1. Kingdom of Saudi Arabia
Ministry of Higher Education
Umm Al-Qura University
College of Arts and Management Sciences
Department of English
Parallelism in Selected Children’s Poems
by Eloise Greenfield: A Stylistic Study
A thesis submitted to the department of English in partial
fulfillment of the requirements of the degree of M.A. in
Linguistics
Presented by
Aisha Sa’adi AL-Subhi
Teacher's Assistant in Department of English
College of Arts and Management Sciences
Umm Al-Qura University
Supervised by
Dr. Shadia Yousef Saadu-Ldeen Banjar
Assistant Professor of Linguistics
College of Education- Humanities
King Abdul-Aziz University
Second Semester
1429-1430 H / 2008- 2009 A.D.

2. ABSTRACT
The present study is mainly stylistic and exclusively concentrates on the linguistic
analysis of parallelism as a stylistic device in Eloise Greenfield children's poetry. It
adopts a stylistic formalist approach that emphasizes the formal structures of a literary
text on different linguistic levels. It examines sound parallelism, grammatical
parallelism, and lexical/semantic parallelism in a corpus of twenty- five poems selected
from illustrious works of Eloise Greenfield's poetry. Each type is detected in the selected
poems, and then stylistically analyzed according to the patterns of parallelism in order to
illustrate how parallelism creates unexpected effects upon the readers.
The results of the study confirm the prominent existence of parallelism as
foregrounded regularities on the three linguistic levels: phonological, grammatical, and
semantic. They also show that the effect of parallelism varies according to the type of
parallelism. Furthermore, the study has recorded variations of parallelisms on the three
linguistic levels. On the phonological level, sound parallelism plays a dominant role over
other types of parallelism in the poems. It constitutes 48% out of all parallelisms. Rhyme
is the most frequently used pattern. Specifically, masculine rhyme and full rhyme are
predominant, whereas broken rhyme is completely absent. Alliteration of the
approximant /w/ and the fricative /ð/ are the mostly used sound patterns, whereas
alliteration of the affricate /dʒ/ is rare. Assonance of diphthongs has dominance over
assonance of long and short vowels. Moreover, consonant parallels of the plosives /t/ &
/d/ are used more in comparison with other consonant parallels. On the grammatical
level, grammatical parallelism accomplishes a similar statue to sound parallelism and
scores 40% of all parallelisms. Morphological parallelism is less used than syntactic
parallelism. On the morphological level, parallel nouns and verbs are more frequently
used than adjectives, adverbs, and pronouns. On the syntactic level, parallel noun phrases
are the most frequent type. In addition, the declarative type of parallel constructions is
the dominant type, whereas exclamatory type is the least used. Not surprisingly, simple
parallel constructions are the prevailing used structure, whereas complex-compound
constructions are totally missing. Moreover, isocolon is the dominant pattern of
grammatical parallelism. On the semantic level, lexical/semantic parallelism shows a
much lesser existence with only 12% of all parallelisms. Hyponymous parallels show the
highest frequency. In addition, anaphoric parallelism is the prevailing pattern, whereas
emblematic parallelism is the absent pattern. Interestingly, most of the patterns of
lexical/semantic parallelism stand in contrast to one another. The overall results have
shown that parallelism activates on different linguistic levels simultaneously. Thus,
parallelism operates as a foregrounding device showing the regularities of sounds, words,
and structures that characterize the style of Eloise Greenfield.
Finally, this study hopes to pave the way for future avenues of investigations in the
world of children's literature under the category of stylistics.
