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; the form symmetry, for the most part with a 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 part of 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 chiasmus. <...>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<...>compositional technique that emphasizes the structural connection of two (usually) or three elements of style in 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 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.- an artistic device of 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 has historically arisen: 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 (it arises from a fixed-term contract, from life practice, from literary tradition), or it allows ambiguity 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 generally. 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. strength 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.

“FROM. 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 outside 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 objective image that unites (connects) different planes of 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.

“FROM. <...>- 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, well-known 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.

“FROM. <...>universal aesthetic. category, revealed through comparison with adjacent categories - image artistic, on the one hand, sign and allegory- with another. AT 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, it 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.

Language plays an extremely important role in human life, and the presence of a large number of words allows you to use both in ordinary speech and in literary texts a variety of designs that enrich speech and make it more refined. Parallelisms are also referred to as such constructions.

In contact with

Basic concepts

The very concept of parallels as a 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 "location nearby", which gives an idea of ​​the meaning of the construction - this is a figure of speech, which is the placement of similar (in meaning, grammar) elements in a passage.

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

Important! Parallel constructions have differences in meaning and style, for example, often several subordinate clauses form a separate simple sentence in a complex one, but parallel simple turns are designated as ordinary members of a sentence.

This is due to the fact that the verb is presented in sentences differently: in a personal form (subordinate clause), as a secondary predicate ( dee participial), as an action-state (participial turnover), as an abstract action (verbal noun).

Due to stylistic differences, parallel designs used in different.

Types of structures

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

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

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

In literature

Literature is a place of concentration of many artistic techniques, thanks to which bright works are created. Among them, lexical parallelism stands out, which is used to amplify or emphasize on any section. Some works even require his presence, for example, address poems and poems, since he is an expressive means of language.

Unlike rhetoric, where this technique means the repetition of thought, in literature construction is used to emphasize the similarity or difference of objects. Often it is 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 vivid example of parallelism as an accent, 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 the texts of the ancient period. It is especially common to find such parallel constructions in folklore, because in those days, people often identified their actions with events occurring in nature, and sought to reflect this in their works. They have been used in:

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

Attention! A picture of nature in figurative parallelism is always the first, and after it - a reflection of relations 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 - these are sequential sentences, which differ in that the word order in the second is completely reverse to the first;
• negative - human actions are opposed to some event from the outside world "It was not the birch that bowed, but the red-haired girl bowed at her feet";
• formal - in this parallel, the connection between the outside world and the actions of people "I will lower the ring into the river, and the glove under the ice" is lost.

Of all kinds, the negative form cannot act as a standalone, on which the whole product can be built. 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.

In modern and classical literature, this technique passed precisely from folklore. Parallelism in the literature of Europe borders on rhetorical oppositions and repetitions of similar sounds in order to achieve rhythm and create a certain sound effect.

Examples from fiction

The forms of parallelism in works can be expressed both in words and phrases, and in whole sentences. Especially often it is used by poets, because thanks to this technique, you can not only enhance the emotional tone 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 eyes?

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

"The stars are shining in the blue sky,

In the blue sea the waves are whipping;

A cloud is moving across the sky

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

V. Bryusov:

"Your mind is as deep as the sea,

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

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 product of the author's personal fantasy to enhance the expressiveness of emotions.

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

How to prepare for the exam in the Russian language

Syntax parallelism

Figurative means in literature

In their arsenal, word artists have many expressive means to create a vivid 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 the depicted, gives rise to rich figurative associations. One such stylistic device is parallelism. This term is borrowed from Greek, where the word parallelos, literally means "walking beside".

Parallelism is known in biology, mathematics, physics. In the literature, the word "parallelism" denotes similar elements in the construction of an utterance. These can be sounds and syllables (sound parallelism), repeating words (lexical parallelism) and syntactic constructions - phrases and sentences.

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

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

Diamond polished by diamond
The line is polished by the line.

