Polysyndeton

Polysyndeton comes from the Ancient Greek πολύ "poly", meaning "many", and συνδετόν "syndeton", meaning "bound together with". A stylistic scheme, polysyndeton is the deliberate insertion of conjunctions into a sentence for the purpose of "slow[ing] up the rhythm of the prose" so as to produce "an impressively solemn note."
In grammar, a polysyndetic coordination is a coordination in which all conjuncts are linked by coordinating conjunctions (usually "and", "but", "or", "nor" in English).
Examples.
A passage from The Book of Genesis, 1:24-25 exemplifies the stately effect of polysyndeton: 
Author Ernest Hemingway employs the conjunction "and" to convey "a flow and continuity of experience" in a passage from his short story "After the Storm": 
The poet Keats used conjunctions in a verse from Endymion: 
In the King James Bible.
Polysyndeton is used extensively in the King James Version of the Bible, where "and" is used as a literal translation of the Hebrew waw-consecutive and the Ancient Greek particle δέ. For example:
In Shakespeare.
Shakespeare is known for using various rhetorical devices in his works, including polysyndeton.
Modern usage.
Writers of modern times have also used the scheme:
In Cormac McCarthy.
Cormac McCarthy uses polysyndeton extensively throughout his ten novels (1965–2006), especially "and" to replace an increasing number of commas. (By "The Border Trilogy", commas are mostly used between unquoted voices and narration, as in: "Bring it here, he said.") Examples from each novel:
Antonym.
It can be contrasted with asyndeton, which is a coordination containing no conjunctions often manipulating the rhythm of a passage in the attempt to make a thought more memorable, and syndeton, which is a coordination with one conjunction.
Two examples of asyndeton:
An example of syndeton: