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.
32.
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 " ).
33.
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 ).
34.
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.
35.
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.
36.
"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 ."
37.
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 ."
38.
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.
39.
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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