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Enjambment has a long history in poetry. Homer used the technique, and it is the norm for alliterative verse where rhyme is unknown. [9] In the 32nd Psalm of the Hebrew Bible enjambment is unusually conspicuous. [10] It was used extensively in England by Elizabethan poets for dramatic and narrative verses, before giving way to closed couplets.
The poet John Hollander cited "The Red Wheelbarrow" as a good example of enjambment to slow down the reader, creating a "meditative" poem. [14] The editors of Exploring Poetry believe that the meaning of the poem and its form are intimately bound together. They state that "since the poem is composed of one sentence broken up at various ...
Shakespeare also used enjambment increasingly often in his verse, and in his last plays was given to using feminine endings (in which the last syllable of the line is unstressed, for instance lines 3 and 6 of the following example); all of this made his later blank verse extremely rich and varied.
enjambment The continuing of a syntactic unit over the end of a line. Enjambment occurs when the sense of the line overflows the meter and line break. [3] entr'acte envoi epanalepsis epic poetry A long poem that narrates the victories and adventures of a hero. Such a poem is often identifiable by its lofty or elegant diction. [11] epic simile ...
Enjambment is a line break in the middle of a sentence, phrase or clause, or one that offers internal (sub)text or rhythmically jars for added emphasis. Alternation between enjambment and end-stopped lines is characteristic of some complex and well composed poetry, such as in Milton's Paradise Lost.
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Its opposite is enjambment, where the sentence runs on into the next line. 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."
Lines composed of the same number of syllables with division in different place are considered to be completely different metrical patterns. For example, Polish alexandrine (13) is almost always divided 7+6. It has been very common in Polish poetry for last five centuries. But the metre 13(8+5) occurs only rarely and 13(6+7) can be hardly found.