Syntactic parallelism: definition, examples. Examples of parallelism in Russian literature

1)Sierotwiń ski S. Slownik terminow literackich.

“Parallelism. The phenomenon of parallelism, repeatability, analogy between parts of the structure that form a sequence. Parallelism may lie in the similarity of verbal systems, motives, compositional and content elements.<частиц>, often it is the basis of composition in 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 delimits verse from prose” (S. 182).

2) Wilpert G. von. Sachwörterbuch der Literatur.

“Parallelism<...>as opposed to chiasma repetition of the same word order corresponding to the symmetr. syntax constructions with an approximately equal number of words (columns of approximately the same duration of sounds<...>) in two or more consecutive sentences, members of sentences or verses: "Hot love, cold snow." The second and possible next part of the statement inclines thoughts again in the same direction and brings a deepening of what was said with the help of other formulations; form symmetry, for the most part at more strict contain. relation or semantic unity mentally through antithesis or climax, outwardly often connected through anaphora, epiphora or homoiotheleuton; esp. in sacred language: a conscious stylistic means of heightened expression in Chinese, Babylonian, Egyptian, Arabic. and special Jewish poetry and prose<...>(S. 658).

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

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

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

5) Dictionnaire de la théorie et de l'histoire littéraires du XIX siecle 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 v. T. 1. Stlb. 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 "Experiments": Your mind is as deep as the sea / Your spirit is as high as the mountains. The acuteness of parallelism lies in its unexpectedness and some obscuration of the connections between its members. Comparisons or contrasts, which usually serve as the theme of parallelism, do not have to be very clear. Therefore, comparison, for example, often has a negative character in parallelism<...>A special type of parallelism is the so-called reverse parallelism or chiasm. <...>So, for example, we have chiasmus in the half lines of the following verse from Tyutchev's poem "Twilight": All in me and I in all<...>“.

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 of these elements is that they are located in parallel in two or three adjacent phrases, verses, stanzas, due to which their commonality is revealed<...>“(pp. 193-195).

7) Roschin P. Parallelism // Dictionary of literary terms. S. 259.

“P.<...> - analogy, similarity, generality 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. S. 267.

“P.<...>, an identical or similar arrangement of speech elements in adjacent parts of the text, to-rye, correlating, create a single poetic. image. Example: Oh, if only there were no frosts on the flowers<...>Oh, if it's not for me<...>The development of P. are 3 ancient figures of the Greek. rhetoric: isocolon,antithesis, homeoteleuton (similar endings in terms, germ of rhyme)<...>“.

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

“P. p.- artistic technique folk poetry, a reflection of the most ancient (syncretic) stage in the development of figurative forms in literature.<...>Thus, in P. p., there is neither absolute identity nor complete distinction, and such a semantic structure is a phenomenon that arose historically: it imprinted relationships that could form only at a certain stage in the development of figurative consciousness.<...>If we use the distinction between “expressed” and “manifested” worked out 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 composition ( and not subordinating). But what is manifested, i.e., the very possibility of the existence of this expressed difference, here is precisely syncretism” (pp. 51-53).

Symbol

1)Sierotwiń ski S. Slownik terminow literackich.

“Symbol. A sign, concept or system of concepts used to refer to another thing. 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(gr. symbolon- <...>) initially. in Greece, an identification mark in the form of one of the two halves of a broken object, which the partners in the contract, people connected by ties of hospitality, and the spouses divided into parts before parting and, at the subsequent meeting, folded for a new recognition (Greek. symballein- to compare), then - any event or object pointing to something higher, esp. traditional S. and religious ceremonies. societies that are understandable only to the initiated (for example, the banner, Christ. Cross and supper), often also artistic. sign, emblem at all. In poetry, a sensuously perceived and understandable sign endowed with figurative power, which points beyond itself as a revelation, making it clear and explained, to a higher abstract area; as opposed to rational, arbitrarily established allegory"symbol" with esp. penetrating effect on feeling, artist. power and a widely 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 the image and located behind the sensually perceived world of phenomena of the imaginary sphere, seeks to reveal in image her broad spirituality. content that is contained in the image, but differs from itself<...>(S. 908).

