The effect of the cadential modulation is heightened further by the hypermetricality of the sixth line, with the feminine ending on the startling word "dazzle," the
enjambment providing a brief rest of silence before "Of silence cranes to watch" dazzles us with synaesthesia.
This strong sonority matches the solidity of the houses in question, as does the absence or invisibility of
enjambment in the first half of the poem.
rain." Note here the subtly subversive use of
enjambment: in the
So it is difficult to see our Afghan war Clotted in the shadows near the white picnic table The rumor of war brings
enjambment back, subtly fracturing the hard-won peaceful scene.
To use one of Walter Ong's preferred expressions, the "additive" nature of the lines in the romances (which is clearly well marked by syllabic definition and a typical closing rhythm) draws them much closer to The Iliad and The Odyssey, when it comes to the configuration of
enjambment found in them, than to slightly later written poetry, as will be demonstrated.
suspended as by an
enjambment, stuck in awe, while any words we spoke
The casualness is also shown in the generalities of the diction and the great use of
enjambment. No.
Lines of iambic pentameter echo and imitate, but also vary and revise, other lines of iambic pentameter, without which they would never exist; short lines of free verse with lots of
enjambment echo and imitate, but also vary and revise, other short lines of free verse with lots of
enjambment, without which they would never exist.
With his use of
enjambment and the music of qualifier-basedsentences, he has developed a kind of expectation in our ears.
They wrangle the thing, slowly, until Laris Cohen leaves, presumably to find a bigger vehicle, while we loiter and then eventually disperse, the
enjambment left wanting.
Part Three of the volume, "Patience and Time," continues themes raised in Part Two, and in the volume's most moving poem, terse and brittle with
enjambment, Montague summons not his grandparents but the aunts who raised him.
I gave up a good place." This is blank verse loosened by the substitution of a three-syllable foot for a two-syllable foot or an inversion of an iamb into a trochee or an equalization of an iamb into a spondee in every line and sometimes in
enjambment (the anapestic "But I / Hate").
Likewise Williams's use of
enjambment evokes the lumbering cadences of provincial American speech, making the poem seem less like a refined meditation than an improvised monologue.
