And, though Loving pushes back against Ezra Pound's defense of Whitman's deliberate artistry, he does note, in relation to the rare enjambed
line in the poem "To the Sunset Breeze," that "until the very end, Whitman was experimenting with form.
It is enjambed
(between metrical lines l and 2), varied (between the pentameter of metrical line 1 and the tetrameters in metrical lines 2 and 3), and antimelismatic (e.
To special effects such as these from Portraits might be added, from Webster's surprisingly different next book, Yu-Pe-Ya's Lute (1874), the long, almost uninterruptedly enjambed
tours de force that lay out the course of a river journey (ll.
In a prime example of craftsmanship, Murphy composes "Niches" as a sonnet which is mostly unrhymed but sonnet-like in its lineation, a mixture of enjambed
and end-stopped lines, and it also possesses the skeleton of an octave-sestet structure.
The strict internal alignment of each enjambed
line suggests a series of steep drops--a sharp plummeting from one depth to the next.
Many of the poems proceed at a headlong pace over two or more pages, as in MARGENTO'S "Oral Sex between Times and Places," in which lines and phrases are enjambed
or forced apart, or in Magda Corneci's "Love Story," which uses insistent repetition and ejaculatory short phrases to mimic the rise to orgasm and beyond, at the end of which the poet is made cosmic.
Stylistically, the Latin poem is noteworthy for its "hyperbaton and enjambed
lines" which "come thick and fast.
The way that short phrase plays off the longer, enjambed
lines and elongated sentences that precede it creates a rhythmic variation--you hear something out of the silence following it, a catch.
Unlike many other opulent poets of her generation, who often value fluidity of movement as much as they worship excess, Winrock makes poems that fracture to live--colons break up sentences ("Check : unconsciousness : for the romance"), backslashes crack open words ("In/Ferno Black/Out"), and words are cleaved along enjambed
lines ("a blinked eye-/ lash", "across bridges and sound-/ board", "a charm of humming-/ birds").
This poem's craft is one of carefully enjambed
assonance, its modulations of open "aw" and "o" sounds rendering audible the hollowing out Welch avows.
The switch from the earlier end-stopped certainty to the vertigo of these enjambed
lines signals the perilous shift from the prewar to the postwar environment.
The assonance ("brain" and "raised", "fish" and "hyacinth", "rapture" and "first", "regret" and "breath", and so on) create another kind of sonic reconciliation that works to inform the music, a counterpoint to the forward motion of the enjambed
lines, thus creating a multi-dimensional, textured sonic experience.