In English, we may call on persona or
enjambment or slippery pronouns to puzzle out who the real subjects of our poems might be, but the capacity to do this on such a basic syntactical level is a gift.
He also mentioned Robert Lowell (1917-1977) who used techniques such as
enjambment to enhance the effect of poetic content.
To many contemporary readers raised on parataxis, the only thing somewhat jarring or overtly disruptive of "normative" language is the
enjambment, in the case of "foot / Print" even breaking up a word.
Second,
enjambment is a lot more evident in the second half of the poem, starting with the one between lines 7 and 8.
The Terrible uses similar tactics--her prose broken into stanzas or repeated via
enjambment and spacing.
enjambment, allusion, and musical alliteration by which words are made
Sometimes her
enjambment is disorienting, as in "It Was Your Birthday Again," when she writes:
The
enjambment at "whatever" turns a sophomoric sneer into a profound question: what does it mean to serve your country?
As Gazzaniga aptly comments, "The sonnet's tight dimensions would seem to prohibit dual occupancy and, indeed, its tradition suggests that fourteen lines are barely enough to hold a single ego, let alone two." Through extremely perceptive analysis of formal elements such as
enjambment, slant rhymes, phrasal verbs, and polysyllabic end words, Gazzaniga explains how EBB expands the conventionally restrictive space of the sonnet: "
Enjambment dilates a contained and restricted form by creating verse flow that seems to move beyond the abutments of line endings," and "
enjambment, slant rhymes, and polysyllabic endwords at once acknowledge and eschew the pressures of line ending.
The title and introductory poem, "Dysphoria," is a sixteen-part, eighteen-page epic that uses lyrical
enjambment to propel its nimble wordplay, and entertains as it empathizes -- perhaps best exemplified by its narrator selectively quoting Percy Sledge while alluding to mental illness ("When a man loves a woman, he can't keep his mind").
Reiteration rises in the so-called verbal inner compositional repetition, which encompasses the recurrence of lines, formulae and epithets; incidental inner compositional repetition, which involves the recounting of episodes; and the syntactic reiteration, which is centered on the types of
enjambment that take place between lines and pairs of lines of the stanzas.
The theme for the first volume is the epic middle, and the topics include structure as sema: structural and liminal middles in the Odyssey, lost in the middle: story time and discourse time in the Iliad, ending in the middle:
enjambment and Homeric performance, stretching out the battle: Zeus and measurement in the Iliad, middle and prophecy in the Odyssey, and the death and mutilation of Imbrius in Iliad 13.