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Enjambment
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In poetry, enjambment (/ɪnˈdʒæmmənt, ɛn-, -ˈdʒæmb-/;[1] from the French enjamber)[2][3][4] is incomplete syntax at the end of a line;[5] the meaning 'runs over' or 'steps over' from one poetic line to the next, without punctuation.[6] Lines without enjambment are end-stopped.[7] The origin of the word is credited to the French word enjamber, which means 'to straddle or encroach'.[2][8]
In reading, the delay of meaning creates a tension that is released when the word or phrase that completes the syntax is encountered (called the rejet);[3] the tension arises from the "mixed message" produced both by the pause of the line-end, and the suggestion to continue provided by the incomplete meaning.[9] In spite of the apparent contradiction between rhyme, which heightens closure, and enjambment, which delays it, the technique is compatible with rhymed verse.[9] Even in couplets, the closed or heroic couplet was a late development; older is the open couplet, where rhyme and enjambed lines co-exist.[9]
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 example of John Milton in Paradise Lost laid the foundation for its subsequent use by the English Romantic poets; in its preface he identified it as one of the chief features of his verse: "sense variously drawn out from one verse into another".[9]
Examples
[edit]The start of The Waste Land by T. S. Eliot, with only lines 4 and 7 end-stopped:
April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
These lines from Shakespeare's The Winter's Tale (c. 1611) are heavily enjambed (meaning enjambment is used):
I am not prone to weeping, as our sex
Commonly are; the want of which vain dew
Perchance shall dry your pities; but I have
That honourable grief lodged here which burns
Worse than tears drown.
Meaning flows as the lines progress, and the reader's eye is forced to go on to the next sentence. It can also make the reader feel uncomfortable or the poem feel like "flow-of-thought" with a sensation of urgency or disorder. In contrast, the following lines from Romeo and Juliet (c. 1595) are completely end-stopped:
A glooming peace this morning with it brings.
The sun for sorrow will not show his head.
Go hence, to have more talk of these sad things.
Some shall be pardon'd, and some punishèd.
Each line is formally correspondent with a unit of thought—in this case, a clause of a sentence. End-stopping is more frequent in early Shakespeare: as his style developed, the proportion of enjambment in his plays increased. Scholars such as Goswin König and A. C. Bradley have estimated approximate dates of undated works of Shakespeare by studying the frequency of enjambment.
Endymion by John Keats, lines 2–4:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us...
The song "One Night In Bangkok", from the musical Chess, written by Tim Rice and Björn Ulvaeus, includes examples such as :
The creme de la creme of the chess world in a
Show with everything but Yul Brynner
This grips me more than would a
Muddy old river or reclining Buddha
Closely related to enjambment is the technique of "broken rhyme" or "split rhyme" which involves the splitting of an individual word, typically to allow a rhyme with one or more syllables of the split word. In English verse, broken rhyme is used almost exclusively in light verse, such as to form a word that rhymes with "orange", as in this example by Willard Espy, in his poem "The Unrhymable Word: Orange":
The four eng-
ineers
Wore orange
brassieres.[11]
The clapping game "Miss Susie" uses the break "... Hell / -o operator" to allude to the taboo word "Hell", then replaces it with the innocuous "Hello". Similarly, the Spanish-language song "La Camisa Negra" leads the listener to imagine an obscenity before the next verse completes the word more innocently.[12]
See also
[edit]
Look up enjambment in Wiktionary, the free dictionary.
Notes
[edit]- ^ Wells, John C. (2008). Longman Pronunciation Dictionary (3rd ed.). Longman. ISBN 978-1-4058-8118-0.
- ^ a b Greene, Roland; Cushman, Stephen; Cavanagh, Clare; Ramazani, Jahan; Rouzer, Paul; Feinsod, Harris; Marno, David; Slessarev, Alexandra (2012-08-26). The Princeton Encyclopedia of Poetry and Poetics. Princeton University Press. ISBN 978-0-691-15491-6.
