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Related to Enjambment: end-stopped
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



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.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Then there is the fourth sentence: "Footprint on foot / Print, word on word and each on a fool's errand." The position of the first "footprint" calls for a heavier stress on "print" to accommodate the iambic pentameter, but the enjambment then puts the heavy end-line beat on "foot" followed in the next line by the common trochaic inversion of the initial foot laying stress on "Print." The semantic result is significant, "foot" suddenly calling forth the metrical foot of verse, primarily aural, and "Print" shifting to the printed page from which we are reading, the visual medium of the poet's rhythmic beat.
Line breaks and enjambment make vivid the kind of unmitigated pain
In the fairy tale that sets you free It's pickup truck month in Texas Brown rarely capitalizes every line; here it lends the poem a quality of calm reserve, accentuating its end-stopped lines, so unlike the rough enjambments of the Vietnam poems.
(1) Those containing NO ENJAMBMENT (0E), in which the end of a line coincides with the end of a sentence:
The quality of this poem's music is also achieved byKomunyakaa's masterful use of enjambment. If we remember, theterm "enjambment" is directly borrowed from the French"enjamber" which literally means "to straddle orbestride" or "crossing over." In this poem,enjambment is where the surprise lives!
29-37, seeking to show how patterns of stress, enjambment, and verse paragraphing help create the unusual sense of authority he detects in this passage.
A parking -lot seagull blown up -river and the French fry wrapper it chokes down And this world continues to suffocate: "Can we just get rid of / Poughkeepsie little by little?" Harmon's shifts between poetry and prose are ways of breathing through these retractions: his deft use of enjambment contrasts with his eventual willingness to allow punctuation, rather than line breaks, to dictate rhythm:
What defines poetry, according to Agamben and others, is the possibility of enjambment. Rather than merely dealing with parenthetical insertions interrupting and distracting the reader from the meaning produced by sentences, one must take into account the prior distribution of these sentences over multiple verses.
She describes the Irish poet's use of enjambment as resembling "a jump cut in film," and adds that McGuckian's work has led to some of the "more cinematic qualities" of her own poetry.
Thus, the essence of poetry for Agamben is enjambment, the negative space that separates otherwise continuous communicative units.
The other affordance of the Spenserian stanza is, of course, its strong closure: the terminal alexandrine decisively ends the unit--so decisively, indeed, that there is essentially no enjambment across stanzas anywhere in The faerie queene.