Enjambment

In poetry, enjambment (/ɛnˈdʒæmbmənt/; from the French enjambement) is incomplete syntax at the end of a line; the meaning runs over from one poetic line to the next, without terminal punctuation. Lines without enjambment are end-stopped.

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); the tension arises from the "mixed message" produced both by the pause of the line-end, and the suggestion to continue provided by the incomplete meaning. In spite of the apparent contradiction between rhyme, which heightens closure, and enjambment, which delays it, the technique is compatible with rhymed verse. Even in couplets, the closed or heroic couplet was a late development; older is the open couplet, where rhyme and enjambed lines co-exist.

Enjambment has a long history in poetry. Homer used the technique, and it is the norm for alliterative verse where rhyme is unknown. In the 32nd Psalm of the Hebrew Bible enjambment is unusually conspicuous. It was used extensively in England by Elizabethan poets for dramatic and narrative verse, before giving way to closed couplets. The example of John Milton in Paradise Lost laid the foundation for its subsequent use by the English Romantic poets; in its preface he identified it as one of the chief features of his verse: "sense variously drawn out from one verse into another".

The start of The Waste Land by T.S. Eliot, with only lines 4 and 7 end-stopped:

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