Parallelism

Sentences or verses following the same construction, so that the reader compares what changes from one to the next.

In Madame Bovary

this spirit, practical amid its enthusiasms [...] who had loved the church for its flowers, music for the lyrics of its songs, and literature for its passionate excitement, rebelled against the mysteries of faith

Three clauses of the same form, "the church for its flowers, music for the lyrics of its songs," and so on, show that Emma loved each thing for its sensory appeal. The repeated construction reveals the pattern: everything is loved for what it gives the senses.

Part I, Chapter 6, the narrator

Domestic mediocrity incited her to luxurious fantasies; matrimonial tenderness, to adulterous desires.

Part II, Chapter 5, the narrator

first in the eyes, which had so coveted all earthly sumptuousness, then in the nostrils, avid for warm breezes and amorous perfumes, then in the mouth, which opened to lying, which had moaned with pride and cried out with lust, then in the hands, which delighted in gentle touches, and finally in the soles of the feet, once so swift when she ran to satisfy her desires and which would never walk again.

Part III, Chapter 8, the narrator