Parallel Construction Parallel construction is a device which may be encountered not so much in the sentence as in the macro-structures dealt

with earlier. The necessary condition in parallel construction is identical, or similar, syntactical structure in two or more sentences or parts of a sentence in close succession. Parallel constructions are often backed up by repetition of words (lexical repetition) and conjunctions and prepositions (polysyndeton). 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 may be partial or 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. Parallel construction is most frequently used in enumeration, antithesis and in climax, thus consolidating the general effect achieved by these stylistic devices. It is also used in different styles of writing with slightly different functions. When used in the matter-of-fact styles, it carries, in the main, the idea of semantic equality of the parts, as in scientific prose, where the logical principle of arranging ideas predominates. In the belles-lettres style parallel construction carries an emotive function. That is why it is mainly used as a technical means in building up other stylistic devices, thus securing their unity. In the following example parallelism backs up repetition, alliteration and antithesis, making the whole sentence almost epigrammatic: And so, from hour to hour, we ripe and ripe,/ And then, from hour to hour, we rot and rot. As a final remark it must be stated that the device of parallelism always generates rhythm, in as much as similar syntactical structures repeat in close succession. Hence it is natural that parallel construction should very frequently be used in poetical structures. Alternation of similar units being the basic principle of verse, similarity in longer units i.e. in the stanza, is to be expected. Chiasmus (Reversed Parallel Construction) Chiasmus belongs to the group of stylistic devices based on the repetition of a syntactical pattern, but it has a cross order of words and phrases. The structure of two successive sentences or parts of a sentence may be described as reversed parallel construction, the word-order of one of the sentences being inverted as compared with that of the other. Chiasmus is sometimes achieved by a sudden change from active voice to passive or vice versa. The device is effective in that it helps to lay stress on the second part of the utterance. Chiasmus can appear only when there are two successive sentences or coordinate parts of a sentence. So distribution, here close succession, is the factor which predetermines the birth of the device.

Syntactical chiasmus is sometimes used to break the monotony of parallel constructions. But whatever the purpose of chiasmus, it will always bring in some new shade of meaning or additional emphasis on some portion of the second part. The stylistic effect of this construction has been so far little investigated. But even casual observation will show that chiasmus should be perceived as a complete unit. One cannot help noticing that the first part in chiasmus is somewhat incomplete, it calls for continunation, and the anticipation is rewarded by the second part of the construction, which is, as it were, the completion of the idea. Like parallel construction, chiasmus contributes to the rhythmical quality of the utterance, and the pause caused by the change in the syntactical pattern may be linked to a caesura in prosody. As can be seen from this short analysis of chiasmus, it has developed like all stylistic devices, whithin the framework of the literary form of the language. However, its prototype may be found in the norms of expressions of the spoken language, as in the emphatic: He was a brave man, was John..