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 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 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 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<...>“. “Fundamental difference S. from 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 “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.”

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.” used in a narrower, specific sense, denoting a feature of a poetic composition, which consists in comparing one action (main) with others (minor) observed in external to man world. Simplest type P. - 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

Imagery in literature

Word artists have many expressive means in their arsenal to create a bright and impressive image. In their works, writers actively use tropes and stylistic (rhetorical) figures:

rhetorical question
inversion
gradation
epiphora
comparison

Their use makes the perception of artistic speech multifaceted, arouses readers' interest in what is depicted, and gives rise to rich figurative associations. One such stylistic device is parallelism. This term is borrowed from the Greek language, where the word parallelos literally means "walking nearby".

Parallelism is known in biology, mathematics, and physics. In the literature, the word “parallelism” refers to similar elements in the construction of a statement. These can be sounds and syllables (sound parallelism), repeating words (lexical parallelism) and syntactic structures - phrases and sentences.

If a work contains adjacent stanzas, phrases, sentences that are identical or similar in syntactic structure, then such constructions are called the linguistic term “syntactic parallelism.”

When using syntactic parallelism, the same type of syntactic structure of successive parts of a statement, phrases and sentences is repeated. Syntactic parallelism is expressed in a certain, similar order of words with the same type of predicate, for example:

A diamond is polished by a diamond,
The line is polished with a line.

A. Nedogonov

With the help of this stylistic device, the author compares two objects of reality and expresses his attitude towards what he depicts, using a certain construction of a poetic phrase.

Often syntactic parallelism is combined with other figurative means of fiction, for example with anaphora:

The hazy afternoon lazily breathes,
The river rolls lazily
And in the fiery and pure firmament
The clouds are lazily melting.

F. I. Tyutchev. Noon

There are frequent combinations of syntactic parallelism with antithesis:

The lonely sail turns white
In the blue sea fog!..
What is he looking for in a distant land?
What did he throw in his native land?

M. Yu. Lermontov. Sail

Negative syntactic parallelism

From folk art, many writers have adopted negative parallelism, which has an equal number of equally located components, but unlike direct parallelism, it is built using a particle "Not":

We don’t carry them on our chests in our treasured amulet,
We don’t write poems about her sobbingly,
He does not awaken our bitter sleep,
Doesn't seem like the promised paradise.
We don’t do it in our souls
Subject of purchase and sale,
Sick, in poverty, speechless on her,
We don't even remember her.

A. Akhmatova. Native land

Examples of syntactic parallelism from fiction

Life without worries is a beautiful bright day,
Anxious - spring's young dreams.
There is a ray of sun and an olive canopy in the heat,
And here there is thunder, lightning, and tears...

A. Maikov. Thought

The stars pray, twinkle and blush,
He prays for a month, sailing on the azure,
Light clouds, curling, do not dare
Storms are drawn to them from the dark earth.

But your hour struck too early,
And the prophetic pen fell from his hands.
What a lamp of reason has gone out!
What heart has stopped beating!

N. A. Nekrasov. In memory of Dobrolyubov

Not because the mirror broke,
Not because the wind howled in the chimney,
Not because in the thought of you
Something else has already leaked, -
Not because of that, not because of that at all
I met him on the threshold.

A. Akhmatova. Treason

Understanding the basic laws of syntax and their application allows poets and writers to make written speech more expressive, to place emotional accents in it, making written speech lively and vibrant. One of the techniques to make written speech vivid is the use of syntactic parallelism. What is this, syntactic parallelism? We will look at it in detail in the next section of the article.

Syntactic parallelism in Russian language and literature: definition and examples

The definition of syntactic parallelism is as follows: it is the arrangement of words in identical order in two, three or more sentences that follow the same sentence. writing one after another.

However, not only sentence structures can be identical, but also individual words, parts of sentences, and phrases. Parallelism in it general concept most often found in poetry: the repetition used allows you to make the poem as expressive as possible, adding more deep meaning and emotions to it. Another literary example of syntactic parallelism, which can be called classic, is Lermontov’s poetic work “The Lonely Sail Whitens.”