- ^ a b Groves, Peter Lewis. "Run-on Line, Enjambment". The Literary Encyclopedia. Retrieved 1 December 2013.
- ^ Gardner, Thomas (2005). Jorie Graham: Essays on the Poetry. Univ of Wisconsin Press. ISBN 978-0-299-20324-5.
- ^ Chris Baldick (30 October 2008). The Oxford dictionary of literary terms. Oxford University Press. pp. 108–. ISBN 978-0-19-920827-2. Retrieved 16 May 2013.
- ^ "Enjambment - Definition and Examples of Enjambment". Literary Devices. 2020-12-22. Retrieved 2021-09-05.
- ^ "Enjambment". www.cs.lewisu.edu. Retrieved 2021-09-05.
- ^ Nims, John Frederick (1981). The Harper Anthology of Poetry. Harper & Row. ISBN 978-0-06-044847-9.
- ^ a b c d e Preminger 359
- ^ William R. Taylor, The Book of Psalms, The Interpreters' Bible, volume VI, 1955, Abingdon Press, Nashville, p. 169
- ^ Lederer, Richard (2003). A Man of my Words: Reflections on the English Language. New York: Macmillan. ISBN 0-312-31785-9.
- ^ https://songlations.com/2008/08/29/la-camisa-negra_juanes/
References
[edit]- Preminger, Alex; et al. (1993). The New Princeton Encyclopedia of Poetry and Poetics. US: Princeton University Press. ISBN 0-691-02123-6.
{{cite book}}: CS1 maint: publisher location (link)
Further reading
[edit]- John Hollander, Vision and Resonance, Oxford U. Press, 1975 (especially chapter 5).
- Free online explanation with examples
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Enjambment
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Fundamentals
Definition
Enjambment is a poetic technique defined as the continuation of a syntactic unit—such as a sentence, clause, or phrase—across a line break in verse without a pause or punctuation marking the end of the line, thereby allowing the meaning to "run over" into the subsequent line.[1][7] This contrasts directly with end-stopped lines, in which a sentence or clause concludes at the line's end, typically with punctuation that prompts a natural pause.[7] The term originates from the French "enjambement," derived from the verb "enjamber," meaning "to stride over" or "to step over," evoking the image of syntax extending beyond the boundary of a single line like a stride across a threshold.[8][1] Key characteristics of enjambment include its reliance on the absence of end-stopping to maintain syntactic flow, which propels the reader forward and disrupts conventional pauses that align with natural speech cadences.[1][7] In practice, it operates through the mechanics of lineation, where the poet places a break not at a grammatical boundary but within a continuous thought, compelling the audience to accelerate through the text during recitation or silent reading to resolve the ongoing sense.[7] This creates rhythmic tension by diverging from prose-like expectations, fostering a dynamic momentum that integrates the visual structure of the poem with its auditory experience.[1] The word "enjambment" first appeared in English literary criticism in the mid-nineteenth century, specifically in 1837, as a borrowed term to describe this longstanding poetic device, though the technique itself has ancient precedents predating the nomenclature.[1][8] In the Oxford English Dictionary, it is formally defined as the "carrying over of a sentence from one line to the next," initially applied to couplets but later extended more broadly in poetic analysis.[9]Relation to Other Poetic Devices
Enjambment stands in direct contrast to end-stopped lines, which conclude with punctuation such as a period, comma, or semicolon, or with a natural syntactic pause that provides a sense of closure and completion within the line.[10] In end-stopped constructions, the syntax aligns neatly with the line boundary, reinforcing structural stability and allowing the reader to pause reflectively at each line's end.[2] This opposition highlights enjambment's role in propelling the sentence across the line break without interruption, fostering continuity rather than isolation of ideas.[10] While enjambment operates externally by spanning the boundary between lines, caesura functions internally as a pause or break within a single line, often marked by punctuation or a shift in rhythm.[11] Caesura divides the line into two hemistichs or segments, creating emphasis or contrast mid-line, whereas enjambment denies such division at the line's edge to maintain syntactic flow.[11] This distinction underscores enjambment's focus on inter-line connections, separate from the intra-line disruptions of caesura. Enjambment interacts dynamically with poetic meter, such as iambic patterns, by either aligning with metrical feet to preserve scansion or conflicting with them to introduce tension and irregularity.[12] When a line break occurs mid-foot or mid-word in iambic verse, it can disrupt the expected unstressed-stressed alternation, complicating the reader's perception of rhythm and highlighting syntactic priorities over metrical ones.