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The use of parallelism to construct progressions assumes several different forms. One form that recurs frequently consists of sets of images arranged in lists of descending or ascending order. In the following poem, the different elements within man's own nature are incorporated in a descending scale:

VOICES

The voice of my soul
Is always energising.

The voice of my heart
Is always encouraging.

The voice of my mind
Is always discouraging.

The voice of my vital
Is always challenging.

The voice of my body
Is always trembling.     (p.30)

In each distich there are only two variables-the part of human existence in question and its typifying adjective. Both occur at the end of the line so that these variables are typographically partnered with each other in the eye of the reader. Links between the distich units are provided by the logical "ladder" effect of soul/heart/mind/vital/body and by the similar feminine endings of the adjectives. In addition, the regularity of the parallelism creates an isochronic effect of rhythm which assists in blending the poem into an harmonious whole. Again, the syntactical spacing of the poem induces the reader to pause between each statement, to consider it as complete and autonomous rather than as subservient to the design of the poem. Each maxim-like unit possesses a sense of closure, a definite impact which would seem to preclude further statement. When these units are read in sequence, however, they merge as a series of intuitive thrusts at the reader's unquestioning self-assessment. In the hands of the craftsman, this ladder formula of composition becomes a formidable weapon with which to shock the reader into a reappraisal of himself and of the world. The vantage point of the poet in adopting such a sequence is often distinctive: