enjambment

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."

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.

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.