Paratactic

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, with the use of coordinating rather than 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 Morris wrote in 1901 that the term was introduced into linguistics by Friedrich Thiersch in his Greek Grammar (1831). The concept has expanded since then, and a number of definitions have emerged, often conflicting.

Parataxis may be considered from three points of view:

The underlying idea is that in a connected discourse, complete independence among the consecutive sentences is very rare. This observation is captured in the expression "train of thought". Consider the following:

In the first example, the two sentences are independent expressions, while in the last example they are dependent. However the connection of thought in the first examples is just as real as in the last ones, where it is explicitly expressed via the syntax of subordination.

In spoken language, this continuance from sentence to sentence is supported by intonation and timing (rhythm, pause). While details may differ among different languages and cultures, generally similar musicality and shortness of pauses indicate the continuation, while the change of tone and longer pause generally indicate the transition to another connected group of ideas.

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