Student: Supervisor: Dean of College:
Aisha Sa'adi AL-Subhi Dr. Shadia Yousef Banjar Dr. Anjab Ghulam Nabi Gutbaldeen
II

3. ‫ﻣﺴﺘﺨﻠﺺ اﻟﺪراﺳﺔ‬
‫ﺗﺮﻛﺰ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻷﺳﻠﻮﺑﻴﺔ ﺑﺸﻜﻞ ﺃﺳﺎﺳﻲ ﻭ ﺣﺼﺮﻱ ﻋﻠﻰ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻠﻐﻮﻳﺔ ﻟﻨﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﻛﺄﺳﻠﻮﺏ ﺑﻼﻏﻲ ﺑﺎﺭﺯ ﰲ ﺷﻌﺮ‬
‫ﺇﻳﻠﻮﻱ ﺟﺮﻳﻨﻔﻴﻠﺪ ﻟﻸﻃﻔﺎﻝ. ﻭﺗﺘﺒﻊ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻨﻬﺞ ﺍﻷﺳﻠﻮﰊ ﺍﻟﺸﻜﻠﻲ ﻭﺍﻟﺬﻱ ﻳﺮﻛﺰ ﻋﻠﻰ ﺍﻟﺘﺮﺍﻛﻴﺐ ﺍﻟﺸﻜﻠﻴﺔ ﻟﻠﻨﺺ ﺍﻷﺩﰊ‬
‫ﰲ ﺍﳌﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﺍﳌﺨﺘﻠﻔﺔ. ﻭﻫﻲ ﺗﺘﻨﺎﻭﻝ ﺑﺎﻟﺒﺤﺚ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﺍﻟﺼﻮﰐ ﻭﺍﻟﻨﺤﻮﻱ ﻭﺍﻟﺪﻻﱄ ﰲ ﻋﻴﻨﺔ ﺗﺘﺄﻟﻒ ﻣﻦ ﲬﺲ‬
‫ﻭﻋﺸﺮﻳﻦ ﻗﺼﻴﺪﺓ ﳐﺘﺎﺭﺓ ﻣﻦ ﺃﺷﻬﺮ ﺍﻷﻋﻤﺎﻝ ﻟﻠﺸﺎﻋﺮﺓ ﺇﻳﻠﻮﻱ ﺟﺮﻳﻨﻔﻴﻠﺪ. ﻭﻛﺸﻔﺖ ﺍﻟﺪﺭﺍﺳﺔ ﻋﻦ ﺃﻧﻮﺍﻉ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﰒ ﻗﺪﻣﺖ‬
‫ﲢﻠﻴﻼ ﺃﺳﻠﻮﺑﻴﺎ ﻟﻜﻞ ﻧﻮﻉ ﻣﻦ ﺍﻷﻧﻮﺍﻉ ﺍﻟﺜﻼﺛﺔ ﻣﻊ ﻗﻮﺍﻟﺒﻪ ﺍﳌﺘﻌﺪﺩﺓ ﻣﻦ ﺃﺟﻞ ﺗﻮﺿﻴﺢ ﻣﺪﻯ ﺍﻟﺘﺄﺛﲑ ﺍﻟﺒﻼﻏﻲ ﻟﻨﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﻋﻠﻰ‬
‫ﺍﻟﻘﺎﺭﺉ.‬
‫ﻭﻗﺪ ﺃﻛﺪﺕ ﺍﻟﻨﺘﺎﺋﺞ ﻋﻠﻰ ﺍﻟﻈﻬﻮﺭ ﺍﻟﺒﺎﺭﺯ ﻟﻨﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﻛﺄﺳﻠﻮﺏ ﺑﻼﻏﻲ ﺑﺎﺭﺯ ﰲ ﺍﳌﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﺍﻟﺜﻼﺛﺔ: ﺍﻟﺼﻮﰐ ﻭﺍﻟﻨﺤﻮﻱ‬
‫ﻭﺍﻟﺪﻻﱄ. ﻭﺃﻭﺿﺤﺖ ﺍﻟﺪﺭﺍﺳﺔ ﺑﺄﻥ ﺗﺄﺛﲑ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﳜﺘﻠﻒ ﻋﻠﻰ ﺣﺴﺐ ﻛﻞ ﻧﻮﻉ. ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺫﻟﻚ ﻛﺸﻔﺖ ﺍﻟﺪﺭﺍﺳﺔ ﻋﻦ‬
‫ﺍﺧﺘﻼﻓﺎﺕ ﰲ ﺍﳌﺴﺘﻮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﺍﻟﺜﻼﺛﺔ. ﻓﻌﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺼﻮﰐ، ﺃﻭﺿﺤﺖ ﺍﻟﺪﺭﺍﺳﺔ ﺑﺄﻥ ﺍﺳﺘﺨﺪﺍﻡ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﺍﻟﺼﻮﰐ ﻫﻮ‬
‫ﺍﻟﺴﻤﺔ ﺍﻟﻐﺎﻟﺒﺔ ﻋﻠﻰ ﻋﻴﻨﺔ ﺍﻟﺒﺤﺚ ﻭﺍﻟﺬﻱ ﻳﺸﻜﻞ ٨٤% ﻣﻦ ﺍ‪‬ﻤﻮﻉ ﺍﻟﻜﻠﻲ ﻟﻨﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ. ﻭﺍﺗﻀﺢ ﻛﺬﻟﻚ ﺑﺄﻥ ﺍﻟﻘﺎﻓﻴﺔ ﻫﻲ‬
‫ﺃﻛﺜﺮ ﻗﻮﺍﻟﺐ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﺍﻟﺼﻮﰐ ﺍﺳﺘﺨﺪﺍﻣﺎ ً ﻭ ﺃﻥ ﺍﻟﻘﺎﻓﻴﺔ ﺍﳌﻄﻠﻘﺔ ﻭﺍﳌﺬﻛﺮﺓ ﻫﻲ ﺍﻟﺴﺎﺋﺪﺓ ﺑﻴﻨﻤﺎ ﻓﻘﺪﺕ ﺍﻟﻘﺎﻓﻴﺔ ﺍﳌﻜﺴﻮﺭﺓ.‬
‫ﻭﻛﺎﻥ ﺍﳉﻨﺎﺱ ﺍﻹﺳﺘﻬﻼﱄ ﻟﺼﻮﰐ /ﺍﻟﻮﺍﻭ/ ﺍﻟﺘﻘﺮﻳﱯ ﻭ /ﺍﻟﺬﺍﻝ/ ﺍﻻﺣﺘﻜﺎﻛﻲ ﺳﺎﺋﺪﺍ ﺑﻴﻨﻤﺎ ﻧﺪﺭ ﺍﳉﻨﺎﺱ ﺍﻹﺳﺘﻬﻼﱄ ﻟﻸﺻﻮﺍﺕ‬
‫ﺍﳌﺰﺟﻴﺔ. ﻭﺗﺒﲔ ﺃﻳﻀﺎ ﺃﻥ ﺍﻷﻏﻠﺒﻴﺔ ﰲ ﺍﻟﺴﺠﻊ ﺍﻟﺼﻮﰐ ﲢﻘﻘﺖ ﻣﻊ ﺍﻷﺻﻮﺍﺕ ﺍﻟﺜﻨﺎﺋﻴﺔ ﺍﻟﺼﺎﺋﺘﺔ ﺃﻛﺜﺮ ﻣﻦ ﺍﻷﺻﻮﺍﺕ ﺍﻟﺼﺎﺋﺘﺔ ﺍﻟﻄﻮﻳﻠﺔ‬
‫ﻭﺍﻟﻘﺼﲑﺓ. ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺫﻟﻚ، ﻛﺎﻥ ﺍﻹﻧﺴﺠﺎﻡ ﺍﻟﺼﻮﰐ ﰲ ﺍﳌﻔﺮﺩﺍﺕ ﺍﳌﺘﻮﺍﺯﻳﺔ ﻟﺼﻮﰐ /ﺍﻟﺘﺎﺀ/ ﻭ /ﺍﻟﺪﺍﻝ/ ﺍﻻﻧﻔﺠﺎﺭﻳﲔ ﺃﻛﺜﺮ‬
‫‪‬‬
‫ﺍﺳﺘﺨﺪﺍﻣﺎ ﻣﻦ ﺑﻘﻴﺔ ﺍﻷﺻﻮﺍﺕ ﺍﻟﺼﺎﻣﺘﺔ. ﻭﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﻨﺤﻮﻱ، ﺣﻘﻖ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﺍﻟﻨﺤﻮﻱ ﻣﺴﺘﻮﻯ ﻣﻘﺎﺭﺑﺎ ﻟﻨﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ‬
‫ﹰ‬ ‫ﹰ‬
