VR SCHOOL ONLINE
  • Courses
  • Meta Campus
  • Log In
  • Join Free
  • Home
  • Courses

English 9A V2 — Foundations of Narrative, Rhetoric and Argument

Curriculum

  • 4 Sections
  • 34 Lessons
  • 10 Weeks
Expand all sectionsCollapse all sections
  • Unit 1: Foundations of Narrative Craft & The Hero’s Journey
    10
    • 1.1
      Introduction
      2 mins
    • 1.2
      The Epic Tradition, Invocation, and In Medias Res
      45 mins
    • 1.3
      Hospitality and the Rules of the Guest: Xenia in Books 5-8
      45 mins
    • 1.4
      Language Lab — Semicolons, Conjunctive Adverbs, and the Analytical Sentence
      40 mins
    • 1.5
      Seminar — Arete or Hubris? Odysseus in the Apologoi (Books 9-12)
      50 mins
    • 1.6
      Disguise and Recognition as Structure: Books 13-16
      45 mins
    • 1.7
      Writing Workshop — Thesis, Topic Sentence, and the Embedded Quotation
      50 mins
    • 1.8
      Dramatic Irony in the Hall: Books 17-20
      45 mins
    • 1.9
      Key Assignment — Heroic Archetype Analytical Essay (Books 21-24)
      150 mins
    • 1.10
      Ithaca Under Siege: Epic Craft in The Odyssey
      15 mins
  • Unit 2: Dualities of Human Nature & Gothic Allegory
    10
    • 2.1
      Introduction
      2 mins
    • 2.2
      Setting as Psychological Mirror — Fog, Doors, and Victorian London
      45 mins
    • 2.3
      The Murder as Turning Point: Chapters 3-4
      45 mins
    • 2.4
      Seminar — Biology or Repression? Emerson, Stevenson, and the Source of Hyde
      50 mins
    • 2.5
      Framed Narrative, Point of View, and the Colon
      45 mins
    • 2.6
      Unreliable and Withheld Narration: Chapters 5-6
      45 mins
    • 2.7
      Climax and the Pace of Dread: Chapters 7-8
      45 mins
    • 2.8
      Writing Workshop — Claim, Counterclaim, and the Concession Paragraph
      50 mins
    • 2.9
      Key Assignment — Symbolic Duality Argument Essay (Chapters 9-10)
      150 mins
    • 2.10
      Fog, Doors and the Mirror of London: Jekyll and Hyde
      15 mins
  • Unit 3: Rhetorical Appeals & The Art of Argument
    7
    • 3.1
      Introduction
      2 mins
    • 3.2
      The Rhetorical Triangle — Ethos, Pathos, and Logos in Pericles
      45 mins
    • 3.3
      Language Lab — Parallel Structure, Anaphora, and Rhetorical Cadence
      45 mins
    • 3.4
      Listening Lab — Evaluating a Speaker’s Reasoning and Naming Fallacies
      50 mins
    • 3.5
      Writing Workshop — The Four-Sentence Rhetorical Precis
      50 mins
    • 3.6
      Key Assignment — Rhetorical Analysis and Audience Rewrite
      150 mins
    • 3.7
      Pericles Speaks: Ethos, Pathos and Logos in Athens
      15 mins
  • Unit 4: Synthesis, Research, and Comparative Defense
    7
    • 4.1
      Introduction
      2 mins
    • 4.2
      Inheritance and Argument — How an Author Transforms Source Material
      45 mins
    • 4.3
      Research Lab — Source Credibility, Signal Phrases, and MLA Citation
      50 mins
    • 4.4
      Media Lab — The Same Subject in Different Mediums
      50 mins
    • 4.5
      Writing Workshop — Synthesis as Braiding, Not Reporting
      50 mins
    • 4.6
      Key Assignment — Synthesis Research Paper and Digital Presentation
      200 mins
    • 4.7
      The Research Library: Inheritance, Sources and Mediums
      15 mins

Language Lab — Parallel Structure, Anaphora, and Rhetorical Cadence

Unit 3  ·  Rhetoric & Language Lab  ·  Lesson 18 of 26

Language Lab — Parallel Structure, Anaphora, and Rhetorical Cadence

L.9-10.1.aENG9A-V2
By the end of this lesson I can…

use parallel structure correctly in my own sentences, identify anaphora and antithesis in a speech, and explain what the grammar does that the content alone would not.