There are many types of parallelism. For example, in strophic parallelism, not only syntactic, but also lexical parallels should be observed. Parallelism can be rhythmic, direct or negative. A treasure trove of examples different types parallelism will be collections of Russian folk songs, any poetic works, modern songs.

It is syntactic parallelism that makes it possible to make a work of art alive and sound, although in syntax there are other techniques for imparting expressiveness to written speech.

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 language It’s 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 readable texts there were precisely 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)

Language plays an extremely important role in human life, and the presence in large quantity words allows you to use both in ordinary speech and in literary texts various designs, which enrich speech and make it more refined. Such constructions also include parallelisms.

In contact with

Basic Concepts

The very concept of parallels as repetition of identical elements is found in many sciences: computer science, geometry, biology. What is parallelism in text and how is it used in Russian?

The word parallelism is translated from Greek as "nearby location", which gives an idea of the meaning of the construction - it is a figure of speech, which represents the placement of similar (in meaning, grammar) elements in a passage.

The design helps to create a coherent image in literature and enriches the text: the student has passed the tests; a student who has passed the tests; student who passed the tests. Often such constructions are called lexical parallelism.

Important! Parallel constructions differ from each other in meaning and style, for example, often several subordinate clauses form a separate simple sentence in a complex one, but parallel simple phrases are designated as ordinary members of a sentence.

This is due to the fact that the verb is represented in sentences in different ways: in the personal form (subordinate clause), as a secondary predicate (adverbial phrase), as an action-state (participial phrase), as an abstract action (verbal noun).

Due to stylistic differences, parallel designs used in different.

Types of structures

According to their structure and shape, several such forms are distinguished at once, each of which has its own characteristics:

Syntactic parallelism is the most common. The main difference is using the same structure in sentences, regardless of the genre: the generalizing circumstance is placed at the beginning, and the objects of comparison are in the next part. This allows you to make the circumstance stronger, more vivid, and most often this circumstance plays a vital role in understanding the entire plot.
Rhythmic - this technique is used to emphasize something important place in a poem. It is so called because it is created by repeating identical rhymes, which gives the work a certain rhythmicity, although sometimes this is achieved by placing identical pauses.
Strophic - identical syntactic structures are placed in adjacent couplets of the work. Although they are often lexical.
Negative - it does not differ in construction from the usual direct one, but is characterized by the fact that the negative parallel comes first.

Parallelism is a structural fragment that changes the entire concept of the work. He can be found in folk art, stationery texts and works of art

In literature

Literature is a place where many artistic techniques are concentrated, thanks to which brilliant works are created. Among them, lexical parallelism stands out, which is used for enhancing or emphasizing attention on any passage. Some works even require his presence, for example, appeal poems and poems, since he is expressive means language.

Unlike rhetoric, where this technique means the repetition of a thought, in literature the construction is used to emphasize the similarities or differences of objects. It is often used to emphasize the importance of a passage, and in literature it is used to emphasize the significance of something. In Pushkin’s poem “Ruslan and Lyudmila” the author writes:

Will I hear a gentle conversation?

This is a clear example of parallelism as an emphasis, which shows how important it is for the hero to hear and see his beloved.

Folklore

Parallels as an artistic device began to be used for the first time in texts of the ancient period. You can especially often find such parallel structures in folklore works, because in those days, people often identified their actions with events occurring in nature, and sought to reflect this in their works. They were used in:

versification - the technique is an assistant for building and maintaining rhyme. It is in poetry that such a construction can often be found;
The Bible and other examples of Hebrew literature - to vary similar images and in quality;
ancient Germanic poems - in such works the technique is used simultaneously with alliteration;
Finnish folk art - designs alternate with gradation.

Attention! The picture of nature in figurative parallelism is always the first, and after it is a display of relationships and actions between people.

