Parallelism (Parallel Construction)

Parallelism is a device which can be encountered not so much in the sentence as in macro-structures, i.e. SPU =supra [‘sju:pr ] phrasal units (units larger than a sentence) and the paragraph. The necessary condition in parallel construction is identical, or similar syntactical structure in 2 or more sentences or parts of a sentence in close succession.

e.g. There were,… , real silver spoons to stir the tea with, and real china cups to drink it out of, and plates of the same to hold the cakes and toast in.

(Dickens)

Parallel constructions are often backed by repetition of words (lexical repetition) and conjunctions and prepositions (polysyndeton). Thus producing a very strong effect, enchancing the logical, rhythmic, emotive and expressive aspects of the utterance. Pure parallel construction, however, does not depend on any other kind of repetition but the repetition of the syntactical design of the sentence.

Parallel constructions can be partial and complete. Partial parallel arrangement is the repetition of some parts of successive sentences or clauses. Complete parallel arrangement (also called balance) maintains the principle of identical structures throughout the corresponding sentences, as in:

e.g.”The seeds ye sow –another reaps,

The robes ye weave –another wears,

The arms ye forge –another bears” (P.B. Shelley)

Parallel construction is most frequently used in enumeration, antithesis and in climax (нарастание), thus consolidating the general effect achieved by these SDs.

Parallel construction is used in different styles of writing with slightly different functions. In the belles-lettres style it carries an emotive function. In the following example parallelism is backed up by repetition, alliteration and antithesis, making the whole sentence almost epigrammatical:

“And so, from hour to hour, we ripe and ripe,

And then, from hour to hour we rot and rot.” (Shakespeare)

Parallelism always generates rhythm. Hence it is frequently used in poetry.

Chiasmus (Reversed Parallelism)

(from the Greek ‘chiasmos’ - расположение крест-накрест)

Chiasmus belongs to the group of SDs based on the repetition of a syntactical pattern, but it has a reversed order of words and phrases. The structure of 2 successive sentences or parts of a sentence is repeated in an inverted way.

e.g .As high as we have mounted in delight

In our dejection do we sink as low (Wordsworth)

e.g. Down dropped the breeze,

The sails dropped down. (Coleridge)

Chiasmus is sometimes achieved by a sudden change from active to passive voice or vice versa.

e.g. The register of the burial was signed by the clergyman, the clerk, the undertaker and the chief mourner. Scrooge signed it. (Dickens)

This device is effective because it helps to lay stress on the second part of the utterance which is opposite in structure, as in ‘in our dejection’, or ‘Scrooge signed it’. This is due to the sudden change in the structure which by its very unexpectedness, linguistically, requires a slight pause before it.

It must be remembered that chiasmus is a syntactical, not a lexical device, i.e. it is only the arrangement of parts of the utterance which constitutes it. For example, in the famous epigram by Byron “In the days of old men made manners, manners now make men”

There is no inversion, only lexical repetition. Both parts of the sentence have the same, normal order of words. This device can be classified as lexical chiasmus or chiasmatic repetition.

Syntactical chiasmus is used to break the monotony of parallel constructions, whatever its purpose, it will always bring some new shade of meaning or additional emphasis on some portion of the second part of the utterance.

Detached Construction (or Detachment) (обособление)

Sometimes one of the secondary parts of a sentence (by some specific consideration of the author) is placed so that it seems formally independent of the word it logically refers to. Such parts are called detached (or detachment). They seem to dangle in the sentence as isolated parts. The detached part assumes a greater degree of significance and is made prominent by intonation.

The structural patterns of detached constructions have not been classified yet. The most noticeable cases are those with an attribute or adverbial modifier placed in a position which makes them seem independent from the referent.

e.g. Sir Pitt came in first, very much flushed, and rather unsteady in his gate.

(Thackeray)

Detached constructions in their common forms make the written variety of language akin (сродни) to the spoken variety where the relations between the component parts is effectively materialized with the help of intonation. Detached construction, thus becomes a peculiar device bridging the gap between the norms of the written and spoken language.

This device is also akin to inversion. Their functions are almost the same. But detachment produces a much stronger effect, because it presents parts of the utterance significant from the author’s point of view in a more or less independent manner.

e.g. She was lovely: all of her -delightful. (Dreiser)

In the example above with the word ‘delightful’ the mark of punctuation plays an important role. The dash before the word makes it conspicuous. ‘Delightful’ becomes the culminating point of the climax ‘lovely- delightful’, i.e. the peak of the whole utterance. The phrase ‘all of her’ is also somehow isolated. The general impression we get is a strong feeling of admiration, and, the fact is, strong feelings may result in incoherent and illogical syntax.

In the English language detached constructions are generally used in the belles-lettres style, mainly with words that have some explanatory function.

e.g. June stood in front, fending off this idle curiosity – a little bit of a thing, as somebody said, ‘all hair and spirit’ … (Galsworthy)

e.g. Daylight was dying, the moon rising, gold behind the poplars. (Galsworthy)

A variant of detached construction is parenthesis which is a qualifying, explanatory or appositive word (phrase, clause, sentence) or other sequence which interrupts a syntactic construction, it often has a characteristic intonation. It is indicated in writing by commas, brackets or dashes.