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

"Symbol something that is used or treated 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, the symbol is regarded as something having a different significance than that which is symbolized” (p. 367).

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

“Symbol. A particular object chosen to denote one or another of its essential properties. So, the sphere is a symbol of perfection.<...>This particular subject emphasizes, as a rule, a whole set of properties. In the language of philosophy, it, in principle, has an infinite meaning. In the language of literary criticism, this means that the symbol has many meanings: for example, "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 meanings has bribed poets at all times. But only in the second half of the 19th century, starting from 1885, did poetry master 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 kinds of symbols: conventional and living symbols” (p. 1080).

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

“WITH. It comes from the Greek word symbolon - connection, essence in a few signs. Usually, by a 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 inexpressible, the inexpressible through correspondences between the external world and the world of our dreams, while the visible object, through which the artist allegorically expresses his ideas and vague moods, is not only There is something, but means something, alluding to something else, standing outside its essence, but connected with it by more than a mere association. Using symbols, the artist does not show things, but only hints at them, makes us guess the meaning of the obscure, reveal “hieroglyphic words”<...>“.

6) Kvyatkovsky A. Poetic dictionary.

“Symbol<...>a multi-valued subject image that unites (binding) itself different plans reality reproduced by the artist on the basis of their essential commonality, affinity. S. is built on the parallelism of phenomena, on a system of correspondences; it has a metaphorical beginning, which is also contained in poetic tropes, but in S. it is enriched with a deep intention. The ambiguity of the symbolic image is due to the fact that it can be applied with equal justification to various aspects of being. So, in Lermontov's poem "Sail"<...>the relationship of two diverse phenomena (personality and elements) 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. <...>- a subject or verbal sign that conditionally expresses the essence of the c.-l. phenomena with a certain t. sp., which determines the very nature, quality of S. (revolutionary, reactionary, religious, etc.). S. can serve as objects, animals, famous phenomena, signs of objects, actions, etc. (for example, lotus - S. of the deity and the universe among the Hindus; bread and salt - S. of hospitality and friendship; snakes - S. of wisdom; morning - S. youth, blue color - S. hope, symbolic dances, rituals).<...>At its core, S. always has figurative meaning. Taken in verbal terms, it is trope(cm.)<...>”.

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

“WITH. <...>universal aesthetic. category, revealed through comparison with adjacent categories - image artistic, on the one hand, sign and allegory- with another. IN broad sense we can say that S. is an image taken in the aspect of its symbolism, and that it is a sign endowed with all the organicity and inexhaustible ambiguity of the image.<...>The objective image and the deep meaning act in the structure of S. as two poles, one inconceivable without the other (because the meaning loses its appearance outside the image, and the image outside the meaning crumbles into its components), but also divorced from each other<...>“. “The fundamental difference between S. and allegory is that the meaning of S. 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 “inserted” into the image and then extracted from it.<...>The meaning of S. objectively realizes itself not as cash, 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 true; however, the remaining "pure femininity" and "spiritual ascent" are again symbols, although more intellectualized, more like concepts.

What is the role of literature in our life? As strange as it may seem, its significance is very great. Reading the works of great writers and poets, we learn to distinguish good from evil. But the book will not make us stronger, more experienced, we need to draw valuable knowledge from it and apply it in real life. You can't live on illusions, but works of art create fictional situations and characters. Such a technique as parallelism is quite common in the literature, but few people pay attention to it. We propose to get acquainted with this concept a little closer.

The role of artistic means

Parallelism in literature, like many other techniques, must be present. Their role is really very great. Anyone who likes to read non-fiction knows that this particular genre is poor in expressive means. This is a solid dry text that does not cause 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. Reception is used to emphasize the similarity of objects or their differences. Also, parallelism in the literature is used 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 of the examples. options use of the reception.

Folklore

What is parallelism in literature? We propose to analyze this on 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 makes it possible to vary similar images.

The ancient German verse is also not without parallelism, only it necessarily appears together with alliteration. Let's not disregard the Finnish folklore, where it manifests itself with gradation.