Workbook: page 8 of your Unit 3 Student Workbook. Draft on paper first; anything scored is submitted online in this lesson.

Instruction

An illustrated scene of a passionate high school student addressing a classroom audience

Parallel structure means that items doing the same grammatical job in a sentence take the same grammatical form. It is a rule of correctness and, in oratory, a source of power — which is why the CCSS treats it as a language standard and why every memorable speech in English is full of it.

Start with correctness.

  • Faulty: Athens values open debate, equal justice, and that citizens participate.
  • Parallel: Athens values open debate, equal justice, and active citizenship.

Two nouns and a clause cannot share one list. The ear hears the break before the grammar is diagnosed. The same rule governs verb forms (reading, writing, and speaking — not reading, writing, and to speak) and paired constructions: not only… but also…, either… or…, both… and… must join equivalent forms on each side.

Now the power. Parallelism makes a sentence predictable in form, which does two things at once: it lowers the effort of following the content, and it makes any break in the pattern land like a change of key.

Anaphora is parallelism plus repetition at the head of successive clauses. Pericles: “If we look to the laws… if to social standing…” Sojourner Truth, four times over: “And ain’t I a woman?” Each repetition costs the audience nothing to process, so attention moves to the new material inside the frame — and the returning phrase accumulates weight it did not have the first time.

Antithesis sets opposed ideas in parallel form so the grammar performs the contrast: “we are rather a pattern to others than imitators ourselves.” The balance is the argument. Rewrite it unbalanced — we are a pattern to others and we do not imitate other states — and the claim survives while the force does not.

Tricolon is the three-part parallel series. Three is the smallest number that establishes a pattern and completes it in the same breath, which is why it is everywhere.

Here is the analytical move this lesson is really training, and it connects to RI.9-10.5. When you write about a speech, do not stop at naming the device. Anaphora is used to emphasize her point is a sentence that could be written about any speech by someone who had not read this one. Instead: what does the repeated frame make the audience notice, and what does the speaker slip inside it? In Truth’s address the frame is a question the audience must answer, and inside it each time is a different piece of evidence from her own life — labor, childbirth, the lash. The anaphora converts a series of facts into a demand for a verdict, four times, with no room to decline.

Your drill. Five unbalanced sentences follow in the practice. Repair each, then choose one and write a second version using anaphora. Read both aloud. If you cannot hear the difference, you have not yet made one.

Reading: Mentor sentences on parallel structure, anaphora and antithesis, with a worked key

A close-up of a vintage balance scale on a teacher's desk, with two distinct objects on either side: on the left, a globe symbolizing “the world,” and on the right, an open book symbolizing “the self.

Thucydides, The History of the Peloponnesian War, Book 2, tr. Richard Crawley (1874), Project Gutenberg 7142; Abraham Lincoln, Gettysburg Address (Bliss copy, 1863), Wikisource (https://en.wikisource.org/w/index.php?title=Gettysburg_Address_%28Bliss_copy%29&action=render); Sojourner Truth, Ain’t I a Woman? (1851; Frances D. Gage version, 1863), Wikisource (https://en.wikisource.org/w/index.php?title=Ain%27t_I_a_Woman%3F&action=render); Frederick Douglass, What to the Slave Is the Fourth of July? (1852), Wikisource (https://en.wikisource.org/w/index.php?title=What_to_the_Slave_Is_the_Fourth_of_July%3F&action=render); Elizabeth Cady Stanton, Declaration of Sentiments (1848), Wikisource (https://en.wikisource.org/w/index.php?title=Declaration_of_Sentiments&action=render); all retrieved 26 Sept. 2026 · SLS original; quoted mentor sentences are public domain (Thucydides, tr. Crawley, 1874; Lincoln, 1863; Truth, 1851; Douglass, 1852; Stanton, 1848)

Study the mentors, do the exercise, then check yourself against the key.

