M O D U L E O N P A R A L L E L I S M

Prepared/Compiled by Marinel L. Piamonte

Learning Outcome:

Analyze the application of parallelism used in written

compositions.

The balance between words, clauses or phrases makes complex thoughts easier to
process while holding the reader's or listener's attention. This is very true particularly
when syntactic parallelism is applied.
In literature, parallelism is a component of literary style in both prose and poetry, in
which coordinate ideas are arranged in phrases, sentences, and paragraphs that
balance one element with another of equal importance and similar wording.

ENGAGE
Rewrite the following statements that lack parallelism:

1. Abused children commonly exhibit one or more of the following symptoms:

withdrawal, rebelliousness, restlessness, and they are depressed.
2. Sam is responsible for stocking merchandise, writing orders for delivery, and sales
of computers.
3. At Lincoln High School, vandalism can result in suspension or even being
expelled from school.
4. The job requires someone who write, manage and problem-solving.
5. Hatred stirs up strife, but love will be covering all sins

EXPLORE
Find below compiled definitions and descriptions about parallelism from different
works.

DEFINITION AND NATURE OF PARALLELISM

 Parallelism is the “sameness” between two sections of a text, and can be

structural or semantic (Fabb, 1997).
 It is also known as parallel structure. It is when phrases in a sentence
have similar or the same grammatical structure. In its most basic usage,
parallelism provides a phrase with balance and clarity. Parallelism also serves
to give phrases a pattern and rhythm.
 In parallelism, there is always a relationship in the structures and ideas so
juxtaposed generally in the form of synonymy, repetition, antithesis, apposition
and other forms.

 Parallelism concentrates on the repetition of words, phrases and clauses in a

more artistic and appealing manner to retain the narrative in balance by
affirming something new. The carefully chosen words and phrases are
recurrent to develop and improve the narrative. The chain-linking of thoughts
used repetition to improve retention.
> Parallelism is built up in successive layers of insight and meaning around
the central theme. It manifests the unity and development in the poem. It
brings about balance in rhythmic, rhyme and euphonic effects. It is a
principle which advocates the ideas of equal significance within a
poem (Thwala, 2017)

 Parallelism or responsion is the repetition of structural elements in a text in order

to produce form or cohesion. Most varieties of parallelism can be thought of as
pairings or groupings of elements which form an equivalence set.

The criteria for determining what is contained in an equivalence set can

be defined by linguistic properties of various kinds — phonological
(sound), semantic (meaning), syntactic (word category of phrasal structure.

EXPLAIN
Parallelism can operate along different dimensions of linguistic structure:

STRUCTURAL PARALLELISM
It involves similarity of structure. The structure involved may be syntactic,
morphological or phonological.

1. Syntactic Parallelism: It is the commonest kind of structural parallelism. It

involves structural identity between two sections of text in three
simultaneous senses. First section of text contains the same classes of phrase
and word. Second, corresponding phrases bear similar grammatical and
thematic relations to the predicator. Third, the corresponding phrases and
words are in the same order in both sections of text.
 What walls can guard me, or what shades can hide?

They pierce my thickets, thro’ my Grot they hide

By land, by water, they renew the charge,

They stop the chariot, and they board the barge.

The 4th line bears the most complete syntactic parallelism. The same Constituent
types are in the order. There is also some identity of words (particularly
grammatical Words: they, the):

Noun Phrase (subject) Verb Noun Phrase (object)

They stop the chariot
And they board the barge

The first line has a syntactic parallelism whereby each half can be seen as
having the same structure, but in the second half there is a GAP- an implied object
rather than a repeated one. This is common in syntactic parallelism where a
constituent in one part is identical with a constituent in another.

Noun Phrase (subject) Auxiliary Verb Noun Phrase (object)

What walls can guard me
Or what shades can hide GAP
 1

What is GAPPING?
One of the variant types of syntactic parallelism involves a gap in one
of the sections of text, which corresponds to a phrase or more in the other
section of text. Austin(1984) discusses Alexander Pope’s and John Dryden’s
uses of gapping in some detail, and we draw on his findings here.