Russian folklore

Parallelism here takes several forms:

• binomial;
• polynomial;
• negative;
• formal.

The first of the items presented is the simplest form. Consider the 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 forms were formed. This type represents several parallels at once. An interesting form often used in the work of authors is negative parallelism. For example: "It was not the birch that bowed, but the red-haired girl bowed at her 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 also contains many other tricks used by authors to this day in order to interest their reader, to make the work really interesting and exciting.

Personifications underlie other traditional species verbal-subject allegory, first of all - figurative parallelism. This type of figurativeness arose in oral syncretic creativity. In ancient times, people, being dependent on the forces of nature, not only likened its phenomena and processes to their conscious actions, but vice versa - they thought about their actions and relationships by analogy with the processes that took place in inorganic nature or in the world of animals and plants. They were vaguely aware of the patterns of the life of nature and, through comparison with them, comprehended social and psychological patterns. human life. Hence, in their verbal creativity, parallels arose between relations in nature and in people's lives. Yes, in Russian folk song it is sung: “Do not tangle, do not tangle, grass, with dodder. || Do not get used to, do not get used to, well done, with the singer. || It was good to get used to it, it was sickening to leave. This is a parallel of two images: the first reflects the relationship in nature, the second - the relationship between people. The image of nature in figurative parallelism always comes first (this is the first term of parallelism); the image of human actions and relationships - on the second (this is the second term of parallelism). There is a direct connection between the first and second terms of parallelism. This kind of figurativeness is called direct two-term parallelism. Relations that arise in nature, as it were, clarify the actions and relationships of people. Strongly woven grass with dodder - human love can be just as strong; grass with dodder is difficult to break - just as difficult can be the separation of lovers. The image of both acquires a generalizing meaning. IN special article about parallelism A. N. Veselovsky defines this type of figurativeness as “comparison on the basis of action, movement”. “... Parallelism,” he wrote, “is based on the comparison of the subject and the object according to the category of movement, action, as a sign of volitional activity” (36, 126). He called such parallelism "psychological", in contrast to the "rhythmic" parallelism, that is, from the intonational comparison of phrases, verses in the process of singing or reciting. However, such a definition narrows the meaning of the parallelism of images, since it is based, in essence, not only on the emotional, psychological connection between natural phenomena and the relationships of human life, but above all on their objective similarity, which acquires a generalizing cognitive meaning. In ritual and everyday folk songs, figurative parallelism is very common. Sometimes the whole song is based on it from beginning to end. Such, for example, is one of the Russian wedding songs depicting matchmaking: - Oh, you falcons, falcons, where did you fly in the evening? - Oh, we flew At the blue sea. - What did you see there? - Ah, we saw a gray duck, a gray duck in the backwater. - Oh, why didn’t you puff her, Siza plucked her feathers. - Oh, you, smart boyars, Where, boyars, did you go? - Oh, we went from city to city. We have already seen, we have seen Krasna the girl in the tower. Why didn't you take her? - Although we didn’t take it, we unraveled Rusa’s braid, Weaved out the Silk braid. Here relationship bird of prey- a falcon - and its victims - ducks - highlight the relationship between the matchmakers - "boyars" and the girl chosen by them as a bride. The falcons “plucked out the feathers” of the duck, the matchmakers untwisted the girl’s braid - “conspired to marry her.” Initially arising on the analogy of the life of nature and man, figurative parallelism then sometimes