Yusupov Oybek Nematjonovich Ahmedova Nigora Shavkatovna

Parallel construction
is a device which may be encountered not so much in the 
sentence as in the macro-structures dealt with the syntactical whole and the paragraph. 

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Parallelism
is more or less complete identity of syntactical structure in two or more 
sentences or parts of sentence in close succession[13]. 
e.g. So long as men can breathe or eyes can see… (Shakespeare) 
Parallel constructions are often backed up by the lexical repetition. In this case 
parallelism acquires additional semantic stylistic value. Parallel constructions are 
most frequently used in enumerations, antithesis and in climax, thus consolidating the 
general effect achieved by these SDs. It carries the idea of semantic equality of the 
parts, does the emotive function, generates rhythm. 
Parallel construction is strongly affects the rhythmical organization of the 
paragraph, so it is imminent in oratorical speech: 
 “The pulsating of Malay camp at night was everywhere. People sung. People 
cried. People fought. People loved. People hated. Others sad. Others gay. Others with 
friends. Others lonely. Some were born. Some died” 
(P. Abrahams). 
Parallel constructions are used in different styles with different stylistic 
functions. In belles-lettres style it carries an emotive function. 
It is also used as a means in building up other stylistic devices, in particular 
antithesis and climax. 
There are two main functions of parallel constructions: semantic and structural. 
The first construction implies either equal semantic significance or opposition of the 
repeated parts. The second implies a rhythmical design to the parts of the parallel 
construction (especially in poetry): 
Nothing to see but sights, 
Nothing to quench but thirst, 
Nothing to have but what we’ve got. 
Thus through life we are cursed.
(B. King)