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10. ENJAMBMENT The poem contains a few important moments of enjambment, which cleverly mimic the content of the lines in which they appear. For example, line 2 flows directly into line 3, practically daring the reader to "pass by" the white space between the two lines—even as these lines assert the importance of pausing to appreciate the fleeting beauty of the moment! This enjambment essentially reflects how dangerously easy it is to forget to stop and smell the roses. Later, the enjambment of line 4 causes it to spill over into the following line—to essentially "wear" line 5 just as the city "wear[s] the beauty of the morning." Line 6 is also enjambed, reflecting the openness between the human constructions (the ships, theaters, etc.) and the fields and sky mentioned in line 7. The enjambment here erases any pause—any border or boundary—between the human and the natural world, and thus reflects the poem's broader thematic argument that the city itself is a part of, or at least is perfectly able to coexist with, nature. Finally, the enjambment between lines 9 and 10 echoes the "steeping" of the sun—that is, the way the sun bathes everything beneath it in a splendid glow. Line 9 overflows onto line 10, just as the "sun" spills down over the Earth. Where Enjambment appears in the poem: • Lines 2-3: “by / A” • Lines 4-5: “wear / The” • Lines 6-7: “lie / Open” • Lines 9-10: “steep / In”