorie et de l’histoire littéraires du XIX siècle a nos jours.

“Parallelism. Correspondence in the forms of syntactic constructions between two phrases, two segments of phrases, or two verses” (p. 229).

6) Zundelovich Ya. Parallelism // Dictionary of literary terms: B 2 vol. T. 1. St. 551-554.

“P.- such an arrangement of individual words or sentences in which one verbal group contains thoughts, images, etc., corresponding to another group, and both of these groups constitute or are included in one whole.<...>See, for example, the parallelism from Chinese poetry given by Bryusov in his “Experiences”: Your mind is as deep as the sea, / Your spirit is as high as the mountains. The sharpness of parallelism lies in its unexpectedness and the somewhat obscured connections between its members. Comparisons or contrasts, which are usually the theme of parallelism, do not need to be clearly clear. Therefore, comparison, for example, is often negative in parallelism<...>A special type of parallelism is the so-called reverse parallelism or chiasmus. <...>So, for example, we have chiasmus in the hemistiches of the following verse from Tyutchev’s poem “Twilight”: Everything is in me and I am in everything<...>“.

6) Kvyatkovsky A. Poetic dictionary.

“Parallelism<...>a compositional technique that emphasizes the structural connection of two (usually) or three elements of style in a work of art; the connection between these elements is that they are located in parallel in two or three adjacent phrases, poems, stanzas, due to which their commonality is revealed<...>“ (p. 193-195).

7) Roshchin P. Parallelism // Dictionary of literary terms. P. 259.

“P.<...> - analogy, similarity, commonality of characteristic features; homogeneous syntactic construction of two (or more) sentences (or parts of them): Your mind is as deep as the sea / Your spirit is as high as the mountains(V. Bryusov)<...>“.

8) Gasparov M.L. Parallelism // Les. P. 267.

“P.<...>, identical or similar arrangement of speech elements in adjacent parts of the text, which, when correlated, create a single poetic. image. Example: Oh, if only there weren’t frosts on the flowers<...>Oh, if only I wasn't sad<...>P.'s development are 3 ancient Greek figures. rhetoric: isocolon,antithesis, homeotelevton (similarity of endings in members, germ of rhyme)<...>“.

9) Broitman S.N. Psychological parallelism // Literary terms (materials for the dictionary). Vol. 2.

“P. p.- artistic technique of folk poetry, a reflection of the most ancient (syncretistic) stage of development of figurative forms in literature.<...>In P. p., therefore, there is neither absolute identity nor complete distinction, and such a semantic structure is a historically arose phenomenon: it imprints relationships that could only be formed at a certain stage in the development of figurative consciousness.<...>If we use the distinction between “expressed” and “manifested” developed by Indian poetics, then it should be said that in P. p. the difference is expressed: both compared phenomena (nature and man) are independent in their external form, separated in the space of the text and connected by a coordinative ( and not a subordinating) connection. But what is manifested, that is, the very possibility of the existence of this expressed difference, is precisely syncretism here” (pp. 51-53).

Symbol

1)Sierotwiń ski S. Słownik terminów literackich.

“Symbol. A sign, concept or system of concepts used to designate another object. The interpretation of a symbol is either conventional (arising from a fixed-term contract, from life practice, from literary tradition), or it allows for polysemy and arbitrariness, which is precisely the basis for the use of symbols in artistic creativity<...>“ (S. 265-266).

2) Wilpert G. von. Sachwörterbuch der Literatur.

“Symbol(Greek symbolon- <...>) original in Greece, an identification mark in the form of one of the two halves of a broken object, which partners in a contract, people bound by ties of hospitality, and spouses, before separation, divided into parts and, at a subsequent meeting, folded for new recognition (Greek. symballein- compare), then - any event or object indicating something higher, esp. traditional S. and religious ceremonies. societies that are understandable only to initiates (for example, the banner, the Christian cross and the supper), often also artistic. sign, emblem at all. In poetry, a sensually perceived and understandable sign, endowed with figurative power, which points beyond itself as a revelation, making it visual and explanatory, to a higher abstract region; as opposed to rational, arbitrarily established allegories“symbol” with esp. penetrating effect on feeling, artist. strength and a wide-spread circle of connections, which, in the embodiment of the individual, the particular, hints and foreshadows the unspoken universal and, as an understandable replacement for the mysterious, not subject to depiction and located behind the sensory world of phenomena, the imaginary sphere strives to reveal in image her broad spirituality content that is contained in the image, but differs from it itself<...>(S. 908).

