enjambment वाक्य
उदाहरण वाक्य
मोबाइल
- The strict English alexandrine may be exemplified by a passage from " Poly-Olbion ", which features a rare caesural enjambment ( symbolized ?) in the first line:
- With enjambment and without punctuation, Bront?creates the effect that life is transient, death is close and that the pains and " fears " of living will not be endured for long.
- Rilke played with a wide variety of verse forms and used numerous virtuoso lyrical means at his disposal : enjambment and internal rhyme, suggestive imagery, forced rhyme and rhythm, alliteration and assonance.
- Reviewer Deborah L . Humphreys praised Satterfield's " Assignation at Vanishing Point " for being " so carefully arranged, there occasionally appears to be a sort of enjambment between several poems.
- Leading American academic critic Charles Altieri also commented of the collection :'Perhaps the most important feature of Ragg s poetry is the movement of strong enjambment that carries a feeling of thought taking place.
- These, in turn, are fulfilled through enjambment and bleed into the first line of the 2nd stanza ( i . e . The martyrs call the world . | And thereupon . ).
- His " Voicing Shakespeare " ebook addresses the linguistic challenges of Shakespearean language while explaining such terms as iambic pentameter, alexandrine, tetrameter, enjambment, trochee, spondee, pyrrhic and epic caesura.
- He said, It may sound like merely cadenced poetry, but most is pure iambic . He explained that the iambic mode might be obscured by the lack of rhyme and the use of enjambment.
- To further the speed-up effect of the enjambment, Donne puts an extra syllable in the final foot of the line ( this can be read as an anapest ( dada DUM ) or as an elision ).
- Enjambment " tend [ s ] to increase the pace of the poem ", whereas end-stopped lines, which are lines that break on caesuras ( thought-pauses often represented by Ellipsis ), emphasize these silences and slow the poem down.
- Scholars such as Bradley and Goswin K�nig have estimated approximate dates of undated works of Shakespeare by studying the proportion of end-stopping to enjambment, the former being more typical of Shakespeare's early plays, the latter a feature of his later works.
- Only 2 lines in each stanza are rhymed : these are " emphasized " for the reader by indentation, but " hidden " from the listener by radical enjambment ( " fawn-/ brown " and " coxcomb-/ tinted " ).
- I think that that I dewyne, fordolked of luf-daungere translated as I stand bereft, struck to the heart with love and loss is just magnificent, where the enjambment renders the line more powerful ( as O Donoghue rightly sees in his introduction, p . 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 ); In spite of the apparent contradiction between rhyme, which heightens closure, and enjambment, which delays it, the technique is compatible with rhymed verse.
- Shakespeare also used enjambment increasingly often in his verse, and in his last plays was given to using feminine endings ( in which the last syllable of the line is unstressed, for instance lines 3 and 6 of the following example ); all of this made his later blank verse extremely rich and varied.
- "Nevermore that rush to pun, " _ it's Seamus Heaney recalling one of Brodsky's high-on-the-Richter-scale poetry readings _ " Or to hurry through all yon / Jammed enjambments piling up / As you went above the top, / Nose in air, foot to the floor, / Revving English like a car ."
- Susan J . Wolfson goes even further, seeing the volume as a statement of Blake's antipathy towards the conventions of the day and an expression of his own sense of artistic aloofness; " He serves up stanzas that cheerfully violate their paradigms, or refuse rhyme, or metrical convention, and line-endings so unorthodox as to strain a practice of enjambment already controversial in eighteenth century poetics ."
- Arcadelt has conferred upon this composition a quality which is very rare in sixteenth-century secular music, namely durability & " The texture is mostly homophonic, with a hint of fauxbourdon in the harmony; the subject matter is erotic, with the orgasmic " thousand deaths " portrayed by a rising fourth figure in close imitation; brief bits of word-painting occur, such as the use of a flattened seventh on " piangendo "; and the musical phrases overlap the lines of verse, blurring the formal division of the line, a technique known in music, as in poetry, as enjambment.
- Sedgwick drew on the work of literary critic Christopher Craft to argue that both puns and rhymes might be re-imagined as " homoerotic because homophonic "; citing literary critic Jonathan Dollimore, Sedgwick suggests that grammatical inversion might have an equally intimate relation to sexual inversion; she suggested that readers may want to " sensitise " themselves to " potentially queer " rhythms of certain grammatical, syntactical, rhetorical, and generic sentence structures; scenes of childhood spanking were eroticised, and associated with two-beat lines and lyric as a genre; enjambment ( continuing a thought from one line, couplet, or stanza to the next without a syntactical break ) had potentially queer erotic implications; finally, while thirteen-line poems allude to the sonnet form, by rejecting the final rhyming couplet it was possible to " resist the heterosexual couple as a paradigm ", suggesting instead the potential masturbatory pleasures of solitude.
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