‫ﺍﻟﺼﻮﰐ ﻭ ﺷﻜﻞ ٠٤% ﻣﻦ ﺍ‪‬ﻤﻮﻉ ﺍﻟﻜﻠﻲ ﻟﻨﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ. ﻭﺑﻴﻨﺖ ﺍﻟﺪﺭﺍﺳﺔ ﺑﺄﻥ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﺍﻟﺼﺮﰲ ﺃﻗﻞ ﻧﺴﺒﻴﺎ ﻣﻦ ﻧﺴﻖ‬
‫ﺍﻟﺘﻮﺍﺯﻱ ﺍﻟﻨﺤﻮﻱ. ﻭﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺼﺮﰲ ﺍﺗﻀﺢ ﺃﻥ ﺍﻷﲰﺎﺀ ﻭﺍﻷﻓﻌﺎﻝ ﺃﻛﺜﺮ ﺍﺳﺘﻌﻤﺎﻻ ﻣﻦ ﺍﻟﺼﻔﺎﺕ ﻭﺍﻷﺣﻮﺍﻝ ﻭﺍﻟﻀﻤﺎﺋﺮ. ﻭﻋﻠﻰ‬
‫ﹰ‬
‫ﺍﳌﺴﺘﻮﻯ ﺍﻟﻨﺤﻮﻱ، ﺗﺒﲔ ﺃﻥ ﺍﻟﺘﻮﺍﺯﻱ ﺑﲔ ﺷﺒﻪ ﺍﳉﻤﻞ ﺍﻻﲰﻴﺔ ﺃﻛﺜﺮ ﺍﺳﺘﻌﻤﺎﻻ ﻣﻦ ﺃﺷﺒﺎﻩ ﺍﳉﻤﻞ ﺍﻷﺧﺮﻯ. ﻭ ﺍﳉﻤﻞ ﺍﻹﺧﺒﺎﺭﻳﺔ ﻫﻲ‬
‫ﺍﻟﻨﻮﻉ ﺍﻟﺴﺎﺋﺪ ﺑﲔ ﺍﻟﺘﺮﺍﻛﻴﺐ ﺍﳌﺘﻮﺍﺯﻳﺔ ﺑﻴﻨﻤﺎ ﺳﺠﻠﺖ ﺍﳉﻤﻞ ﺍﻟﺘﻌﺠﺒﻴﺔ ﻧﺴﺒﺔ ﻗﻠﻴﻠﺔ. ﻭﻣﻦ ﺍﳌﺘﻮﻗﻊ ﺃﻥ ﺍﳉﻤﻞ ﺍﻟﺒﺴﻴﻄﺔ ﺍﳌﺘﻮﺍﺯﻳﺔ ﻫﻲ‬
‫ﺍﻟﺴﺎﺋﺪﺓ ﺑﻴﻨﻤﺎ ﻓﻘﺪﺕ ﺍﳉﻤﻞ ﺍﳌﺮﻛﺒﺔ. ﻭﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺫﻟﻚ ﻓﺈﻥ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﺍﻹﺯﺩﻭﺍﺟﻲ ﻫﻮ ﺃﻛﺜﺮ ﻗﻮﺍﻟﺐ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ‬
‫ﺍﻟﻨﺤﻮﻱ ﺗﻮﺍﺟﺪﹰﺍ. ﻭﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺪﻻﱄ، ﺃﻭﺿﺤﺖ ﺍﻟﻨﺘﺎﺋﺞ ﺑﺄﻥ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﺍﻟﺪﻻﱄ ﺃﻗﻞ ﻭﺟﻮﺩﹰﺍ ﻣﻦ ﺳﺎﺑﻘﻴﻪ ﻭﺷﻜﻞ ﻓﻘﻂ‬
‫٢١% ﻣﻦ ﺍ‪‬ﻤﻮﻉ ﺍﻟﻜﻠﻲ ﻟﻨﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ. ﻭﺗﺒﲔ ﺃﻳﻀﺎ ﺃﻥ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳌﺘﻮﺍﺯﻳﺔ ﺍﳌﻨﻀﻮﻳﺔ ﻫﻲ ﺍﻷﻛﺜﺮ ﺍﺳﺘﺨﺪﺍﻣﺎ ﻭ ﺃﻥ ﻧﺴﻖ‬
‫ﹰ‬ ‫ﹰ‬
‫ﺍﻟﺘﻮﺍﺯﻱ ﺍﻟﺘﻜﺮﺍﺭﻱ ﻫﻮ ﺍﻟﻘﺎﻟﺐ ﺍﻟﺸﺎﺋﻊ ﺑﻴﻨﻤﺎ ﻓﻘﺪ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﺍﻟﺮﻣﺰﻱ. ﻭﳑﺎ ﻳﺸﺪ ﺍﻹﻧﺘﺒﺎﻩ ﺃﻥ ﻣﻌﻈﻢ ﻗﻮﺍﻟﺐ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ‬
‫ﺍﻟﺪﻻﻟﻴﺔ ﺗﻘﺎﺑﻠﻴﺔ.‬
‫ﻭﻗﺪ ﺃﻇﻬﺮﺕ ﺍﻟﻨﺘﺎﺋﺞ ﺍﻹﲨﺎﻟﻴﺔ ﺑﺄﻥ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ ﻳﺘﻮﺍﺟﺪ ﰲ ﻣﺴﺘﻮﻳﺎﺕ ﻟﻐﻮﻳﺔ ﳐﺘﻠﻔﺔ ﰲ ﺍﻟﻮﻗﺖ ﺫﺍﺗﻪ. ﻟﺬﻟﻚ، ﻳﻌﺪ ﻧﺴﻖ ﺍﻟﺘﻮﺍﺯﻱ‬
‫ﺃﺳﻠﻮﺏ ﺑﻼﻏﻲ ﺑﺎﺭﺯ ﻳﻈﻬﺮ ﺍﻟﻘﻮﺍﻟﺐ ﺍﳌﺘﻮﺍﺯﻳﺔ ﻟﻸﺻﻮﺍﺕ ﻭﺍﳌﻔﺮﺩﺍﺕ ﻭﺍﻟﺘﺮﺍﻛﻴﺐ ﻭﳝﻴﺰ ﺃﺳﻠﻮﺏ ﺍﻟﺸﺎﻋﺮﺓ ﺇﻳﻠﻮﻱ ﺟﺮﻳﻨﻔﻴﻠﺪ. ﻭﺃﺧﲑﺍ‬
‫ﺗﺘﻤﲎ ﺍﻟﺒﺎﺣﺜﺔ ﺃﻥ ﲤﻬﺪ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻄﺮﻳﻖ ﻟﻠﻌﺪﻳﺪ ﻣﻦ ﺍﻷﲝﺎﺙ ﺍﳌﺴﺘﻘﺒﻠﻴﺔ ﺑﺈﺫﻥ ﺍﷲ ﰲ ﳎﺎﻝ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﰲ ﺇﻃﺎﺭ ﻋﻠﻢ‬
‫ﺍﻷﺳﺎﻟﻴﺐ.‬
‫ﻋﻤﻴﺪﺓ ﻛﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﺩﺍﺭﻳﺔ:‬ ‫ﺍﳌﺸﺮﻓﺔ:‬ ‫ﺍﻟﻄﺎﻟﺒﺔ:‬
‫ﺩ. ﺃﳒﺐ ﻏﻼﻡ ﻧﱯ ﻗﻄﺐ ﺍﻟﺪﻳﻦ‬ ‫ﺩ. ﺷﺎﺩﻳﺔ ﻳﻮﺳﻒ ﺳﻌﺪ ﺍﻟﺪﻳﻦ ﺑﻨﺠﺮ‬ ‫ﻋﺎﺋﺸﺔ ﺳﻌﺪﻱ ﺭﺟﺎﺀﺍﷲ ﺍﻟﺼﺒﺤﻲ‬
‫‪III‬‬

4. Table of Contents
Page
Abstract………………………………………………………………………..……………………….….. II
Acknowledgements…………………………………………………….……………………………..Iv
Table of contents…………………………………………..…………………………………………….vI
List of Abbreviations………………………………………………………………………………...XIII
List of tables…………………………………………………………………………………….…..……XIV
List of figures…………………………………………………………………………………………….XIX
Introduction
0.0. Introduction………………………….………………………….……………………….……………1
0.1. Organization of the Study………………………………………………………….………….3
0.2. Statements of the Problem……………………………………………………………………4
0.3. Reasons for Choosing the Topic……………………..……………………………………4
0.4. Objectives of the Study……………………………………………………………..………….5
0.5. Significance of the Study…………………………………………………………………..….6
0.6. Limitations of the Study………………………………………………………….……………6
0.7. Review of literature…………………………………………………………………………..…..7
0.8. Data and Methodology……………………………………………….……………………….13
0.9. Children's Poetry…………………………………………………………………………………14
0.10. Eloise Greenfield: The Poet…………………………….………………..………………16
VI

5. Chapter One: Stylistics and the Notion of Parallelism
1.0. Introduction…………………………………………………………………………………………26
1.1. Style and Stylistics……………………………………………………………………………...26
1.2. Schools of Stylistics……………………………………………………………………………34
1.2.1. Formalist Stylistics……………...…….………………….……………………………37
1.2.2. Foregrounding Theory…………………………….…………….…….…………….38
1.3. The Notion of Parallelism……………………………………………….…………………..42
1.4. The Difference between Parallelism and Repetition…………………………46
1.5. The Rule of Parallelism……………………………………………………………………….47
1.6. Types of Parallelism………………………………………………………….…………………51
Chapter Two: Sound Parallelism
2.0. Introduction……………………………………………….………………………………………. 55
2.1. Sound Parallelism………………………………………………….…………………….……. 55
2.2. Sound Parallelism in the Selected Poems…………………..……………………..57
2.3. Patterns of Sound Parallelism in the Selected Poems………………………..67
2.3.1. Rhyme………………………………………..…………………………...……………….. 67
2.3.1.1. Full Rhyme……………………………………..…………………..………… 68
2.3.1.2. Imperfect Rhyme…………………………………………………...……….72
2.3.1.3. Identical Rhyme…………………………………………………..…………73
2.3.1.4. Internal Rhyme…………...………………………..…………………………74
2.3.1.5. Eye Rhyme………………………………………….…………………..………75
VII

6. 2.3.1.6. Masculine Rhyme...........................................................................................75
2.3.1.7. Feminine Rhyme.............................................................................................79
2.3.1.8. Triple Rhyme…………………………………….…………………………… 80
2.3.1.9. Broken Rhyme………………………………………..……………………… 81
2.3.2. Alliteration………………………..……………………………………..…………………………83
2.3.2.1. Alliteration of the Voiced Bilabial Plosive /b/………...…….…84
2.3.2.2. Alliteration of the Voiceless Alveolar Plosive /t/………..…...85
2.3.2.3. Alliteration of the Voiced Alveolar Plosive /d/…….…...…......86
2.3.2.4. Alliteration of the Voiceless Velar Plosive /k/……………..…..86
2.3.2.5. Alliteration of the Voiceless Labiodental Fricative /f/..............87
2.3.2.6. Alliteration of the Voiced Dental Fricative /ð/……………….…87
2.3.2.7. Alliteration of the Voiceless Alveolar Fricative /s/…..……....88
2.3.2.8. Alliteration of the Glottal Fricative /h/……………..............……….89