3) Dictionary of Literary Terms / By H. Shaw.

"Symbol- something used or viewed as a representation of something else. In a narrower sense, a symbol is a word, phrase or expression that has a complex of associative meanings; in this meaning, a symbol is considered as something having a different meaning than that which is symbolized” (p. 367).

4) Morier H. Dictionnaire de poétique et de rhétorique.

“Symbol. A specific object chosen to signify one or another of its basic properties. So, the sphere is a symbol of perfection.<...>This particular object usually emphasizes a whole set of properties. In philosophical terms, it has, in principle, infinite meaning. In the language of literary criticism, this means that the symbol has many meanings: for example, the “lion” is not only a symbol of courage; it is also a symbol of other qualities inherent in a lion, i.e. strength, beauty, nobility. This wealth of meaning has captivated poets at all times. But only in the second half of the 19th century, starting from 1885, poetry mastered it to such an extent that its use became the main method of the poetic school. The essence of this method cannot be understood without establishing a clear distinction between two types of symbols: conventional and living symbols” (p. 1080).

5) Lvov-Rogachevsky V. Symbol // Dictionary of literary terms: B 2 vol. T. 1. Column. 773-774.

“WITH. Comes from the Greek word symbolon - connection, essence in a few signs. Usually by symbol we mean a picture image with a figurative allegorical meaning.<...>Where it is impossible to give an object, a symbol is born to express the unspeakable, the ineffable through correspondences between the external world and the world of our dreams, while a visible object, through which the artist allegorically expresses his ideas and unclear moods, not only There is something, but also means something, hinting at something else, standing outside its essence, but connected with it by more than a simple association. Using symbols, the artist does not show things, but only hints at them, forces us to guess the meaning of the unclear, to reveal “hieroglyphic words”<...>“.

6) Kvyatkovsky A. Poetic dictionary.

“Symbol<...>a multi-valued object image that unites (connects) different plans of reality reproduced by the artist on the basis of their essential commonality and relatedness. S. is built on the parallelism of phenomena, on a system of correspondences; it is characterized by a metaphorical beginning, which is also contained in poetic tropes, but in S. it is enriched with a deep concept. The ambiguity of the symbolic image is due to the fact that it can be equally applied to various aspects of existence. So, in Lermontov’s poem “Sail”<...>the relationship between two diverse phenomena (personality and element) is embodied in the symbolic image of a lonely sail<...>(p. 263).

7) Mashbits-Verov I. Symbol // Dictionary of literary terms. pp. 348-349.

“WITH. <...>- an objective or verbal sign that conventionally expresses the essence of a person. phenomena from a certain perspective, edge and determines the very character, quality of S. (revolutionary, reactionary, religious, etc.). S. can be objects, animals, known phenomena, signs of objects, actions, etc. (for example, lotus - S. deity and the universe among the Hindus; bread and salt - S. hospitality and friendship; snake - S. wisdom; morning - S. youth; blue color - S. hope; dances and rituals are symbolic).<...>At its core, S. always has a figurative meaning. Taken in verbal expression, this is trope(cm.)<...>”.

8) Averintsev S.S. Symbol in art // Les. pp. 378-379.