Gapping is found in ordinary spoken English; it typically involves a

missing phrase in the second of two similar constituents. This typical pattern is
violated in poetry, for example in the poetry of Alexander Pope, where the
first of two elements may be gapped:

Now leaves_ the trees, and flowers adorn the ground

Or there might be a gap in the first and third parts of the text:

While Fish _ in Streams, or Birds delight in Air,

Or in a Coach and Six _ the British Fair.

Here the two halves of the first line involve similar order of constituents,
but the first half has a gap which “looks forward” to the second half for its
completion (it is called a forward-looking gap). The second line has a
backward-looking gap and at the same time reverses the linear order of
constituents.

A second way in which Pope and also Dryden go against the

tendencies of the standard language is that the gapped elements do not
necessarily together form a single syntactic constituent. Thus Dryden offers
us this example:

Thy Tragic Muse gives smile, thy Comick ___ ___ sleep

In the line above, the gapped elements are a noun muse followed
by a verb gives. Together, these do not constitute a single constituent, as
we can see by looking at the syntactic constituent structure:
[NP Thy tragic [N muse ] ] [VP [V gives ] smile ]

If we gap the two elements, we do so by taking one out of the

subject noun phrase, and the other out of the verb phrase, in both cases
leaving material behind:

[NP Thy comic [N ___ ] ] [V ____ ] sleep ]

There are some ways in which we can reorient our understanding of

double gapping of this kind. We could interpret gapping as two separate
gappings, each of a single constituent. And in some cases, the gap is not
filled by a single syntactic constituent but would be filled by a single
postlexical phonological constituent:
 2

Happy the man…

Whose herds ___ ___ with milk, whose fields ___ ___ with
bread,
Whose flocks supply him with attire

Here we could plausibly group the two words supply him as a single
phonological phrase even though it is not a single syntactic constituent.

Parallelism occurs at clausal or group level. At this level, the structures are
equivalent- sameness of mood, textual pattern and thematic structure constitute
parallelism; Adds balance and rhythm to sentences giving ideas a smoother flow
and thus can be persuasive because of the repetition it employs.

Examples: “Alice ran into the room, into the garden, and into our hearts.”
(parallelism achieved through construction of syntactic phrasal grouping and
repeated use of “into the” )

“Whenever you need me, wherever you need me, I will be there for you.”
(parallelism achieved through construction of syntactic clausal grouping and
repeated use of you need me)

“Thus, though we cannot make our Sun

Stand still, yet we will make him run.”

> The parallel parts are the two sentences though we cannot make our Sun stand
still and yet we will make him run. These sentences are parallel in that (with minor
exceptions) they have the same phrase and word classes in the same orders, and
these phrase and word classes have the same functions in the clause in both parts.
Thus both sentences have a basic sequence of:

Coordinating conjunction + subject noun phrase + modal + verb +

subordinate clause
Though we cannot make our sun
stand still,
Yet we will make him run.

> These sentences differ in that the first sentence also has negation (attached to
the modal,in cannot).

> The subordinate clause in each part are also parallel, consisting of a subject
noun phrase our sun or him followed by an intransitive verb stand still or run.

> There are some minor syntactic differences: the subject noun phrase is a full noun
phrase in the first sentence and a pronoun in the second, and there is an adverb
 3

still in the first sentence which completes the meaning of the intransitive verb. Over
all, however, the two parts of this text are syntactically parallel to one another.

2. Morphological Parallelism: It is a parallelism which involves sub-parts of

words (morphemes). This is typically very similar to syntactic parallelism, in
that the morphemes involved may carry syntactic information (I.e. they are
often inflectional morphemes), as in the following case cited by V. Hymes
(1987) from a narrative by Hazel Suppah in the Sahaptin language:

Naxs ayat iwinana mii…mi. A certain woman went lo-o-ong ago.

Ixasunaitima nisakni icn She rode (horseback)from her house to
Wanici tiicam Sitaikt. here The place called Shitike.
Kwniin auku ixasutuxa anasik’ From there then she rode home, towards
a. evening.

*Sahaptin or Shahaptin, endonym Ichishkin,[3] is one of the two-language Sahaptian branch of the
Plateau Penutian family spoken in a section of the northwestern plateau along the Columbia River and
its tributaries in southern Washington, northern Oregon, and southwestern Idaho, in the United States.

Where does morphological parallelism exist in the lines above?