[10] Such interactions allow enjambment to modulate the overall metrical structure without abandoning it entirely.[12] Run-on lines represent a broader category in poetic theory that includes enjambment as a primary mechanism, referring generally to the continuation of sense or syntax beyond the line's end.[13] In some analyses, the terms overlap, with run-on lines encompassing any unchecked flow across lines, while enjambment specifically denotes the incomplete syntax at that juncture.[14] This encompassing framework positions enjambment as a key variant within run-on techniques, emphasizing its role in syntactic extension.[13]Historical Development
Origins in Classical Poetry
Enjambment first emerges as a prominent feature in the ancient Greek epics attributed to Homer, the Iliad and Odyssey, composed orally in dactylic hexameter around the eighth century BCE. In these works, syntactic units frequently extend beyond the metrical line boundary, allowing phrases to run over into the next verse to sustain narrative momentum and semantic cohesion. This technique was integral to the formulaic composition of oral poetry, where whole-line formulas served as building blocks, but enjambment enabled expansion for storytelling flexibility, as evidenced in passages like Iliad 1.84–85, where Achilles' response bridges lines to maintain discourse continuity.[15] The application of enjambment persisted and evolved in subsequent classical traditions, particularly in Latin epic poetry modeled on Homeric precedents. Virgil's Aeneid (first century BCE) employs enjambment extensively in dactylic hexameter to counteract the potential monotony of repetitive line endings, with roughly 30 instances per book that create rhythmic variation and dramatic emphasis, such as in Book 4.22–23, where the run-on word "impulit" heightens emotional intensity. Similarly, Ovid's Metamorphoses (early first century CE) uses enjambment to fluidly link transformative myths across verses, adapting the device to a more intricate narrative style while preserving hexameter's oral heritage.[16][17] This poetic device was particularly suited to the cultural context of ancient oral traditions, where enjambment mimicked the natural cadences of spoken language during live performances by rhapsodes, facilitating audience engagement without rigid pauses at line ends. In Homeric epics, it supported the "progressive tendency" of discourse, bridging metrical cola into larger intonation units that echoed everyday speech patterns. Early scholarly metrics on such line breaks appear in the work of Alexandrian editors like Aristophanes of Byzantium (c. 257–180 BCE), whose critical editions of Homer highlighted verse divisions and syntactic run-overs, influencing later analyses of enjambment's role in epic structure.[15][18]Evolution in English Literature
Enjambment emerged in English literature during the medieval period through Geoffrey Chaucer's The Canterbury Tales, where it introduced a fluid continuity across lines, diverging from the more rigid end-stopped structures of earlier Middle English verse.[19] This technique allowed Chaucer to mimic the natural flow of spoken narrative in iambic pentameter couplets, marking an early adaptation of classical precursors like those in Virgil's Aeneid to the vernacular tradition.[19] In the Renaissance, William Shakespeare further developed enjambment in his sonnets and plays, using it to break from strict rhyme schemes and heighten dramatic tension by propelling syntax across line breaks.[20] Shakespeare's early works featured occasional enjambment, but it became more prominent in later plays like Macbeth and Othello, where it comprised a higher proportion of lines compared to the end-stopped dominance in his initial histories and comedies.[20] The Romantic era expanded enjambment's role in evoking emotion, particularly in William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads (1798), where it disrupted traditional blank verse to reflect the organic rhythms of thought and nature.[21] Wordsworth employed enjambment in over half of sampled lines, balancing it with midline pauses to create a conversational naturalism that contrasted with the higher end-stop rates in predecessors like William Cowper.[22] Coleridge complemented this in contributions like "The Rime of the Ancient Mariner," using enjambment to sustain narrative momentum and emotional intensity.[22][23] During the Victorian period, Alfred Lord Tennyson innovated with enjambment through extended line runs in blank verse, as seen in dramatic monologues like "Ulysses," where continuous enjambed passages built urgency and mimicked the inexorable flow of time.[24] This approach heightened enjambment's prominence beyond Romantic introspection, integrating it into more formal structures to convey psychological depth in an industrialized age.[24] A key milestone in the late 19th century was the influence of French Symbolists like Stéphane Mallarmé and Paul Verlaine on English poets such as Arthur Symons and Ernest Dowson, who adopted suggestive aesthetics that contributed to the development of modernist poetic techniques.[25] In 20th-century modernism, enjambment underwent radical shifts in free verse, with T.S. Eliot employing it to fragment syntax and evoke disconnection in works like The Waste Land, treating line breaks as tools for disjunction rather than mere continuation.[26] Ezra Pound similarly advanced enjambment in his Imagist and Cantos poetry, championing it within free verse to achieve precise, non-metrical rhythms that broke from Victorian constraints.[27][28] This evolution positioned enjambment as a core device for modernist fragmentation, influencing subsequent English poetic innovations.[29]Forms and Variations
Simple Enjambment
Simple enjambment is a fundamental poetic technique characterized by a line break that occurs at a natural syntactic point, such as after a noun, adverb, or minor phrase, permitting the sentence or clause to continue fluidly into the next line without punctuation or abrupt halt. This form of enjambment ensures that the grammatical structure remains intact across the break, facilitating a smooth progression of thought while adhering closely to the poem's syntactic logic.[30][11] In terms of structural features, simple enjambment typically aligns with the boundaries of smaller grammatical units, such as prepositional phrases or modifiers, thereby preserving the overall readability of the verse and introducing only subtle forward momentum. This alignment allows poets to sustain the poem's coherence without disrupting the natural flow of language, making it an accessible tool for building continuity in longer stanzas.[7][31] Commonly applied in metered poetry, simple enjambment helps maintain rhythmic consistency by avoiding the emphasis that a full stop might impose, enabling the meter to span lines uninterrupted and preventing the verse from feeling fragmented. It serves as a gentle means to vary line endings, enhancing the poem's musicality while keeping the reader engaged through unforced progression. For example, in Alexander Pope's "An Essay on Criticism," the lines "A little learning is a dangerous thing; / Drink deep, or taste not the Pierian spring" use simple enjambment after "thing" to smoothly connect the cautionary idea across lines.[32][33][34] In distinction from end-stopping, where a line concludes with punctuation to signal the completion of a full grammatical unit or thought, simple enjambment generates mild tension by deferring resolution, subtly urging the reader onward without the finality of a pause. This contrast highlights enjambment's role in creating dynamic flow rather than static closure, a practice evident in poetic traditions from classical origins onward.[35][1]Radical Enjambment
Radical enjambment constitutes an intensified variation of the poetic device, characterized by line breaks that interrupt syntax at unconventional points, such as mid-phrase, mid-word in experimental compositions, or illogical junctures, thereby fostering surprise, ambiguity, or perceptual disruption in the reader's experience.[36][37] Unlike milder counterparts that maintain syntactic flow, these breaks deliberately fragment meaning to challenge expectations and emphasize isolated elements.[38] Structurally, radical enjambment frequently appears in free verse and modernist poetry, where it serves to shatter conventional thought patterns and diverge from metrical norms, often initiating lines with prepositions, conjunctions, or articles to heighten tension or redirect focus.[36][39] This technique contrasts with traditional end-stopped lines by propelling the reader across breaks without natural pauses, creating a dynamic interplay between visual form and semantic content.[40] Within the evolution of poetic variations, radical enjambment emerged prominently in 20th-century literature as a modernist innovation, departing from earlier, smoother continuations to reflect fragmented modern consciousness and experimental aesthetics.[39][36] Extreme manifestations include hypothetical constructions that sever after minor function words for emphatic isolation, such as:The cat sat onHere, the break after "on" isolates the preposition, amplifying spatial separation and inviting reinterpretation of proximity.[36] In more daring cases, mid-word splits—like "rain / water" dripping across lines—visually and semantically dissect compound terms to underscore materiality or dissolution.[37]
the mat,
watching the bird
fly.
Literary Examples
In English Poetry
Enjambment appears prominently in the Metaphysical poetry of the 17th century, as seen in John Donne's "The Good-Morrow," where it fosters an intimate continuation of the speaker's reflective inquiry into love's transformative power. The poem opens with the lines: "I wonder, by my troth, what thou and I / Did, till we loved?" Here, the syntactic break after "I" propels the thought across the line division without pause, emphasizing the unified perspective of the lovers and their prior existence as incomplete. This simple enjambment underscores the poem's theme of mutual discovery, blending question and realization in a fluid manner that draws the reader into the couple's shared introspection.[41][42] In the Romantic era of the early 19th century, William Wordsworth uses enjambment in "I Wandered Lonely as a Cloud" to evoke a sense of wandering motion and spontaneous revelation amid nature. Consider the lines: "When all at once I saw a crowd, / A host, of golden daffodils; / Beside the lake, beneath the trees, / Fluttering and dancing in the breeze." The run-on from "crowd" to "A host" and from "trees" to "Fluttering" mimics the speaker's meandering gaze and the daffodils' lively movement, creating a rhythmic flow that propels the narrative forward like the cloud's drift. This form of simple enjambment highlights the poem's celebration of nature's vitality, integrating visual surprise with ongoing discovery.[43][44] T.S. Eliot's modernist work in the early 20th century, such as "The Love Song of J. Alfred Prufrock," employs more radical enjambment to convey hesitation and psychological fragmentation. The opening sequence illustrates this: "Let us go then, you and I, / When the evening is spread out against the sky / Like a patient etherized upon a table." The abrupt breaks after "I" and "sky" disrupt expected syntax, forcing a jarring continuation that mirrors Prufrock's anxious indecision and disjointed consciousness. This technique heightens the poem's portrayal of urban alienation, with enjambment amplifying the tension between invitation and paralysis.[45] These selections from Donne, Wordsworth, and Eliot exemplify both simple and radical enjambment without overlap, as the former two use gentle run-ons to sustain emotional or natural continuity, while Eliot's bolder disruptions capture modernist rupture. Donne's intimate flow represents straightforward syntactic extension typical of Metaphysical wit, Wordsworth's evokes organic progression in Romantic lyricism, and Eliot's fragmented breaks align with innovative 20th-century experimentation, each adapting the device to period-specific poetic aims.[11][46]In Non-English Poetry
Enjambment has been a prominent feature in ancient Greek epic poetry, particularly in Homer's Iliad, where it frequently occurs within the dactylic hexameter form to link clauses across line boundaries and heighten narrative tension. In this meter, enjambed epithets—such as those describing gods or heroes—often span the caesura or verse-end, creating a sense of forward momentum that mirrors the oral performance tradition. For instance, the phrase describing Athena as "the daughter of the mighty Zeus" may break mid-epithet, emphasizing her divine attributes while binding the syntax to the following line. This technique, analyzed in studies of Homeric orality, underscores enjambment's role in maintaining rhythmic flow without disrupting the formulaic structure of the epic.[47][15] In French poetry, Charles Baudelaire masterfully employed enjambment in Les Fleurs du Mal (1857) to evoke a fluid, symbolic progression that blurs boundaries between decay and beauty. Run-on lines in poems like "Le beau navire" create incongruent enjambments, where syntactic units override metrical ones, producing a disorienting yet evocative flow that aligns with the collection's themes of spleen and ideal. This approach departs from stricter classical French alexandrine norms, allowing phrases to spill over lines and intensify emotional ambiguity, as seen in the opening quatrain's amplified rhythm through enjambed imagery of enchanting beauty. Such usage reflects Baudelaire's innovation in modernist verse, prioritizing semantic continuity over end-stopped formality.[48][49] Enjambment also manifests in other non-English traditions, adapting to cultural and metrical contexts. In Spanish Golden Age poetry, Luis de Góngora utilized run-on lines in works like Las Soledades to construct intricate baroque syntax, where enjambment weaves mythological allusions across verses in the endecasílabo meter, fostering a sense of labyrinthine complexity unique to culteranismo. Similarly, in Japanese poetry, influences from haiku and tanka traditions introduce subtle enjambment, though limited by the forms' brevity; in tanka, meaning may extend beyond line divisions without punctuation, creating juxtaposition rather than strict rupture, as in classical waka where ideas bridge the 5-7-5-7-7 syllable structure for evocative pivots. These adaptations highlight enjambment's flexibility in non-Western prosodies, emphasizing perceptual rather than syntactic disruption.[50][51][52] Translating enjambment across languages poses significant challenges, as line breaks carry culture-specific prosodic and interpretive weights that may not align between source and target forms. In moving from Greek hexameter to modern vernaculars, for example, the oral binding of epithets in Homer often requires restructuring to preserve momentum, risking loss of rhythmic emphasis. Similarly, Baudelaire's French enjambments into English can flatten symbolic flow if translators prioritize syntax over verse integrity, while Japanese tanka's unpunctuated run-ons demand creative pivots to convey subtle shifts in Western linear reading. Scholars emphasize that effective translation involves reinventing line breaks to evoke equivalent effects, treating enjambment as a poetic "untranslatability" that necessitates compromise between fidelity and innovation.[53][54]Effects and Analysis
Rhythmic and Syntactic Impact
Enjambment introduces rhythmic propulsion and acceleration in poetry by eliminating expected pauses at line ends, thereby propelling the reader or listener forward through the text. This technique counters the predictability of metrical patterns, such as in iambic pentameter, where end-stopped lines might reinforce a regular cadence, but enjambed lines disrupt this by extending the phrase across the boundary, creating a sense of momentum that varies the overall pulse of the verse.[55] In forms like simple enjambment, this effect is subtle, maintaining metrical integrity while adding fluidity, whereas radical enjambment intensifies the acceleration by breaking at more unexpected syntactic points. Syntactically, enjambment disrupts the natural flow of thought by interrupting clauses or phrases at line breaks, often forcing readers to reprocess the text upon reaching the continuation. Eye-tracking studies demonstrate that prospective enjambments—those leaving a line syntactically incomplete—increase forward reading speed but reduce regressions at the break, as the mind anticipates resolution in the next line, while retrospective enjambments, requiring reinterpretation, lead to longer gaze durations and more re-reading to resolve ambiguity. This shifting of emphasis mid-thought alters stress patterns, compelling a reevaluation of phrasing that would otherwise occur in prose-like continuity.[56] In oral delivery, enjambment interacts with prosody by modulating pauses, speed, and intonation to balance poetic structure and syntactic sense. Recitations typically feature shorter pauses at enjambed line ends (occurring in only 40% of cases, with reduced duration) compared to non-enjambed lines (89% with longer pauses), while final lengthening persists across both to mark the boundary, maintaining rhythmic cadence without full stops. Intonation shows less fundamental frequency (F0) reset at enjambments, allowing downdrift to continue smoothly, which accelerates perceived speed and fosters a continuous intonation contour that underscores the syntactic run-on.[57] Technically, enjambment's role in varying line cadence can be seen through scansion, where it prevents the expected metrical closure. For instance, in iambic pentameter, an end-stopped line scans with a natural caesura or pause reinforcing the five-foot rhythm:da DUM da DUM da DUM da DUM da DUM |
da DUM da DUM da DUM da DUM da DUM |
da DUM da DUM da DUM da DUM | da DUM
da DUM da DUM da DUM da DUM |
da DUM da DUM da DUM da DUM | da DUM
da DUM da DUM da DUM da DUM |