Sources. Mentor sentences are copied from the public-domain texts named under each one, retrieved 2026-09-26: Thucydides in the Crawley translation (Project Gutenberg #7142), Lincoln’s Bliss copy, the Truth transcription by Gage, Douglass’s 1852 oration and Stanton’s 1848 Declaration of Sentiments (all via Wikisource). The Truth text is the 1863 Gage version; other transcriptions of the same speech differ. Explanations, keys and extra practice are SLS original.

1. The correctness rule

Items that do the same grammatical job in a sentence take the same form. A list can be nouns, or verbs in the same tense, or clauses, but not a mixture. The same rule covers paired constructions (not only … but also, either … or, both … and): each side must match the other.

2. Mentor sentences: parallel structure that works

Antithesis sets opposed ideas in matching grammar, so that the grammar performs the contrast.

we are rather a pattern to others than imitators ourselves.

Thucydides, History of the Peloponnesian War, Book 2, Pericles’s Funeral Oration, tr. Richard Crawley (1874)

wealth we employ more for use than for show, and place the real disgrace of poverty not in owning to the fact but in declining the struggle against it.

Pericles’s Funeral Oration, tr. Crawley (1874)

Reading them. “A pattern to others” balances “imitators ourselves” on either side of than. In the second, “for use” balances “for show.” Try to unbalance the first (“we are a pattern and we do not imitate”) and notice that the claim survives but the force does not.

Anaphora is repetition at the head of successive clauses. It lets the audience stop processing the frame and attend to the new material inside it.

But, in a larger sense, we can not dedicate—we can not consecrate—we can not hallow—this ground.

Abraham Lincoln, Gettysburg Address (1863), Bliss copy, via Wikisource

I will, in the name of humanity which is outraged, in the name of liberty which is fettered, in the name of the constitution and the Bible, which are disregarded and trampled upon,

Frederick Douglass, “What to the Slave Is the Fourth of July?” (1852), via Wikisource

And ain’t I a woman? Look at me! Look at my arm! I have ploughed and planted, and gathered into barns, and no man could head me! And ain’t I a woman? I could work as much

Truth (1851, Gage 1863), on the repeated question, with its answers

He has never permitted her to exercise her inalienable right to the elective franchise. He has compelled her to submit to laws, in the formation of which she had no voice. He has withheld from her rights which are given to the most ignorant and degraded men – both natives and foreigners. Having deprived her of this first right as a citizen, the elective franchise, thereby leaving her without representation in the halls of legislation, he has oppressed her on all sides. He has made her, if married, in the eye of the law, civilly dead. He has taken from her all right in property, even to the wages she earns.

Elizabeth Cady Stanton, Declaration of Sentiments, Seneca Falls (1848), via Wikisource, a run of “He has” clauses

Antithesis and the tricolon. A tricolon is a three-part parallel series; three is the smallest number that makes a pattern.

that government of the people, by the people, for the people, shall not perish from the earth.

Lincoln, Gettysburg Address (1863)

The world will little note, nor long remember what we say here, but it can never forget what they did here.

Lincoln, Gettysburg Address (1863)

Reading them. In “of the people, by the people, for the people,” only one word changes and it is the preposition; each repetition costs the listener almost nothing, so the new word does all the work. In “the world will little note … but it can never forget,” antithesis sets what the speakers say against what the dead did.

3. Worked key to the exercise (SLS original)

  1. (a) The speech praises Athens for its laws, its openness and its reward of merit. Three noun phrases, each beginning with a possessive. The faulty version ended with a clause (“that it rewards merit”), which broke the list.
  2. (b) Truth’s evidence is that she plowed, bore thirteen children and endured the lash. Three past-tense verbs. The faulty version mixed a gerund (“plowing”), a clause and another gerund.
  3. (c) A good argument requires precise claims, relevant evidence and anticipated objections. Three noun phrases, each an adjective and a noun. The faulty version ended with an infinitive (“to anticipate”).