A. Nedogonov

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

Syntactic parallelism is often combined with other figurative means of fiction, such as anaphora:

Hazy noon breathes lazily,
The river rolls lazily
And in the fiery and pure firmament
Clouds drift lazily.

F. I. Tyutchev. Noon

Combinations of syntactic parallelism with antithesis are not uncommon:

White sail lonely
In the fog of the blue sea! ..
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 adopted negative parallelism, which has an equal number of equally spaced components, but, unlike direct parallelism, is built using a particle "not":

We do not carry in treasured amulets on the chest,
We do not compose verses sobbingly about her,
Our bitter dream he does not stir,
Doesn't seem like a promised paradise.
We do not do it in our soul
The subject of buying and selling,
Sick, distressed, silent 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 - young dreams of spring.
There is a ray of sun and in the heat of the olive canopy,
And here - and thunder, and lightning, and tears ...

A. Maikov. Thought

The stars are praying, twinkling and glowing,
Praying for a month, floating on the azure,
Light clouds, twisting, do not dare
From the dark earth to attract storms to them.

But your hour struck too soon,
And the prophetic feather fell from his hands.
What a lamp of reason has gone out!
What heart 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, not because
I met him at the door.

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 vivid. One of the tricks to make written speech bright is the use of syntactic parallelism. What is it, syntactic parallelism - we will understand 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: this is the arrangement of words in identical order in two, three or more sentences following in writing one after another.

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

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 of different types of 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 sounding, although there are other methods of giving expressiveness to written speech in syntax.

Comparative or syntactic parallelism.

Among all types of parallelism, syntactic parallelism is the most common in the literature. It is distinguished by the use of the same sentence structure, whether it is a poem 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 such a technique makes it possible to strengthen the generalizing circumstance, to make its description complete, voluminous, and vivid. The most commonly used circumstance or part of speech is the key in the work, the so-called "protagonist", which is sometimes simply necessary to strengthen to understand the plot.

Use of syntactic parallelism.

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

The history of the emergence of syntactic parallelism originates from the Hebrew language, which in turn was used to compose psalms. In the Middle Ages, the most revered and readable texts were precisely the sacred psalms, the Bible and the biographies of the saints. Such books were distributed both in Europe and in Asia, and books that told about other values ​​of life or other foundations were destroyed.

Medieval Germanic style also influenced syntactic parallelism. From this influence, fragmentary rhythms began to appear in poems and prose, a combination of incongruous 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 such constructions is clearly traced, 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 that shady
Dormant maple tent.
Only in the world and there is that radiant
A childish thoughtful look.
Only in the world is there that fragrant
Cute headdress.
Only in the world is this pure
To the left a running parting.
(A.A. Fet)

“The feast is over, the choirs are silent,
empty amphorae,
overturned baskets,
Not drunk in cups of wine,
Wreaths are crumpled on the heads, -
Only aromas smoke
In the empty bright room...
Having finished the feast, we got up late -
The stars were shining in the sky
The night has reached half ... "
(F.I. Tyutchev)

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

Will I see your bright eyes?
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, he acted as a principle for constructing a stanza.

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

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

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

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

He finds six grains
He raises seven seeds.

Parallelism is associated with the structure of the choral action - amoeba 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:

The falcon flew across the sky
The young man walked around the world.

More complex types are supposed to have evolved from binomial parallelism. Polynomial parallelism represents several consecutive parallels. Negative concurrency- one in which the parallel, taken from the outside world, is opposed to the action of a person, as if negating it:

Not a white birch bows to the ground -
The red maiden bows to the father.

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

I'll drop the ring in the river
And a glove under the ice
We signed up for the community
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 explored in ancient rhetoric.

In European fiction, parallelism is becoming more complicated: its connection with anaphora, antithesis, chiasm and others is widespread.

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 with illusions alone, and 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. Who likes to read scientific literature, he 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 techniques used by authors to this day in order to interest their reader, to make the work really interesting and exciting.