2.3.2.9. Alliteration of the Voiced Bilabial Nasal /m/…….......................90
2.3.2.10. Alliteration of the Voiced Alveolar Lateral /l/………….….....91
2.3.2.11. Alliteration of the Voiced Alveolar Approximant / r/ …..91
2.3.2.12. Alliteration of the Voiced Velar Approximant /w/.…………92
2.3.2.13. Alliteration of the Voiced Alveo-Palatal affricate /dʒ/……....…...93
2.3.3. Assonance…………………………..…………………………..…………………………….……97
2.3.3.1. Assonance of Short Vowels……………...…………………..….………...98
a. Assonance of the Short Vowel / /……..………….……...…..……..99
b. Assonance of the Short Vowel /e/………………….….…………100
VIII

7. c. Assonance of the Short Vowel /æ/ …….…………....……..….101
d. Assonance of the Short Vowel / /………..….………...………102
e. Assonance of the Short Vowel / /…………………...…...…….103
f. Assonance of the Short Vowel / /……………………..………..103
2.3.3.2. Assonance of Long Vowels…………………..…………………...………..104
a. Assonance of the Long Vowel /
i /……...…….....…..…………104
b. Assonance of the Long Vowel
/ /………………..…........……105
c. Assonance of the Long Vowel
/ /………………...……...……105
d. Assonance of the Long Vowel
/ /…………….…….................105
e. Assonance of the Long Vowel
/u /………...……….........……..106
2.3.3.3. Assonance of Diphthongs…………………………..…..…………..……….107
a. Assonance of the Diphthong /e
/…………….…...….…………107
b. Assonance of the Diphthong
/a /……………….…...……..……108
c. Assonance of the Diphthong
/ /…………….….………..….….110
d. Assonance of the Diphthong /a /……………..………..………110
IX

8. e. Assonance of the Diphthong /ə /………………..…..…………111
f. Assonance of the Diphthong /eə /………………………………111
2.3.4. Consonance……………………………….………….……………..……..……………114
2.3.4.1. Consonance of the Alveolar Fricatives /s/ - /z/…….....…115
2.3.4.2. Consonance of the Alveo-Palatal Fricative / / & the Affricate /t /...117
2.3.4.3. Consonance of the Alveolar Plosives /t/ & /d/……...…….118
2.3.4.4. Consonance of the Nasals /m/ -/ n / - /ŋ /…………….....…..120
2.3.4.5. Consonance of the Alveolar Approximant /r/……………..121
2.3.4.6. Consonance of the Voiced Alveolar Lateral /l/……...…....121
2.4.The Effect of Sound Parallelism in the Selected Poems…………………….…125
Chapter Three: Grammatical Parallelism
3.0. Introduction…………………………………………………………………...…………………136
3.1. Grammatical Parallelism……..…………………………………………………………. 136
3.2. Grammatical Parallelism in the Selected Poems……………..……………..138
3.2.1. Morphological Parallelism…………………………………..……….………138
3.2.1.1. Parallel Nouns.........................................................................................139
3.2.1.2. Parallel Verbs……………………………………….….………………141
