22 Oct. 2013. Parallel syntax is often used in conjunction with Antithesis, Anaphora, Asyndeton, Climax, Epistrophe and Symploce.
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170 (Barron's Educational Series, 2008). Alternatively, "I came, I saw, I conquered" can be justified as an example of asyndeton, where the lack of the expected conjunction emphasizes the suddenness and swiftness of Caesar's victories.
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Common features include asyndeton, anaphora, rhyme schemes, and complete phrases stacked two to a line, typically expressed with joy, anger, excitement or fear, routinely fast declamation of patter in a generally mechanical and often impersonal way.
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For the point about processing, see Carlson, Katy. Parallelism and Prosody in the Processing of Ellipsis Sentences. Routledge, 2002, pp. 4–6. Parallelism may be accompanied by other figures of speech such as antithesis, anaphora, asyndeton, climax, epistrophe, and symploce.
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Asyndeton (from the , "unconnected", sometimes called asyndetism) is a literary scheme in which one or several conjunctions are deliberately omitted from a series of related clauses.Corbett and Connors, 1999. p.51Baldick, 2008. p. 27 Examples include veni, vidi, vici and its English translation "I came, I saw, I conquered".
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Parataxis and asyndeton are also expected within the plain style. Writing or speech using aphelia may display a "right-branching" sentence structure for the most part; that is, the sentence will begin with an independent clause that will be followed by at least one dependent clause.Zimmerman, Brett. Edgar Allan Poe: Rhetoric and Style.
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Its use can have the effect of speeding up the rhythm of a passage and making a single idea more memorable. Asyndeton may be contrasted with syndeton (syndetic coordination) and polysyndeton, which describe the use of one or multiple coordinating conjunctions, respectively. More generally, in grammar, an asyndetic coordination is a type of coordination in which no coordinating conjunction is present between the conjuncts. Quickly, resolutely, he strode into the bank.
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Claudius's speech is rich with rhetorical figures—as is Hamlet's and, at times, Ophelia's—while the language of Horatio, the guards, and the gravediggers is simpler. Claudius's high status is reinforced by using the royal first person plural ("we" or "us"), and anaphora mixed with metaphor to resonate with Greek political speeches. Of all the characters, Hamlet has the greatest rhetorical skill. He uses highly developed metaphors, stichomythia, and in nine memorable words deploys both anaphora and asyndeton: "to die: to sleep— / To sleep, perchance to dream".
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His verses are not always melodious or carefully constructed but he often places key words for good effect and he employs linguistic devices such as asyndeton, familiar in common speech.David A. Campbell, Greek Lyric Poetry, Bristol Classical Press (1982), pages 346–47 He was capable of arresting imagery and memorable statements in the form of terse epigrams.David Mulroy, Early Greek Lyric Poetry, The University of Michigan Press (1992), page 171 Some of these qualities are evident in the following lines, considered to be "the classic formulation of Greek pessimism":B.
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Thucydides' Greek is notoriously difficult, but the language of Pericles Funeral Oration is considered by many to be the most difficult and virtuosic passage in the History of the Peloponnesian War. The speech is full of rhetorical devices, such as antithesis, anacoluthon, asyndeton, anastrophe, hyperbaton, and others; most famously the rapid succession of proparoxytone words beginning with e ("" [judging courage freedom and freedom happiness]) at the climax of the speech (43.4). The style is deliberately elaborate, in accord with the stylistic preference associated with the sophists. There are several different English translations of the speech available.
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Grammatical differences include the use of , , and as relative particles, negative , and various differences in verbal and pronominal morphology and syntax. Later pre-exilic Biblical Hebrew (such as is found in prose sections of the Pentateuch, Nevi'im, and some Ketuvim) is known as 'Biblical Hebrew proper' or 'Standard Biblical Hebrew'. This is dated to the period from the 8th to the 6th century BCE. In contrast to Archaic Hebrew, Standard Biblical Hebrew is more consistent in using the definite article , the accusative marker , distinguishing between simple and waw-consecutive verb forms, and in using particles like and rather than asyndeton.
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The use of such devices as asyndeton, anaphora, and chiasmus reflect preference for the old-fashioned Latin style of Cato to the Ciceronian periodic structure of his own era. Whether Sallust is considered a reliable source or not, he is largely responsible for our current image of Rome in the late republic. He doubtlessly incorporates elements of exaggeration in his works and has at times been described as more of an artist or politician than historian. But our understanding of the moral and ethical realities of Rome in the 1st century BC would be much weaker if Sallust's works did not survive.
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The epistle is not written in the same form as the other biblical epistles, as it lacks an epistolary opening or conclusion. The epistle is written in a simple style, without syntactical flourishes, and makes frequent use of asyndeton, where related thoughts are placed next to one another without conjunctions. In contrast to the linear style used in the Pauline epistles, biblical scholar Ernest DeWitt Burton suggests that John's thought "moves in circles", forming a slowly advancing sequence of thought. This is similar to the parallel structure of Hebrew poetry, in which the second verse of a couplet often carries the same meaning as the first, although in this epistle the frequent recapitulations of already expressed ideas serve also to add to what has previously been said.
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Claudius' speech is full of rhetorical figures, as is Hamlet's and, at times, Ophelia's, while Horatio, the guards, and the gravediggers use simpler methods of speech. Claudius demonstrates an authoritative control over the language of a King, referring to himself in the first person plural, and using anaphora mixed with metaphor that hearkens back to Greek political speeches. Hamlet seems the most educated in rhetoric of all the characters, using anaphora, as the king does, but also asyndeton and highly developed metaphors, while at the same time managing to be precise and unflowery (as when he explains his inward emotion to his mother, saying "But I have that within which passes show, / These but the trappings and the suits of woe."). His language is very self-conscious, and relies heavily on puns.
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