“WITH. <...>universal aesthetic a category that reveals itself through comparison with adjacent categories - image artistic, on the one hand, sign and allegories- with another. In a broad sense, we can say that S. is an image taken in the aspect of its signification, and that it is a sign endowed with all the organicity and inexhaustible ambiguity of the image.<...>The objective image and the deep meaning appear in the structure of the symbol as two poles, one inconceivable without the other (for the meaning loses its appearance outside the image, and the image without the meaning crumbles into its components), but also separated from each other<...>“. “The fundamental difference between a symbol and an allegory is that the meaning of a symbol cannot be deciphered by a simple effort of reason, it is inseparable from the structure of the image, does not exist as some kind of rational formula, which can be “put into” the image and then extracted from it.<...>The meaning of S. objectively realizes itself not as presence, but as dynamic trend; he is not Dan, A given. <...>If we say that Dante’s Beatrice is the S. of pure femininity, and Mount Purgatory is the S. of spiritual ascent, then this will be fair; however, the remaining “pure femininity” and “spiritual ascent” are again symbols, although more intellectualized, more similar to concepts.”

What is the role of literature in our lives? No matter how strange it may seem, its significance is very great. By reading the works of great writers and poets, we learn to distinguish good from evil. But a book will not make us stronger or more experienced; we need to draw valuable knowledge from it and apply it in real life. You cannot live by illusions alone, and works of art create fictitious situations and characters. A technique such as parallelism is found quite often in literature, but few people pay attention to it. We propose to get to know this concept a little closer.

The role of artistic media

Parallelism in literature, like many other techniques, must be present. Their role is actually very important. Anyone who likes to read scientific literature knows that this particular genre is poor in expressive means. This is a solid dry text that does not evoke any emotions at all. The main task of literature is to captivate the reader, so that the work is read in one breath and makes you want to know the continuation.

Without expressive means, we would not experience any feelings when reading a work: no pity, no sympathy, no joy. Parallelism in literature is also important. What is its main role?

Parallelism

This concept can be heard in rhetoric, it means repetition or comparison. The technique is used to emphasize the similarity of objects or their differences. Parallelism is also used in literature to emphasize significance. Let's take an example - the famous poem by Alexander Sergeevich Pushkin “Ruslan and Lyudmila”. There are the following lines: “Will I see your bright gaze? Will I hear a gentle conversation? In a similar way, the author emphasizes what is extremely important for Ruslan. But this is just one example of possible uses of the technique.

Folklore

What is parallelism in literature? We propose to analyze this using the example of ancient literature and folklore. If we consider versification, then this technique acts as an assistant in the construction of stanzas and rhymes. In biblical or, as it is also called, Hebrew versification, this technique and synonymy are used in parallel, which allows similar images to be varied.

Ancient Germanic verse is also not devoid of parallelism, but it always appears together with alliteration. Let us not ignore Finnish folklore, where it manifests itself in gradations.

Russian folklore

Parallelism here takes several forms:

binomial;
polynomial;
negative;
formal.

The first item presented is the simplest form. Let's consider parallelism in literature, examples from folklore: “A falcon flew across the sky, a fine fellow walked around the world.” It was from this form that more complex or polynomial ones were formed. This type represents several parallels at once. An interesting form often used in the works of authors is negative parallelism. For example: “It was not the birch tree that bowed down, but the red maiden that bowed at its feet.” As for the latter type, it is often found in ditties. There is absolutely no logical connection between the compared objects.

Later times

Modern and classical literature also use the technique of parallelism, in addition, it is borrowed from folklore. The origin of this trend was in ancient times.

European fiction is also not devoid of parallelism, only here it borders on antithesis and anaphora. Our great and mighty Russian language contains many other techniques used by authors to this day in order to interest their readers and make the work truly interesting and exciting.

Syntactic parallelism examples from folklore. What is parallelism, examples of parallelism

See what “Parallelism” is in other dictionaries:

The meaning of the word PARALLELISM. in the Literary Encyclopedia

See also interpretations, synonyms, meanings of the word and what PARALLELISM is. in Russian in dictionaries, encyclopedias and reference books:

Comparative or syntactic parallelism.

Use of syntactic parallelism.

Examples of syntactic parallelism.

The role of artistic media

Parallelism

Folklore

Russian folklore

Later times