3.2.1.3. Parallel Adverbs…………………………………………..………….144
3.2.1.4. Parallel Adjectives…………………………………..........................144
3.2.1.5. Parallel Pronouns…………………………………………….………146
3.2.2. Syntactic Parallelism…………...………..……………………..………………150
3.2.2.1. Syntactic Parallelism on the Phrase Level…….…..……150
3.2.2.2. Syntactic Parallelism on the Sentence Level……...…153
X

9. 3.2.2.2.1. Simple Declarative Parallel Sentences…………..…….155
3.2.2.2.2. Simple Negative Parallel Sentences………………….…157
3.2.2.2.3. Simple Interrogative Parallel Sentences…..…...….....157
3.2.2.2.4. Simple Exclamatory Parallel Sentences………...…..158
3.2.2.2.5. Simple Imperative Parallel Sentences.......................….158
3.2.2.2.6. Compound Declarative Parallel Sentences……...….159
3.2.2.2.7. Compound Negative Parallel Sentences……….….…160
3.2.2.2.8. Complex Declarative Parallel Sentences……….....…161
3.2.2.2.9. Complex Iinterrogative Parallel Sentences…….…....….161
3.2.2.2.10. Complex Imperative Parallel Sentences…………….….162
3.3. Patterns of Grammatical Parallelism in the Selected Poems……...164
3.3.1. Antithesis…………………………………..…...….…..….……....…...……….164
3.3.2. Chiasmus……………………………………….……………….………………165
3.3.3. Isocolon Parallelism…………..……………………………...…………….166
3.3.4. Tricolon Parallelism……………………………….……………….………169
3.3.5. Climax…………………………….……………………………………….…….....171
3.3.6. Ellipsis……………………………………………………………..…………........172
3.4. The Effect of Grammatical Parallelism in the Selected Poems…....175
Chapter Four: Lexical/Semantic Parallelism
4.0. Introduction………………………………………………………………………...…………194
4.1. Lexical/Semantic Parallelism……..…..…………...………………………………. 194
4.2. Lexical/Semantic Parallelism in the Selected Poems…..………...…..196
XI

10. 4.2.1. Synonymous Parallel Lexical Items……………..……….……...……...196
4.2.2. Antonymous Parallel Lexical Items…………………….…..…….......…197
4.2.3. Hyponymous Parallel Lexical Items………..…………….....…….…….198
4.2.4. Meronymic Parallel Lexical Items…….…………………...…...…….….199
4.2.5. Paronymic Parallel Lexical Items………..……………….……………....200
4.2.6. Connotative Parallel Lexical Items…………………...…………………201
4.3. Patterns of Lexical/Semantic Parallelism……………….…...…………………..204
4.3.1. Synonymous Parallelism…………………………...………...………….204
4.3.2. Antithetical Parallelism………………..………………………………..209
4.3.3. Zeugma…………………………………..……………………………………….212
4.3.4. Diazeugma………………………………………………………..……………..215
4.3.5. Anaphoric Parallelism……………………………………..……………..219
4.3.6. Epistrophic Parallelism………………………………..…………………221
4.3.7. Polysyndeton……………………………………………………………..……222