extends to objects made by man. For example: “Like a silver glass || She has a golden aureole, II Like Mikhail Ivanovich N "He has a dear mind." later times and fiction. Here he ceased to be traditional principle figurative thinking arising from the naive assimilation of man to nature, but became a product of personal creative imagination authors, a means of enhancing the emotional expressiveness of their artistic generalizations. Here is a poem by F. Sologub: On a gray heap of litter, By a dusty fence, On a deaf street It blooms at the end of May, Not seducing with beauty, A gloomy St. John's wort. In useless monasteries, In sickly sufferings, On the meager soil of evil, Outside of bright impressions My joyless genius languidly blossomed. Parallelism received a peculiar application in part in epic literature - both as a means of figurative cognition and as a way to enhance emotional expressiveness. Such is the "psychological" parallelism in L. Tolstoy's War and Peace. With a feeling of hopeless disappointment in life, Prince Andrei goes to the Rostovs' estate and on the way he sees a large oak tree with broken branches and bark. Oak looks like an old, gray-haired freak, as if despising "spring, love, happiness," and Prince Andrei mentally agrees with him. But at the Rostovs, Andrey met Natasha, was carried away by her, felt that an unexpected confusion of young thoughts and hopes arose in him, and on the way back, seeing the same oak, but already “transformed, spread out like a tent of juicy, dark greenery,” he experienced "an unreasonable spring feeling of joy and renewal." The parallelism between a sudden thunderstorm and Katerina's tragic expectation of retribution for her betrayal of her husband is the highly artistic culmination of A. Ostrovsky's Thunderstorm. Turgenev showed himself to be a fine master of figurative parallels between the characters and experiences of the characters and the nature around them in a number of stories, novels and novels (“Bezhin Meadow”, “Date”, “Calm”, “Faust”, “Rudin”, etc.). The negative parallelism that arose on the basis of direct parallelism, which is found especially often in the oral folk poetry of the Slavic peoples, has become much less widespread. So, in a Russian song it is sung: It is not a falcon that flies through the skies, It is not a falcon that drops its gray wings, A good fellow gallops along the path, Bitter tears pour from clear eyes. Here, as in direct parallelism, a comparison is given of the phenomena of nature and human life - a falcon and a young man - according to the similarity of their action and state. The falcon flies, the fellow jumps; both are in trouble - the falcon drops feathers from its wings, the good fellow sheds tears. At the same time, both phenomena retain their independent meaning and do not obey each other. But the similarity between them and their actions is no longer their identity: their identity is denied by negative particle"Not". It seems that the falcon is flying and dropping feathers - no, this is a good fellow jumping and dropping tears. And the denial of the identity of phenomena is more important here than the assertion of their similarity. According to Veselovsky, “psychologically one can look at a negative formula as a way out of parallelism...” (36, 188). Therefore, negative parallelism cannot serve as an independent means of subject representation, the basis for constructing a whole work. It is usually used in the beginnings of works or their individual episodes. Negative figurative parallelism is so characteristic of oral folk poetry that it is used in fiction only when the poet imitates the style of folk art. So Pushkin begins the poem "Brothers-robbers": "Not a flock of ravens flocked || On piles of smoldering bones...”; Nekrasov - one of the episodes in the poem "Frost, Red Nose": "It is not the wind that rages over the forest, || Streams did not run from the mountains ... "; Yesenin - "Martha Posadnitsa": "Not the sister of the month from the dark swamp || She threw the kokoshnik into the sky in pearls ... ". So, along with personification, figurative parallelism, especially in its main - direct binomial - form, is a very common type of verbal-subject allegory, which originated in ancient folk art, and later used in fiction, primarily in lyrical literature.