Rewrite one with anaphora and say what the repetition adds. Model, from (a): The speech praises Athens for its laws. It praises Athens for its openness. It praises Athens for its reward of merit. The repeated head makes the list sound like a case being built, and it slows the audience so that each item lands separately. The cost is length; the gain is emphasis.

Two more practice sentences, so that five can be repaired. (d) Douglass calls the celebration a sham, the liberty an unholy license, and the rejoicing that it is empty. Key: Douglass calls the celebration a sham, the liberty an unholy license and the rejoicing hollow. (e) Pericles says that Athens is both open to strangers and that its citizens live as they please. Key: Pericles says that Athens is both open to strangers and free in its private life. The correlative “both … and” needs the same form after each part.

Identify the device. Model: in Lincoln’s “we can not dedicate—we can not consecrate—we can not hallow—this ground,” the device is anaphora (the repeated “we can not”) producing a tricolon (three verbs). What the structure does that the content alone would not: the three verbs are close in meaning, so the rising series says that the words cannot add to the ground, and the sentence turns on the next one: the men “have consecrated it.”

The checks. The correct quiz sentence is the one with three matching noun phrases (“its open debate, its equal justice, and its active citizenship”). “Truth uses anaphora to emphasize her point” is not adequate analysis, because it could be said of any speech: say how this frame (“And ain’t I a woman?”) holds a question that demands a verdict while each new piece of her own life is placed inside it. Devices: repeating the head is anaphora, opposed ideas in matching form are antithesis, and a three-part series is a tricolon.

Vocabulary in context

  • parallel structure — Items doing the same grammatical job take the same grammatical form.
  • anaphora — Repetition of the same words at the beginning of successive clauses.
  • antithesis — Opposed ideas placed in parallel form so that the grammar performs the contrast.
  • tricolon — A three-part parallel series.
  • cadence — The rhythm a sentence’s structure produces when spoken.

Formative check

Work through these before moving on. They are not graded — they tell you, and your teacher, whether the standard below has landed yet.

+50 XP

Which sentence uses parallel structure correctly?

Every item in a series must take the same grammatical form. Read each option aloud and listen for where the pattern breaks.
Myth or Fact?

Writing “Truth uses anaphora to emphasize her point” is adequate analysis of the repeated question in her speech.

Myth. That sentence could be written about any speech by someone who had not read this one. RI.9-10.5 asks how a particular sentence develops the claim: here the repeated frame is a question demanding a verdict, and different evidence from her own life is placed inside it each time.
Fill in the blank

Repeating the same words at the head of successive clauses is ; placing opposed ideas in matching grammatical form is ; a three-part parallel series is a .

Repair these for parallel structure, then rewrite one of them using anaphora and say what the repetition adds: (a) The speech praises Athens for its laws, its openness, and that it rewards merit. (b) Truth’s evidence is plowing, she bore thirteen children, and enduring the lash. (c) A good argument requires precise claims, evidence that is relevant, and to anticipate objections.

0 words
Quick self-check

How confident are you that you can hear a broken parallel in my own writing and repair it without being told which item is wrong?

Not yetVery confident

CCSS addressed in this lesson: L.9-10.1.a, RI.9-10.5, L.9-10.5.a, W.9-10.4

UC A-G Area B pillar: Command of standard English conventions in service of persuasive writing

Up NextComplete & Continue →

Leave a Reply Cancel reply

The Rhetorical Triangle — Ethos, Pathos, and Logos in Pericles
Prev
Listening Lab — Evaluating a Speaker’s Reasoning and Naming Fallacies
Next

© 2026 VR School Online | Content by Wiley | Powered by Sejal Learning Systems.

Privacy Policy · Terms of Service

Modal title

Main Content