The parallelism in the text is morphological, and holds between the three
verbs in boldface. Each Sahaptin verb is complex (as can be seen by the fact that
a Sahaptin verb can require several English words to translate it). This is the division
of the verbs into their component morphemes.

Notice that the elements which are parallel are elements which in another
language (such as English) might have been expressed as independent words in
the syntactic; thus a morphological parallelism in Sahaptin might be equivalent to
a syntactic parallelism in English.

i wina na
i xasu naiti m a
i xasu tux a
 4

Another example of poetic lines containing morphological parallelism are found in

theIlokano poem Awis ti Hulio of Roy V. Aragon:

(1) Sumaranta ti lagip kas i’tay isasanikar iti masay-up

(2) a sayamusom ti alisuaso ti kattempla a kape a barako.
(3) Wenno iti alingasaw ti kaggao nga innapuy.
(4) Wenno iti ayamuom ti dinengdeng no kasta a panagluluto
(5) iti malem. Uminakbay, umadiwara, sumken ken sumnek
(6) kas iti idadateng iti Hulio ti bang-i ken sabeng ti tudo,
(7) littugaw, dagudog, ken uray pay ’tay nagtagibanglo
(8) a pas-eng ken langsi ti masansan a tumabbiraw a bagyo

Morphological parallelism is indicated in the inflected words (1) I- sa-

sanikar [the brisking of] and (6) I- da- dateng [the arrival of]. The initial morpheme
“i” supported by the repetition of the second syllables indicate a progressive
action.

It is also evident in the contracted descriptive words kattempla [of freshly

made black coffee] and kaggao [of rice newly drawn out of the pot]. When these
words are written completely, they take the forms “katemtempla and kagagao”.
Both last consonants of the initial syllables are repeated indicating a deletion of the
vowels following the last consonant.

Below is the English translation of Awis ti Hulio:

Invitation of July

Roy V. Aragon

Translated in English by Junley Lazaga (2017)

Memory nimbles like the brisking of the smell of

the scent of vapor of freshly made black coffee.
Or the steam of rice newly drawn out of the pot.
Or the aroma of dinengdeng during cooking time
in the afternoon. Diffusing, spreading, it moves and penetrates
like the arrival in July of the sweet rustic stench of rain,
the breeze, the northeast wind, and even the fragranced
stink and putrid of storm that frequently intrudes.
 5

3. Phonological Parallelism: Parallelism in sound

It can be phonological when it takes the form of initial , medial or end

rhyme and it is most distinguished with the presence of:

• Rhyme: repetition of the structural rhyme of syllables, usually at line-ends

> Example: Hickory Dickory Dock,

The mouse ran up the clock.

• Assonance: repetition of the structural nucleus of syllables

>Repetition of vowel sounds Edgar Allen Poe's famous poem "The Raven" is:
"the silken sad uncertain rustling of each purple curtain. Repetition of “ur” sound

• Alliteration: repetition of the structural onset of syllables

> J.K. Rowling of the Harry Potter series uses this lot with names. For example,
"Severus Snape," "Luna Love good," "Rowena Raven claw,"

• Meter: repetition or patterning in syllable counts or in metrical prominences

(ictuses) or metrical constituents (feet)

. Consonance: Repetition of the same consonant several times in a row, but this
time the consonants can appear anywhere in the words. For example,
“Humpty Dumpty."

Parallelism in verse structure: line divisions; stanzaic or periodic formulation

(groups of line
 1

Phonological Parallelism is also reflected when the lines have the same
sequence of sounds called sound-pattern parallelism.

What is a
sound-
patterning?

* Systematic
sound-
patterning is
the result of a
rule which
stipulates that
sounds must be
repeated in a
regular and
predictable
pattern.

