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In rhetoric, parallel syntax (also known as parallel construction, parallel structure, and parallelism) is a rhetorical device that consists of repetition among adjacent sentences or clauses. The repeated sentences or clauses provide emphasis to a central theme or idea the author is trying to convey. [ 1 ]
Tibullus also occasionally uses parallel writing, again employing verbal echoes. Thus poems 1.1 and 1.10 have a dozen points of contact, in more or less the same order in both poems; and the same is true of poems 1.5 and 1.6. An example of such links is asper and gloria in lines 1 and 2 of poem 1.5, and also in lines 2 and 3 of poem 1.6. [24]
In grammar, parallelism, also known as parallel structure or parallel construction, is a balance within one or more sentences of similar phrases or clauses that have the same grammatical structure. [1] The application of parallelism affects readability and may make texts easier to process. [2]
The following sentences and verses possess "similarity in structure" in words and phrases: She tried to make the law clear, precise and equitable. [2] In the quote above, the compounded adjectives serve as parallel elements and support the noun "law". Her purpose was to impress the ignorant, to perplex the dubious, and to confound the ...
The Wilhelmus, the national anthem of the Netherlands, has a structure composed around a thematic chiasmus: the 15 stanzas of the text are symmetrical, in that verses one and 15 resemble one another in meaning, as do verses two and 14, three and 13, etc., until they converge in the eighth verse, the heart of the song.
The poem incorporates a complex reliance on assonance, which is found in very few English poems. Within "Ode on a Grecian Urn", an example of this pattern can be found in line 13 ("Not to the sensual ear, but, more endear'd") where the "e" of "sensual" connects with the "e" of "endear'd" and the "ea" of "ear" connects with the "ea" of "endear'd".
In poetry the use of opposites can bring a sharper contrast to an image and provide a greater focus to the desired message. It is often marked by the use of the conjunction ‘but’, placed between two statements to juxtapose them and helps the reader or to view both the positive and negative perspectives of the text.
Lines are grouped into pairs, often parallel in structure, which must alliterate with one another, though alliteration between the head-stress and later words in the line is also allowed, and non-identical alliteration (for example, of voiced and voiceless consonants) is also accepted. [56]