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According to A. C. Bradley, "a line may be called 'end-stopped' when the sense, as well as the metre, would naturally make one pause at its close; 'run-on' when the mere sense would lead one to pass to the next line without any pause." An example of end-stopping can be found in the following extract from The Burning Babe by Robert Southwell ...
Line breaks may occur mid-clause, creating enjambment, a term that literally means 'to straddle'. Enjambment "tend[s] to increase the pace of the poem", [5] whereas end-stopped lines, which are lines that break on caesuras (thought-pauses [6] often represented by ellipsis), emphasize these silences and slow the poem down. [5]
Each line is formally correspondent with a unit of thought—in this case, a clause of a sentence. End-stopping is more frequent in early Shakespeare: as his style developed, the proportion of enjambment in his plays increased.
End rhyme (aka tail rhyme): a rhyme occurring in the terminating word or syllable of one line in a poem with that of another line, as opposed to internal rhyme. End-stopping line; Enjambment: incomplete syntax at the end of a line; the meaning runs over from one poetic line to the next, without terminal punctuation.
The occasional end-stopped line may evoke a sense of finale or formality while many end-stops in a row may be used to evoke a jerky cadence. On the contrary, a lack of punctuation allows the reader to interpret the sequence of words in various ways.
Tracy still got the important carries and wound up in the end zone. That's all that matters in fantasy. Oh, he also got the only receiving work out of the backfield.
A couplet may be formal (closed) or run-on (open). In a formal (closed) couplet, each of the two lines is end-stopped, implying that there is a grammatical pause at the end of a line of verse. In a run-on (open) couplet, the meaning of the first line continues to the second. [1]
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