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When approaching the linguistic problem of grammatical parallelism one is irresistibly impelled to quote again and again the pathbreaking study written exactly one hundred years ago by the juvenile Gerard Manley Hopkins: The artificial part of poetry, perhaps we shall be right to say all artifice, reduces itself to the principle of parallelism. The structure of poetry is that of continuous parallelism, ranging from the technical so-called Parallelisms of Hebrew poetry and the antiphons of Church music to the intricacy of Greek or Italian or English verse.
Roman Jakobson (Wed,) studied this question.