Chiasmus


Also found in: Dictionary, Thesaurus, Wikipedia.

Chiasmus

 

a type of antithetical parallelism in which the parts of two parallel elements are placed in reverse sequence, in the pattern ab = b1a1. An example is “It was not a grass-blade in the open field that was nodding,/Nodding was my poor little homeless head.” Sometimes the sense of parallelism is maintained by the repeating of intermediate words in the pattern abc = c1ba1, as in Pushkin’s lines Avtomedony nashi boiki,/Neutomimy nashi troiki (“Lively our Automedons,/Our troikas tireless”).

References in periodicals archive ?
Near the conclusion, the charismatic Kennedy again wisely employs chiasmus to craft what probably is his most enduring statement: "And so, my fellow Americans, ask not what your country can do for you; ask what you can do for your country.
16) Yet here again, the chiasmus formed by Abramovic and Sehgal complicates such Utopia.
To put it in a way that contrasts with Hendricks's chiasmus, it is not politics that gives meaning to people, but people who give meaning to politics.
Gregory's choice is further ratified by the "perfect square" of the poem's form--four quatrains (four-line stanzas) of four beats each--and by the figure of chiasmus that ends the poem.
To enforce his argument, the poet makes use of chiasmus (swfrona kai poirnhn .
Following Kent's prayer, France's chiasmus, remarking the "strange" and wondrous movement from the gods' "cold'st neglect" to his "inflam'd respect," suggests that mysterious mediation through human beings is taking place.
For Clark, Measure for Measure uses chiasmus in order to juxtapose the contradictory and nonnegotiable values that provide the tension within the play.
In Part One, the man's coronation is taken first, the woman's second; in Part Two, the woman's death is taken first, the man's second--a characteristic Elizabethan contrivance of structural chiasmus.
Thus, in an irony that only a future Schlegel will be able to explain, historiography has scripted a chiasmus as Brahms-the-progressive finds his counterpart in Liszt-the-conservative.
This process of rendering the familiar exotic corresponds, I suggest, to a process of rendering the exotic familiar on the Jacobean stage, in a kind of chiasmus.
In the light of this analysis, the two outputs more than contrasting each other, set the two authors in a kind of chiasmus relationship between presence and absence, as well as between the two double categories of space/spacelessness and place/placelessness.
In this confrontation transformed into dreamed collaboration, Selma and Oldrich also enact a version of chiasmus, the rhetorical figure of crossing and exchange, and it is in Selma's imagined dance sequence with Novy that the two genres, the musical and the melodrama, meet and briefly exchange identities.