* Unsystematic
sound-patterning is not the result of a rule; for example, in texts with unsystematic
sound-patterning one line might have a lot of alliteration while the next has none.
 2

Illustrating sound-pattern parallelism

SEMANTIC PARALLELISM

Semantic parallelism holds where two sections of text can be interpreted to

have parallel meanings, where “parallel meanings” covers a range of possibilities,
with the two most common kinds being similarity of meaning and opposition of
meaning. Often semantic parallelism arises as a result of lexical parallelism, where
two words are interpretable as being parallel to one another; the relation of
meaning between the two words determines the relation of meaning between the
two larger sections of text which include those words.
 3

One way in which this might arise is where the two words are the only points
of difference between two otherwise identical sections of text (I.e. the texts which
surround the words are structurally parallel in all ways). A first example comes from
a prayer in Zinancatecan (a dialect of the Mayan language Tzotzil, spoken in
Mexico: Chiapas):

This extract is analyzed by Bricker (1989). The layout of lines on the page
makes clear the parallelism between the two halves. Of each verse. In verses 2
and 3, the parallel sections are identical in all ways (fully structurally parallel, and
with identical words) except for one word which differs.

In verse 2, the words which differ are -lumal “earth” and ac elal “mud”: thus
the text puts them into comparison.

In verse 3, the words are cob- “gather together” and lot-”meet”. In both
cases, the words have similar meanings which means that the parallel texts which
contain them therefore also have similar meanings.

In the second example below (from the 18th century English poem by
Cowper, “The Task”), the words are likewise put into comparison by being
embedded into parallel structures. Here, however, the semantic parallelism is that
the two sections of text can be interpreted as implying an opposition:

God made the country, and man made the town.

To bring out the structural parallelism, lay out the text. This will
encourage you to look for the lexical parallelism.

Noun Phrase (subject) Verb Noun Phrase (object)

God made the country,
and man made the town.
 4

God and man are made lexically parallel by the text, as are country and town.
Furthermore, the two sets of lexical parallel words align so that the pair
God/country is parallel to the pair man/town.

Lexical parallelism typically involves a pairing of two words. The

examples shown (including the examples of structural parallelism) all
involve expected lexical parallels. In contrast, an example of an
unexpected lexical parallel is the following, from Alexander Pope’s Essay on Man:

Who sees with equal eye, as God of all

A hero perish, or a sparrow fall,
Atoms or systems into ruin hurl’d,
And now a bubble burst, and now a world.

In these lines, structural parallelism presents us with word-pairs which are

antonyms (the words have opposed meanings or associations): hero and sparrow,
atoms and systems, bubble and world. These are not conventional pairs.
Unexpected lexical parallels of this kind require very salient surrounding structural
parallelism to draw attention to the comparison between the two words; otherwise,
the two words will not be recognizable as parallel. Pope’s poetry has
unrecognizable parallels because he is writing satire, for example. Most examples
of lexical parallelism, however, involve unexpected parallels.

Unexpected lexical parallels will often involve two worlds which have the
same reference or which refer to similar things. Thus for example in the
Zinancatecan text discussed in the previous pages, -lumal “earth” and ac elal
“mud” are pairs of words which are synonymous or near synonyms, as is the pairs
cob- “gather together” and lot-”meet”.

The pair in the first verse, yaya tot “grandfather” and ahvetik “Lord”, both
refer to elders and thus are similar in meaning. In the Sahaptin text, there are three
different verb roots for “go”, th efirst two of which mean “go” and the third, tux,
means more specifically “go homeward”: again, a similarity in meaning (though
not identity in meaning).

Sometimes a pair might be fully synonymous as a result of the borrowing of

one member from a different language. Thus Bricker cites a prayer in which a saint
is named in the two parts of a lexical parallelism, the first using the Zinancatecan
noun ζanć and the second using the Spanish noun sinyora: both have the same
meaning of “woman” (Bricker, 1989):
 5

Lexical parallelism can also involve two words which are in opposition(as
shown in the Cowper text: God made the country, and man made the town.). In
this case the opposition can draw on a pre-existing cultural opposition: in the
Cowper text the pre-existing opposition is between the good countryside and the
bad town- an opposition pervasive throughout English literature (Williams, 1973).
Thus various kinds of lexical parallelism can draw on expected relations of meaning
between words, whether similarity or opposition.

When we find lexical parallelism in a text, it is worth asking whether the

parallelism draws upon a pre-existing set of words: that is, whether the words are
already organized into an “equivalence set” and this equivalence set is exploited
for lexical parallelism.

Additionally. On Lexical Parallelism/Semantic Parallelism, Sakamoto (1982) in

his article said that lexical parallelism is repetition of lexical items that indicates the
sentences connection in a text. It may be identical in form and meaning, or may
be related by lexico-semantic relationship, such as synonymy, hyponymy,
antonymy.