Russian folklore is especially abundant in parallel constructions, in which the technique has several forms:

binomial ( simplest form) – consists of two parallels “A falcon flew across the sky, a fine fellow walked around the world”;
polynomial - these are several parallels that are located sequentially in the text;
reverse parallelism is sequential sentences that differ in that the word order in the second is completely reversed from the first;
negative - a person’s actions are opposed to some event from the outside world “It was not the birch tree that bowed, but the beautiful maiden that bowed at its feet”;
formal - in this parallel the connection between the outside world and people’s actions is lost “I’ll put my ring in the river and my glove under the ice.”

Of all types, the negative form cannot act as an independent means, on which you can build an entire work. It is usually used to reveal the denouement or in individual episodes.

Moreover, this technique can be found more often in folk poetry, and in works of art only when the author uses it to imitate folk art.

This technique passed into modern and classical literature from folklore. Parallelism in European literature borders on rhetorical oppositions and repetitions of similar sounds to achieve rhythm and create a certain sound effect.

Examples from fiction

Forms of parallelism in works can be expressed both in words and phrases, and in whole sentences. Poets use it especially often, because thanks to this technique you can not only enhance the emotional coloring of the poem or passage, but also to make the work more rhythmic.

Examples of parallelism can be found in A.S. Pushkin:

“Will I see your bright gaze?

Will I hear a gentle conversation? in the poem “Ruslan and Lyudmila”;

“The stars shine in the blue sky,

In the blue sea the waves are lashing;

A cloud is moving across the sky,

A barrel floats on the sea" in the fairy tale "About Tsar Saltan".

From V. Bryusov:

"Your mind is as deep as the sea,

Your spirit is as high as the mountains" in the work "Experiments".

From G. Derzhavin: “I am a king - I am a slave - I am a worm - I am God!” in the ode "God".

Attention! IN fiction parallelism is a creation of the author’s personal imagination to enhance the expressiveness of emotions.

Without lexical and semantic constructions, works of art would be more like clerical speech and dry scientific articles. Parallelisms are one of the forms that makes texts more vivid, focuses attention, draws parallels and conveys to the reader the thoughts and feelings of the author. This technique can be successfully used both in literature and for greater expressiveness of oral language.

How to prepare for the Unified State Exam in Russian

Syntactic parallelism

Representing the arrangement of speech elements that are identical or similar in grammatical and semantic structure in adjacent parts of the text, creating a single poetic image. Parallel elements can be sentences, their parts, phrases, words. For example:

Will I see your bright gaze?
Will I hear a gentle conversation?

Your mind is as deep as the sea
Your spirit is as high as the mountains

Folklore and ancient literature[ | ]

Parallelism is widespread in folklore and ancient written literature. In many ancient systems of versification, it acted as a principle for constructing a stanza.

Famous special kind parallelism (lat. parallelismus membrorum) of Hebrew (biblical) versification, in which parallelism itself is combined with synonymy, which gives variation in similar images. For example:

Place me like a seal on your heart, like a ring on your hand.

In ancient Germanic verse of the Middle Ages, parallelism has great importance and connects with alliteration, as well as rhyme.

Parallelism is widely used in Finnish folk verse, in particular the Finnish epic Kalevala, where it is combined with obligatory gradation:

He finds six grains
He picks up seven seeds.

Parallelism is associated with the structure of the choral action - amoebic composition. Folklore forms of parallelism are widely used in artistic (literary) song (German: Kunstlied).

Russian folklore[ | ]

The simplest type of parallelism in Russian folklore is binomial:

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

It is assumed that more complex types have evolved from binomial parallelism. Polynomial parallelism represents several successive parallels. Negative concurrency- one in which a parallel taken from the external world is opposed to human action, as if denying it:

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

IN formal parallelism there is no (or lost) logical connection between the comparison of the external world and human actions:

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

European literature[ | ]

Written literatures of later times borrow parallelism from folklore and ancient written literatures. In particular, the development of parallelism is characteristic of ancient literature. Under the influence of this, parallelism is thoroughly studied in ancient rhetoric.

In European fiction, parallelism becomes more complex: its combination with anaphora, antithesis, chiasmus and others is widespread.

Figurative parallelism. Meaning of the word parallelism. in the literary encyclopedia

The meaning of the word PARALLELISM. in the Literary Encyclopedia