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Related to Enjambment: end-stopped



in prosody, placement of the syntactic pause or stop at a position other than the rhythmic pause at the end of a line, hemistich, or stanza.

In classical verse there are three kinds of enjambment: rejet is the placement of the end of a clause or sentence at the beginning of the following line, contre-rejet the placement of the beginning of a sentence at the end of the preceding line, and double-rejet the placement of the beginning of a sentence at the end of one line and its conclusion at the start of the following line.

When enjambments are used sparingly, they give a strong intonational emphasis to the parts of the sentence severed by the line’s division. If they are numerous, they produce an intonation so close to that of prose that it almost obscures the verse rhythm; this is particularly true in dramatic verse. Classicism avoided enjambment; romanticism and some poetic schools of the 20th century cultivated it. An example of enjambment from modern poetry can be seen in the following lines of M. Tsvetaeva:

It matters not to me among which
People—I shall be bristling like a captive
Lion, or from what circle of people
I shall be excluded—inevitably …


Shengeli, G. Tekhnika stikha. Moscow, 1960.


References in periodicals archive ?
The iambic rhythm of this first half of the poem knowingly shudders and folds around enjambments and caesuras that are rare for Tennyson outside of a blank-verse context.
Most relevant for my study is the original division of this final verse into three, employing enjambment in one of them: "(Quien no ama, / no avanza, permanece / sin nombre)" (322).
If poetry is defined precisely by the possibility of enjambment," he notes, "it follows that the last verse of a poem is not a verse" ("End of Poem" 112).
Put more technically, enjambment is the opposition of a metrical limit to a syntactical limit, i.
He says that in conformity with a certain habit of reading (the habit of reading classical French verse) the reader is tempted to insist on the metrical stability of the verse, that is, to respect the caesura at the sixth syllable and thereby turn a smooth enjambment into a rejet that emphasizes the elements of the second group by accentuating them.
It also ends in the middle of a line, creating a strong caesura and setting up the steady enjambment of lines 6-12.
This awkward coming out is precisely exhibited with skilled enjambment and a gentle prod at social self-awareness.
Furthermore, that stanza break coincides with a disjunctive enjambment that disrupts the unity of the phrase "black Dada nihilismus.
The use of enjambment and spacing sets the last word of the story, "still," on its own page.
The quote from Act I, Scene 1 is a continuous enjambment.
Most of us now accept that Shakespeare's metrics change over his career and that counts of simple features like caesural pause, enjambment, and unstressed endings reliably chart this variation.
The poem is sustained through its almost 500 lines by ingenious use of meter, anaphora, rhyme and off-rhyme, and controlled enjambment (the first sentence of "Personal Essay" weaves 30 lines), not to mention its inventive metaphors.