Parataxis

Parataxis (from Greek παράταξις 'act of placing side by side', from παρα para 'beside' + τάξις táxis 'arrangement') is a literary technique, in writing or speaking, that favors short, simple sentences, without conjunctions or with the use of coordinating, but not with subordinating conjunctions. It contrasts with syntaxis and hypotaxis.'Come along, then,' said he of the green coat, lugging Mr. Pickwick after him by main force, and talking the whole way. 'Here, No. 924, take your fare, and take yourself off—respectablegentleman—know him well—none of your nonsense—this way, sir—where's your friends?—all a mistake, I see—never mind—accidents will happen—best regulated families—never say die—down upon your luck—Pull him UP—Put that in his pipe—like the flavour—damned rascals.' And with a lengthened string of similar broken sentences, delivered with extraordinary volubility, the stranger led the way to the traveller's waiting-room, whither he was closely followed by Mr. Pickwick and his disciples.Mouth: .... out ... into this world ... this world ... tiny little thing ... before its time ... in a godfor– ... what? .. girl? .. yes ... tiny little girl ... into this ... out into this ... before her time ... godforsaken hole called ... called ... no matter ... parents unknown ... unheard of ... he having vanished ... thin air ... no sooner buttoned up his breeches ... she similarly ... eight months later ... almost to the tick ... so no love ... spared that ... no love such as normally vented on the ... speechless infant ... in the home ... no ... nor indeed for that matter any of any kind ... no love of any kind ... at any subsequent stage ... Parataxis (from Greek παράταξις 'act of placing side by side', from παρα para 'beside' + τάξις táxis 'arrangement') is a literary technique, in writing or speaking, that favors short, simple sentences, without conjunctions or with the use of coordinating, but not with subordinating conjunctions. It contrasts with syntaxis and hypotaxis. It is also used to describe a technique in poetry in which two images or fragments, usually starkly dissimilar images or fragments, are juxtaposed without a clear connection. Readers are then left to make their own connections implied by the paratactic syntax. Ezra Pound, in his adaptation of Chinese and Japanese poetry, made the stark juxtaposition of images an important part of English-language poetry. Edward Parmelee Morris wrote in 1901 that the term was introduced into linguistics by Friedrich Thiersch in his Greek Grammar (1831). The term has remained unchanged, but the concept of parataxis has expanded. The term 'parataxis' is a modern invention, but the paratactic style itself goes back to the classical age. Parataxis distinguished itself as a rhetoric style during the fourth and fifth century because of the development of periodic methods used by orators. Ancient peoples believed these rhetorical styles originated in fifth century Sicily, where Corax and Tisias wrote books about new public speaking styles. It is believed these new methods were brought to Athens in 427 B.C. by Gorgias. After Gorgias' visit to Athens, numerous handbooks were written about new styles of rhetoric. These handbooks have not survived the years, but it is known that they classified rhetoric styles in these books, so it is assumed that the distinction between periodic syntax and more traditional techniques were made. In Rhetoric, Aristotle makes the earliest formal distinction between periodic syntax and older methods. He distinguishes between 'lexis eiromene' and 'lexis katestrammene'. 'Eiromene' means 'to fasten together in rows' or 'to string'. Aristotle relates the term to the connection of clauses in a statements. Statements along these lines are referred to as unlimited, because the people listening to the speaker do not know how the sentence will end based on its beginning. Aristotle's section in his book regarding these styles of statements is seen today as the description of parataxis and is used to distinguish between Greek prose and periodic and paratactic techniques. Aristotle mentions that this style of writing was used by everyone at a time, but hardly ever by anyone during his own time. Parataxis can most simply be described as and compared to the way children speak. They speak their ideas as they come to them, one after the other, without logically connecting the ideas together. Parataxis may use commas, semi-colons, and periods to force juxtaposition, but it can also replace these punctuation marks with 'and' to seamlessly string the speech or written piece together and present the words as each being equally important. Works utilizing parataxis as a style may emit a staccato rhythm. This can result in phrases with words that don't seem to go together at all. An example of this is Julius Caesar's phrase 'Veni, vidi, vici' or, 'I came, I saw, I conquered'. Parataxis can also be a pile of fast-moving ideas with a lack of or insistent rhythm. An example of this form of parataxis comes from the Bible. It says, 'And God said, 'Let there be light,' and there was light.'