Parallelism

Parallelism

I. A term of traditional stylistics that denotes the combination of two or more composed sentences (or parts of them) by strictly matching their structure - grammatical and semantic. Example: "Your mind is as deep as the sea, || Your spirit is as high as mountains” (V. Bryusov, 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. “Place me as a seal on your heart || and like a ring on your hand” (“Song of Songs”). great place occupies P. in the alliterative and even rhymed Germanic verse of the Middle Ages. It is of no less importance in the Finnish epic Kalevala, where it is combined with the obligatory gradation. Wed “He finds six grains || seven seeds he raises." In written lit-pax, P. acquires a very complex nature, connecting with anaphora, antithesis, chiasm 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 receives 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 poetic composition, which consists in comparing one action (main) with others (secondary) observed in external person the world.
The simplest type P. - binomial:

"A falcon flew across the sky,
Walked well done around the world.

It probably formed more complex types: polynomial (several consecutive parallels); negative (parallel taken from outside world, is given in negation order):

“Not a white birch bows to the ground -
The red maiden bows to the father”;

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

"I'll put the ring in the river,
And a glove under the ice
We signed up for the community
Let all the people judge."

For P.'s connection with the choral action, see Amoebae composition. From folklore P. widely penetrates into art song (individual Kunstlied). Bibliography:
Veselovsky A., Psychological parallelism and its forms in reflections of poetic style, Sobr. sochin., vol. I, St. Petersburg, 1911.

Literary Encyclopedia. - In 11 tons; M.: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .

Parallelism

(from the Greek parallelos - walking beside), stylistic figure, establishing the similarity of adjacent syntactic segments of the text (verses, sentences or parts of a sentence). Projecting the word order of one syntactic segment onto another, they distinguish between straight line parallelism (“The dog animal is sleeping, / the Sparrow bird is napping ...” in the poem by N. A. Zabolotsky“The signs of the Zodiac are fading…”) and converted (“Waves are playing, the wind is whistling…” in “Sail” by M. Yu. Lermontov). Reversed parallelism is also called chiasmus(Greek chiasmos - figurativeness, cruciformity; from the name of the Greek letter X
"hee"). When comparing the number of words in paired segments, complete parallelism is distinguished (“Amphora are empty, / Baskets are overturned ...” in the poem by F.I. Tyutchev“The feast is over, the choirs are silent ...”) and incomplete (“Slow down, slow down, evening day, / Last, last, charm ...” in his poem “Last Love”).

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of 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 among 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 mountains.

The sharpness of the parallelism lies in its unexpectedness and in some obscuration of the connection between its members. Comparisons or contrasts (see antithesis), which usually serve as the theme of parallelism, do not have to be distinctly clear. Therefore, comparison, for example, often has a negative character in parallelism, as in Pushkin:

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

One in the hallway the bride wanders ...

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 immersion of the world in darkness, in the second, he turns to the "quiet twilight" with a request to overwhelm his feelings with the "gloom of self-forgetfulness" and let him "taste destruction." The first stanza begins with the verse: “The gray-gray shadows mingled,” and the second ends with the verse: “Mix with the dormant 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, imploring. Parallelism in a broad sense - the parallelism of the positions of characters, descriptions, characteristics, etc. - can be the basis for the composition of a whole work. An example of the use of parallelism as a compositional device is Gogol's Nevsky Prospekt. The history 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 the fate of man. And, as if in a frame, the stories of Piskarev and Pirogov are enclosed in the description of Nevsky Prospekt, with which the work begins and ends. The reception, so to speak, of false parallelism, aimed at achieving a comic effect, we find in Gogol's story about how Yves quarreled. Iv. with Yves. Nikifor. Description of Iv. Iv. and Iv. Nikif. Gogol begins with the words: "The best way to know their character is by comparison." But giving further comparative characteristic Iv. Iv. and Iv. Nikif. with the help of parallelisms, Gogol, among other things, introduces such parallels: 1) “Iv. Iv. gets very angry if a fly gets into his borscht”, “Iv. Nikif. extremely fond of swimming" or 2) "Iv. Iv. some

A special type of parallelism is the so-called reverse parallelism or chiasm. In the case of chiasmus, the individual parts of one parallel group are arranged in the reverse order to that in which the corresponding parts are located in the other group. In this way, moments are brought to the fore, which, if they were directly parallel, would remain in the shadow. So, for example, we have chiasmus in the half lines of the following verse from Tyutchev's poem: "Twilight":

Everything is in me, and I am in everything.

Here, in first half line the poet puts forward the feeling that the world, which has dissolved in darkness, is penetrating into it too - in this regard, the word “everything” comes first, and “me” comes second; in the second hemistich it is found 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

See what "Parallelism" is in other dictionaries:

parallelism- a, m. parallelisme m. 1. Parallel position of two equally spaced lines or planes. Spassky Horn. sl. 1843 App. 45. Equal throughout the distance from each other lines and planes. Line parallelism. Axes parallelism.… … Historical dictionary gallicisms of the Russian language

Parallelism- PARALLELISM is 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. How… … Dictionary of literary terms

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

PARALLELISM, parallelism, male. (see parallel) (book). 1. only units Equal throughout the distance from each other lines and planes (mat.). 2. trans., only units. The constant ratio and concomitance of two phenomena, actions. These facts... ... Dictionary Ushakov

