enjambment


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Related to enjambment: end-stopped

en·jamb·ment

or en·jambe·ment  (ĕn-jăm′mənt, -jămb′)
n.
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.

enjambment

(ɪnˈdʒæmmənt; French ɑ̃ʒɑ̃bmɑ̃) or

enjambement

n
(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

en•jamb•ment

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 ?
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.