Only the breaks between lines 4 and 5, and 7 and 8, are not enjambed
As a heavily enjambed
run of lines goes on to concede, "I only know my part / And theirs with whom I waited .
7 is the proportion of end-stopped and enjambed
Here the relaxation of attention and the mediation of history converge with the rhythms of verse: though enjambed
, the line break between the "fear gone by" and "Press'd on me almost like a fear to come" offers a space for the attention to slacken while suspending the return of the past, so that, at the end of the initial line, we might momentarily pause and believe that the fear is irrevocably gone by, until the next line turns that loss into an adjective modifying a noun that is suddenly no longer gone, but that returns, presses, with the urgency of alarm, "almost like a fear to come.
This noun phrase serves an illustrative example of the estranged quality that Sebald's hypotactic constructs acquire when they are presented in the guise of poetry: versified, enjambed
and without the guidance of punctuation, the sentence becomes difficult to read.
An irritable tone echoes off the enjambed
and brusque lines and off antagonistic adjectives like "militantly", "wild", "glowering", and similarly aggressive nouns like "whips" and "slogans".
In this context, the fifth stanza's enjambed
lines, their arguments overrunning the limits of tetrameter lineation, figure her rebellious agency.
Warren is clearly still intrigued by the idea of unity achieved through loss of self, but the violent tone and the enjambed
"Perhaps" imply that he no longer regards the loss of self uncritically.
19) The final quadrisyllable line of the first tercet ends, for instance, with a weakly punctuated, enjambed
adverbial clause: "Au grand soupirail qui s'allume / leur culs en rond.
Additionally, the caesura before each enjambed
participle imitates a stutter, a frequent speech impediment of soldiers like Owen.
The poems are more enjambed
now, more speedy, more relaxed.
And because of the way that Thomas's lines are enjambed
, the phrase broken by the line break--a typical Thomas tactic--he forces the reader to focus on each phrase individually and to consider them separately, just as they are separated by the line break, to read "it is easy to believe" on the one hand, and "Yeats was right" on the other, before putting them back together again, in context, into a single phrase, "it is easy to believe /Yeats was right.
When he chooses instead to foreground the externality of experience and perception, he'll stand outside those places of enjambed
consciousness and illuminate the edges.
Let's avoid turning this survey into an exercise in perversity, a childish game: I've chosen to quote Darwish in his prose-poems, and the others, the original Others, enjambed
His lean, enjambed
lines mimic a bop line, rapid movement, a melody that has only a few notes.