Example: I like swimming, hiking, reading, and jogging.

ELABORATE
From the discussions on the major dimensions of parallelism, the succeeding pages
present to you supplementary materials on parallelism in other forms from the works
of other writers. This section also points out the difference between repetition and
parallelism as a literary device.

OTHER FORMS OF PARALLELISM

Canonical Parallelism and Meter

Parallelism can hold intermittently or occasionally in a text, or it can be

characteristic of a text as a whole. Canonical Parallelism is where basic principle
of organization holds of the text as a whole. This phrase was based on Jacobson’s
(1987)“canonic parallelism”.
 6

Canonical Parallelism is similar to a meter in that both are organizing principles for a
complete text. Contrastingly, meter involves a division of a text into sections (typically lines:
each section is matched to an external template, and thus- in an isometric text at least- a
section may resemble other sections because they all resemble the same template. The
result is a kind of parallelism but as a side-effect of meter. Notice, however, that not all
metrical texts have parallelism: if the text is heterometric, lines will not be parallel with one
another though they will not be metrical.

In contrast to meter, parallelism requires division of a section of text into halves- and a
section of text can also fall into two halves in terms of its organization by metrical rules, or by
caesura rules or sound-patterning rules.

What is a Caesura?
A pause comes from natural rhythm of speech, which poetry also uses in its lines specifically a
rhythmical pause in a poetic line or a sentence. It often occurs in the middle of a line, or
sometimes at the beginning and the end. At times, it occurs with punctuation; at other times
it does not. Poets indicate such a pause with a parallel symbol thus: ||. Caesura can be
medial (occurring in the middle of line), initial (occurring at the beginning of poetic line), or
terminal (occurring at the end of a poetic line).
Examples: From Emily Dickinson’s I’m Nobody! Who Are You?
I’m nobody! || Who are you?
Are you nobody, too?
Then there’s a pair of us || – don’t tell!
They’d banish || – you know!

Where parallelism is the norm, a lack of parallelism is marked. Canonical parallelism involves
the organization of a whole text, such that all the parts of the text should be divided into parallel
halves.

The lack of parallelism is a way of marking the boundaries of the text, the beginning and
end, as a bracketing device. Jakobson suggests that there might be another functional reason:
that isolated lines at beginnings or ends can be used to emphasize a key idea at the beginning or
end.

Parallelism and Antithesis

One literary device that often makes use of parallelism is antithesis. In antitheses, two
elements of a sentence are placed in contrast to one another. This opposition is clearest when
a writer puts the ideas in parallel positions. Neil Armstrong used antithesis with parallelism when
he first stepped onto the surface of the moon in 1969, using the parallel structure of the two
halves of his sentence to highlight the contrast between his "small step" and the "giant leap"
that this step represented in the history of humanity.

Example: That's one small step for a man, one giant leap for mankind.
 7

Opposite ideas are put together. Alexander Pope in his “An Essay on Criticism” also
uses antithetic parallel structure: “To err is human; to forgive divine.”

Parallelism and Anaphora

Another specific type of parallelism is anaphora. This figure of speech involves the
repetition of at least one word at the beginning of successive clauses or phrases. In one of
Winston Churchill's most famous speeches during World War II, he makes stirring use of
anaphora:

Example: We shall fight in France, we shall fight on the seas and oceans, we shall fight with
growing confidence and growing strength in the air, we shall defend our island, whatever the
cost may be. We shall fight on the beaches, we shall fight on the landing grounds, we shall fight
in the fields and in the streets, we shall fight in the hills; we shall never surrender...

Parallelism and Asyndeton

In asyndeton, a conjunction (such as "and") is omitted between parts of a sentence
to create a certain rhythm. Often, this is made possible by parallelism, which helps the reader
to interpret the sentence's meaning even when it is not (technically) grammatically correct. In
Julius Caesar's famous boast to the Senate after his victory at the Battle of Zela, he makes use
of asyndeton because he omits the word "and" before the final clause.

Example: Veni, vidi, vici: I came, I saw, I conquered.

Technically this omission of "and" makes the sentence an example of "comma

splicing," which is a grammatical no-no, but the parallelism allows the meaning to come
through and creates a pleasing rhythm.

