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Kruka [31]
1 year ago
9

Is a literary device that continues a thought or sentence to the next line without pause.

English
1 answer:
FromTheMoon [43]1 year ago
3 0

Enjambment is a literary technique in which an idea or thought from one line of poetry continues unabated into the following line.

<h3>What is enjambment?</h3>
  • Enjambment is a poetic term denoting the continuing of a statement or phrase from one line of poetry to the next.
  • It comes from the French and means "a stride over."
  • Since there is usually no punctuation at the line break of an enjambed line, the reader is taken seamlessly and quickly to the poem's next line.
  • A line is continued through enjambment after it has broken.
  • Enjambment ends a line in the middle of a phrase, allowing it to continue on the next line as an enjambed line, unlike the natural pause at the end of a phrase or punctuation as end-stopped lines, which are used in many poetry.

To learn more about enjambment, refer

brainly.com/question/831729

#SPJ9

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A dead man passed us in a hearse heaped with blooms, followed by two carriages with drawn blinds and by more cheerful carriages for friends. The friends looked out at us with the tragic eyes and short upper lips of south-eastern Europe, and I was glad that the sight of Gatsby's splendid car was included in their somber holiday. As we crossed Blackwell's Island a limousine passed us, driven by a white chauffeur, in which sat three modish Negroes, two bucks and a girl. I laughed aloud as the yolks of their eyeballs rolled toward us in haughty rivalry.

"Anything can happen now that we've slid over this bridge," I thought; "anything at all. . . ."

Even Gatsby could happen, without any particular wonder. (4.56-58)

In a novel so concerned with fitting in, with rising through social ranks, and with having the correct origins, it's always interesting to see where those who fall outside this ranking system are mentioned. Just he earlier described loving the anonymity of Manhattan, here Nick finds himself enjoying a similar melting-pot quality as he sees an indistinctly ethnic funeral procession ("south-eastern Europe" most likely means the people are Greek) and a car with both black and white people in it.

What is now racist terminology is here used pejoratively, but not necessarily with the same kind of blind hatred that Tom demonstrates. Instead, Nick can see that within the black community there are also social ranks and delineations – he distinguishes between the way the five black men in the car are dressed, and notes that they feel ready to challenge him and Gatsby in some car-related way. Do they want to race? To compare clothing? It's unclear, but it adds to the sense of possibility that the drive to Manhattan always represents in the book.



"Meyer Wolfshiem? No, he's a gambler." Gatsby hesitated, then added coolly: "He's the man who fixed the World's Series back in 1919."

"Fixed the World's Series?" I repeated.

The idea staggered me. I remembered of course that the World's Series had been fixed in 1919 but if I had thought of it at all I would have thought of it as a thing that merely happened, the end of some inevitable chain. It never occurred to me that one man could start to play with the faith of fifty million people--with the single-mindedness of a burglar blowing a safe.

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Nick's amazement at the idea of one man being behind an enormous event like the fixed World Series is telling. For one thing, the powerful gangster as a prototype of pulling-himself-up-by-his-bootstraps, self-starting man, which the American Dream holds up as a paragon of achievement, mocks this individualist ideal. It also connects Gatsby to the world of crime, swindling, and the underhanded methods necessary to effect enormous change. In a smaller, less criminal way, watching Wolfshiem maneuver has clearly rubbed off on Gatsby and his convolutedly large-scale scheme to get Daisy's attention by buying an enormous mansion nearby.



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If Tom, Daisy, and Gatsby are locked into a romantic triangle (or square, if we include Myrtle), then Jordan and Nick are vying for the position of narrator. Nick presents himself as the objective, nonjudgmental observer – the confidant of everyone he meets. So it's interesting that here we get his perspective on Jordan's narrative style – "universal skepticism" – right after she gets to take over telling the story for a huge chunk of the chapter. Which is the better approach, we are being asked, the overly credulous or the jaded and disbelieving? Are we more likely to believe Jordan when she says something positive about someone since she is so quick to find fault? For example, it seems important that she be the one to state that Daisy hasn't had any affairs, not Nick.
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