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

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

In poetics, an identical or similar arrangement of elements of speech in adjacent parts of the text, which, when correlated, create a single poetic image. Along with verbal figurative, or syntactic, parallelism (Waves splash in the blue sea. In the blue ... ... Big Encyclopedic Dictionary

PARALLELISM, husband. Accompaniment of parallel phenomena, actions, parallelism. P. lines. P. at work. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov

- (from the Greek. parallelos going side by side, parallel), independent development of similar traits in the evolution of closely related groups of organisms. As a result of P., the secondary acquired similarity of different groups, as it were, is superimposed on their similarity, ... ... Biological encyclopedic dictionary

To achieve the brightness of the impression and enhance the emotional impact in fiction, various tricks- phonetic, lexical, syntactic. One of these means is syntactic parallelism - an artistic device in which the elements of speech that carry a single idea, follow in a certain sequence and create a single image.

This way of expression uses the principle of repetition and symmetry. Thus, the phenomenon of generality, homogeneity of syntactic constructions and their arrangement in writing connection and there is syntactic parallelism.

There are several types of arrangement of speech elements. If the syntactic constructions are completely identical, it is full parallelism, if the analogy is partial - incomplete.When structures are adjacent, we can talk about contact parallelism if they are separated by others - o distant.

Concurrency as means of expression language has been known since ancient times. It is enough to recall biblical texts, ancient epics, thoughts and tales, folk songs, as well as prayers, spells, conspiracies. This technique can be traced in riddles, sayings, proverbs. Obviously, this phenomenon is typical for oral folk art, as well as for stylized antique literary works.

Sang, sang the little bird and calmed down;

The heart knew joy and forgot.

In this case, there is a comparison of one, the main action with another, secondary, which is characteristic feature folklore.

Types of parallelism

In Russian, especially in fiction, are used different types syntactic parallelism:

• binomial;
• polynomial;
• monomial;
• formal;
• negative;
• reverse (chiasm).

The most commonly used is two-term parallelism. Usually such a technique depicts natural phenomena, then describes some life situation.

The reeds rustled over the backwater.

The girl-princess is crying by the river.

When using the polynomial option actor compared to several images:

We are two trunks lit by a thunderstorm,

Two flames of the midnight forest

We are two meteors flying in the night,

One fate two-stinged bee.

In Russian literature, in particular, in folk art, one-term parallelism is also encountered. At the same time, human characters appear only in the images of plants, animals, birds, however, it is clear that the image of the “clear falcon” implies a young man - a groom, a lover. A girl, a bride, usually appears in the form of a “swan”, “peahen”, or birch, mountain ash, etc.

In some way, the formal version of this technique is similar to the single-term one. However, it is not immediately noticeable, since there is no obvious logical connection between the elements. To understand its meaning, you need to represent the entire work as a whole or a certain period.

Syntactic parallelism is sometimes combined with other forms of this expressive means, for example, with phonetic, which is characterized by the use of the same words at the beginning of a line or the same ending of lines. This combination enhances the expressiveness of the text, gives it a special sound:

Your name is a bird in your hand

Your name is ice on the tongue

Widely used in oral folk art and works of fiction is negative parallelism. This way of expressiveness is found in folk tales, songs, riddles, the authors also use it.

Not the wind blowing from above

Sheets touched on a moonlit night -

You touched my soul...

Talking about it syntactic means expressions, it is impossible not to mention such a vivid expressive technique as his reverse view, chiasm. Its essence is that the sequence of elements changes crosswise or mirror. An example of the so-called "purely syntactic" chiasm is the saying: "Not the people for the power, but the power for the people."

In an effort to achieve the effect, sharpness, persuasiveness of their public speaking, chiasm has been used by orators since ancient times. This expressive means is found in the works of Russian writers and poets of the “golden” and “silver” centuries, they cannot do without it and contemporary authors.

Folklore and fiction are a reflection of reality, they are closely connected with the history of society, reveal the essence of phenomena and inner world human through a variety of expressive means. Being a way to enhance emotional impact, syntactic parallelism often contains different kinds artistic expression.