(redirected from enjambed)
Also found in: Thesaurus, Encyclopedia.


or en·jambe·ment  (ĕn-jăm′mənt, -jămb′)
The continuation of a syntactic unit from one line or couplet of a poem to the next with no pause.

[French enjambement, from Old French enjamber, to straddle : en-, causative pref.; see en-1 + jambe, leg; see jamb.]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(ɪnˈdʒæmmənt; French ɑ̃ʒɑ̃bmɑ̃) or


(Poetry) prosody the running over of a sentence from one line of verse into the next
[C19: from French, literally: a straddling, from enjamber to straddle, from en-1 + jambe leg; see jamb]
enˈjambed adj
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


or en•jambe•ment

(ɛnˈdʒæm mənt, -ˈdʒæmb-)

n., pl. -ments (-mənts).
the running on of the thought from one poetic line, couplet, or stanza to the next without a syntactic break.
[1830–40; < French enjambement <enjamb(er) to stride over, encroach]
en•jambed′, adj.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.enjambment - the continuation of a syntactic unit from one line of verse into the next line without a pause
prosody, inflection - the patterns of stress and intonation in a language
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
References in periodicals archive ?
pronounced line breaks, whether or not enjambed, and its prosody's
His English translations of excerpts from Ovid's Metamorphoses each take shape as a different poetic flower: a set of rough and rhyming fourteeners (the hyacinth), a rhyming couplet (the daffodil), (26) and heavily enjambed lines of verse that alternate between ten and five iambic feet (the Venice mallow).
Although this example contains no enjambed lines, a frequent tendency of Old English verse, many of Tolkien's other alliterative efforts often did.
A short line after a pattern of longer lines can create the same effect as an interior caesura; for example, James Wright's "Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota" is a 13-line gem with a piled-on title, that begins with embedded and enjambed tercets.
Other techniques likewise disturb expected patterns of meaning; for instance, the two initial inversions (trochees) displace rising anapests and iambs, disrupting the complacence of singsong; the enjambed line end highlights the habitual virtue of the household before roving over to identify the current beneficiary of their goodness: "me."
Where the early strophe enjambed freely and expanded into iambic pentameter, and the second strophe staged a continuing tussle between decasyllabic and endccasillabo lines, here the verse is consistently (often emphatically) end-stopped and syllabically regular, its rhymes unvaryingly masculine.
Whether the word "cold" should be read as a noun, and as the final word of an end-stopped line, or as a modifier enjambed with and attached to the noun phrase 'bare ruined choirs is a moot point, depending on the reader's perception of grammatical multifunctionality.
But the enjambed line does not allow us to halt there; she asks her husband soldier to "marry me / to my former self." She asks him to play the role of officiant, to form a bond between poet and self.
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." (32) Despite this keen formal attention to the late work, however, Loving writes that Whitman "is packing his literary bags for eternity" in final poems "filled with...
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.g., "that were in the icebox" and "they were delicious").
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.