4.3.8. Asyndeton……………………………………………………….………......…..223
4.3.9. Syncrisis………………………………………………...………………...……...224
4.3.10. Synthetic Parallelism…………………………...…………….…...……..225
4.3.11. Introverted Parallelism………………………………...….……...……..226
4.3.12. Emblematic Parallelism……………………………...…………...……227
4.4. The Effect of Lexical/Semantic Parallelism in the selected Poems…...230
Chapter Five: Conclusion
5.0. Introduction………………………………………………………………………………………248
XII

11. 5.1. Statistical Findings and Tabulated Results …..……………………………….. 248
5.1.1. The Phonological Level………………………………………………….……252
5.1.2. The Grammatical Level…………………………………………..……………261
5.1.3. The Semantic Level……………………………………..……………………….271
5.2. The Effect of Parallelism on Greenfield's Style...................................277
5.3. Concluding Statement……………………………………………...………………………281
5.4. Recommendations for Further Studies……………………………………………283
Bibliography…………………………………………….………………………………………………286
List of Abbreviations
Adj………………………………………………. Adjective
Adv………………………………………………. Adverb
Art ……………………………………………….. Article
Aux………………………………………………. Auxiliary
Be…………………………………………………. Verb To Be
Comp…………………………………………… Complement
Conj……………………………………………… Conjunction
Det……………………………………………….. Determiner
Inf………………………………………………… Infinitive
Iso P ……………………………………………. Isocolon Parallelism
Int P………………………………………………Introverted Parallelism
InV ………………………………………………. Intransitive Verb
M P ……………………………………………… Morphological Parallelism
Neg ………………………………………………. Negative
N ………………………………………………… Noun
No. ……………………………………………….. Number
O ………………………………………………… Object
XIII

12. 0.0. Introduction
The analysis of the language of literature has been the subject of study
for many linguists. Many linguists have accepted the usefulness of
linguistic theories and concepts in the study of literary texts. In this sense,
it is possible to say that stylistics examines the use of linguistics in the
analysis of literature. Stylistics is the branch of linguistics that studies the
use of language in specific contexts and attempts to account for the
regularities that mark the language use by individuals or groups. Stylistics
or what has been called "literary linguistics" is concerned with the
linguistic choices that distinguish genres (poetry, drama, novel…etc) and
with the ways in which individual writers exploited language (Hancock
1986:446). This is both a linguistic and a literary exercise, since language
is the medium of literature and style contributes to meaning. Thus,
stylistics serves as a bridge between linguistic and literary disciplines.