Parallelism and Epistrophe

Epistrophe is the opposite of anaphora. Instead of repeated word(s) at the
beginning of successive phrases, epistrophe involves repeating words at the end of successive
phrases. Abraham Lincoln employed epistrophe when he declared in his Gettysburg Address
that the Union was fighting to defend a government "of the people, by the people, for the
people." Again, this is an example of parallelism as well as epistrophe, since epistrophe is just a
specific type of parallelism.

Synonymous Parallelism: lines are echoic ; the second line is a mere variation of the
first. It involves the repetition in the second part of what has already been expressed in
the first, while simply varying the words. Robert Lowth (1753) — early influential work on
Biblical poetics.

How shall I curse, whom God hath not cursed?

Or how shall I defy, whom the Lord hath not defied? (Num. 23:8)
 8

Difference Between Parallelism and Repetition

It can be difficult to distinguish between parallelism and repetition. They are similar
literary devices in the sense that their function is based on something being repeated for effect.
However, repetition specifically features the intentional use of a word or phrase, two or more
times in close proximity of each other. Parallelism can involve the repetition of words or phrases,
but it also must reflect repetition of grammatical and/or structural elements. In fact, the only
requirement for parallelism as a literary device is the repetition of grammatical elements and/or
structure in a written work–apart from strictly word or phrase repetition.
A good example to demonstrate the difference between parallelism and repetition
is a soliloquy spoken by the character in Macbeth by William Shakespeare. The line, “Tomorrow,
and tomorrow, and tomorrow” features word repetition. It also features parallelism due to the
grammatical structure of the phrasing, utilizing “and” as a conjunction. This grammatical
similarity enhances the rhythm of the phrase and emphasizes the concept and meaning of
“tomorrow” as an ongoing, repeating aggregate of time and experience.

There is another line in Macbeth’s soliloquy that features repetition, but not
parallelism: “Out, out, brief candle!” In this line, the word “out” is repeated twice, but there is no
indication of a repeating grammatical element. Though the effect of this repetition is to
emphasize the word “out” in terms of extinguishing the candle, which represents death, there is
less of a poetic nature to the line than the repetition and parallelism of the “tomorrow” phrase.
Therefore, as literary devices, repetition emphasizes a word or phrase and can certainly
reinforce its meaning; however, parallelism often adds even deeper meaning through
repetition of grammatical structure.

Writing Parallelism

Overall, as a literary device, parallelism functions as a means of creating a

harmonious flow and rhythm with words and phrases. This is effective for readers in that
parallelism can capture a reader’s attention and enhance the structure of writing to make
the literary work more meaningful. Parallelism is also an effective way for writers to set up
relationships between two or more things or ideas, through comparison or contrast.

It’s important that writers use parallelism sparingly in order for it to be effective. Too
much repetition of grammatical elements can distract and/or fatigue a reader. For
example, this well-known proverb features parallelism: Give a man a fish, and he eats for a
day. Teach a man to fish, and he eats for a life time. It is effective in that the repetition of
sentence structure emphasizes the meaning and perceived truth of the proverb for the
reader. However, if the proverb were to continue this repetitive structure, it would lose
effectiveness: Give a man a fish, and he eats for a day. Teach a man to fish, and he eats for
a life time. Teach a man to sell fish, and he eats steaks. Give a man a chain of seafood
restaurants, and he eats whatever he wants. The continued parallelism undermines the initial
meaning of the proverb.
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EVALUATE
Task 1: Below are lines lifted from literary texts. Notice that parallelism is observed in these
poetic lines. Rewrite these lines in prose form. There could be more than one statements
generated from the given lines.

Describe the changes the original lines have undergone based on the prosaic lines you
have generated.

1. From EE Cumming’s “Love is more thicker than forget”

love is more thicker than forget

more thinner than recall
more seldom than a wave is wet
more frequent than to fail

2. From Louis Armstrong

The colors of the rainbow so

pretty in the sky
Are also on the faces of people
going by.
I see friends shaking hands
saying how do you do
They’re really saying I love you.

Task 2. Choose 1 or 2 from the 4 poems given. As an alternative, you may choose an
English or Tagalog song as your second material for this task.

Unpack the different dimensions or forms of parallelism from the different poems. Elaborate
your answers.

