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Related to enjambments: end-stopped, caesuras



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 ?
Yet, because we are familiar with the various ways Tennyson dramatized the limits of his forms--the ways he commented on the ends of poetry by complicating the ends of poems--we might think of this as an intended effect, perhaps the hardest enjambment he ever makes.
Put more technically, enjambment is the opposition of a metrical limit to a syntactical limit, i.
1) It claims that in an enjambment, for instance, the performer may convey both the verse line boundary and the run-on sentence as perceptual units, however strained, by having recourse to conflicting phonetic cues: cues of continuity and discontinuity simultaneously.
Simms also artfully conveys the terrible experience of losing his boys through a brilliant metaphor of death as a bird of prey--an imaginative reconfiguring of what the letter abstractly calls "a terrible stroke of fate"--and through the expressive enjambment between lines 4 and 5:
Sussekind defined Cabral's manipulation of enjambments and blank spaces as 'um notavel exercycio de engenho', through which he recreated the tenuous balance between sound and silence in the voice of the flamenco singer: Sussekind, 'Com Passos de Prosa' in Revista USP, 16 (1992-93), 93-102 (p.
The disjointed style of these novels includes characters who appear and disappear seemingly at random, but while this frustrates the flow of the narrative, these enjambments in the text "dissolve, defuse, and dissipate existing unifications so as to 'recreate' them" (55).
Mindful of historical associations of terza rima with erotic subjects, Levine argues effectively that Morris' triplets reflected The Defence's asymmetries as well as its ethical ambiguities; that his periodic enjambments of rhymes across stanzas maintained and enhanced its balance and fluidity; and that the cadences and syncopations of his poem heightened readers' responses to Guenevere's powerful but ambivalent "defence.
The facility with which Barton creates rhetorical enjambments is readily evident, as is the strong rhythm and music of his lines, built as they are upon a proliferation of well-controlled dependent clauses.
This creates a complex series of enjambments, which finally produce the effect of a run-on sentence.
His model for an iambic pentameter line that strained against its limitations and spilled over into powerful enjambments was Milton--a surprising poetic model in the New Critical climate of the time, since T.
Contained between the graphics, the poems by Exner also seek a tactile closeness to experience through their meditative tone, short lines, sharp enjambments, and the elevation of the senses; yet the poems create a space that opens not outward toward the floating horizon, as in the images, but inward toward an intimate realm between individuals or within the perceiving consciousness: "am abend / die zuneigung / mit der du anstosen / kannst kaum horbar / zungenbreit uberm dunkel," or "Nachts atmet er sein Haus seine / Kiefern in alle Gefase.
In that section, the blast's repercussions are reproduced in single-line stanzas and abruptly terse lines cluttered by commas and awkward enjambments.