According to McMenamin and Dongdoo 2000, linguistic stylistics is the
scientific analysis of individual style-markers as observed and identified in
the idiolect of a single writer. In fact, the present study tackles the notion
of parallelism as a unique style marker that is highly observed on different
linguistic levels in the poetry of the African-American poet Eloise
Greenfield. Parallelism is the most useful and flexible aspect of poetic
language (Leech 1969). It refers to the use of words, phrases, clauses, or
1

13. sentences that are similar in structure, in sound or in meaning. It is useful
in the sense that it allows a writer or speaker to hammer home an idea,
image, or relationship, and to force the reader or listener to pay attention.
It also imparts grace and power to literary writing. Moreover, it intensifies
the reader’s excitement and suspense. More importantly, the vital role
parallelism plays in poetry serves to convey the meaning of poetry more
comprehensively. In other words, it is basic to meaning. It is where
syntactic arrangement most deeply engages with reason. Thus, it is
fundamental to the logical structure of language. This poetic feature of
rhetorical beauty is most obvious in poetry and proverbs. The balance of
verse with verse, is an essential characteristic feature in children’s poetry.
The present study is a modest contribution that aims at analyzing
selected children’s poems by Eloise Greenfield for exploring parallelism on
different linguistic levels. It investigates the notion of parallelism which
characterizes the style of Eloise Greenfield in her children's poetry. It
adopts a stylistic analysis approach, which according to Davies & Elder: "a
way of applying linguistic models to literary texts that pays attention to the
formal features of the text" (Davies & Elder 2006: 332).
2

14. 0.1. Organization of the Study
The study comprises an introduction and five chapters as follows:
The introduction presents the domain, the objectives of the study, data
and methodology, and finally the relevant studies.
Chapter one deals with the theoretical preliminaries and the main
concepts tackled in the study such as style, stylistics, formalist stylistics,
foregrounding theory, and parallelism.
Chapter two is devoted to the phonological level and the phonological
analysis of parallelism in Eloise Greenfield's poems. A comprehensive
investigation of all patterns of sound parallelism was made. The chapter
also examines the various effects which result from using patterns of sound
parallelism in the poems and shows how these patterns reinforce the poet's
message and enhance her art.
Chapter three deals with the level of grammar and the grammatical
analysis of parallelism in Eloise Greenfield's poems. A detailed analysis of
morphological and syntactic parallel structures as well as an investigation
of grammatical patterns of parallelism have taken place. The attention is
also paid to the numerous effects of grammatical parallelism in the poems.
Chapter four displays the semantic level and the analysis of
lexical/semantic parallelism in Eloise Greenfield's poems. In this chapter,
lexical parallels were discussed under the heading of semantics. Different
3

15. patterns of lexical/semantic parallelism were presented as well as the effect
this type of parallelism achieves in the analyzed poems.
Chapter five presents the statistical findings of this study. It also
provides the stylistic features of Eloise Greenfield's poetry and some
suggestions for further studies.
0.2. Statement of the Problem
The study will seek to answer the following research questions:
1- What is the vital role and the effect of parallelism as a foregrounded
stylistic device used in children’s poetry?
2- What are the different types of parallelism that are obvious in the
selected children’s poems?
3- How does parallelism contribute to the meaning of the poem?
4- How does parallelism characterize Eloise Greenfield’s style?
0.3. Reasons for Choosing the Topic
The topic under study is chosen particularly for the following reasons:
1- The area of children’s literature especially children’s poetry is one of the
most interesting areas to investigate.
2- Choosing to explore the linguistic patterns of parallelism is due to the
fact that parallelism is a strong foregrounded device that captures the
reader's attention, serves to deliver the writer's message, and marks the
4