1.You Can Ride on the Notes of My Voice

You can ride on the notes of my voice.

Go ahead. I don’t mind.
They’re soft, like new jello..
And a fragrance like sweet soap will fill your head.

With the bass sounds you may recall your first piano recital
Or feel the vibrations of that tornado siren when you were 12.

When my voice grows rough and loud,

You may feel the sting of your mother’s hand
On your face, ten years old.
 10

When I sink below a whisper

You may taste your first kiss under an observant moon
In a campground blanketed with smooth night.

When I turn to tenor, feel the swelling pride

Sweaty hands grasping your diploma, 18 years old.
Let your face heat up in that righteous fever.
Go ahead. Let my voice take you where you need to go.

2.Nan Layad Nan Likatan Song (http://www.cordilleransun.com/2015/03/nan-layad-

nan-likatan-song-lyrics-and.html)

Nan Layad Nen Likatan

Nan layad ensikhafan, Tet-ewa’y sikhab
Layad ay nenlikatan, Nar-os cha am-in.

Seg-ang yangkay nan wad-ay, Sik-a et achi mampay

Ya ngag kasin ta angnen, Nar-os cha’t am-in.

San enta nenfowekhan, Ad-im ngen semken

San enta nenpachangan, Nar-os cha am-in

Layad ta’y chachama

Ento pay kasin chachi, Nar-os cha’t am-in.

Tak-en mo mimowasan, Someg-ang ka man

Ta kasin ta lomanen, San layad ta’y chwa.

San layad ta’y chachama, Wedwecha’s fangonen ta

Ta’t ampay en-among ta, Omafong ta’y chwa.

3. Pinilit Mo Metten ti Ilelennek ti Init by Kumander Antokoy

(https://aichannel.wordpress.com/category/ilocano-poems-daniw/)

Pinilitmo metten ti ilelennek ti init tapno inka maturog

Nagsapa pay laeng di pay naluto diay kinirog
Ania la unay aya ti ganatem nga agawid
Kamayatna pay laeng agpagnapagna nga agwidwidawid

Nadagsen aya dayta binaklaymo gabat a kayo

Imbabam koma pay laeng tapno sakit ta siket saan a kimmaro
Immangeska koma pay laeng tapno angin nalang-abmo
Naliklikan koma ti pannakabannogmo a napalalo
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Inan-usam koma ngamin a sinalingsingan dagita burrarawit

Tapno dika unay nasiitan bayat nga inka inawit
Saanmo koma a kagura no dagiti tudok nasakit
Paset ti mangawayan ti masugatan, makarikna iti saniit.

Ala umunaka ngaruden a mangpanurnor iti destino

Ta ipadpad-engko pay laeng ti dumanon iti ungto
Itugotmo man laengen amin dagiti gargaret iti panagdaliasatmo
Ta awanton ti sarsawirko inton mapanunotko met ti sumaruno

4.Say Amta-en Mo by Silver Pilo

(https://www.facebook.com/ibalois/photos/?tab=album&album_id=255976337837258)
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References
1. Fabb, N. (1997). Linguistics and Literature. Blackwell Publishers, Ltd.

2. Ellyawatti, H. (2018). Parallelism in Nursery Rhymes. E. Structural. Vol. 1 No.2. Universitas Semarang
p-ISSN: 2621-8844 & e-ISSN:2621-9395

3. MINGZHU Z(2012) The Art of Balance: A Corpus-assisted Stylistic Analysis of Woolfian Parallelism in
To the Lighthouse. Minzu University of China. IJES

4. Jakobson, R. (1987). "The Poetry of Grammar and the Grammar of Poetry." In Language in
Literature

5 https://www.researchgate.net/publication/249738467_Verbal_and_Visual_Parallelism

6.https://literarydevices.net/parallelism/

7.https://www.iup.edu/writingcenter/writing-resources/grammar/parallel-structure/

8. http://press-files.anu.edu.au/downloads/press/p284951/pdf/ch022.pdf

9. https://www.britannica.com/topic/antithetic-parallelism

10. https://www.britannica.com/topic/biblical-literature/The-significance-of-Elijah

11. https://www.britannica.com/topic/biblical-literature/Psalms

12. https://www.ling.upenn.edu/~rnoyer/courses/103/Parallelism.pdf