Enjambment occurs in four places in “God’s Grandeur"—at the ends of lines 3, 7, 11, and 13. In each case, Hopkins uses enjambment, sometimes in conjunction with caesura, to play with the rhythm of the poem in order to emphasize certain words, or even to create a reading experience that mirrors what is being described in the poem.
At the end of lines 3 and 7, the poem couples enjambment with caesura to create a dramatic effect. In line 3, the reader speeds through the end of the line to follow the meaning of the sentence, only to have to suddenly stop at the first word of line 4, “Crushed.” Just as the poem is here describing an olive being crushed into oil, the reader has been "crushed" by being forced to stop reading after the first word of line 4. The speaker then uses almost the opposite effect in line 7 by using a caesura near the end of the line to precede an enjambment leading into line 8. This puts great emphasis on “the soil,” which in turn heightens the sense of despair over the fact, revealed in the next line, that humanity’s recklessness has stripped that soil bare.
In line 11, the enjambment at the end of a sentence about a sunset causes the line to continue right into the next line about a subsequent sunrise, emphasizing the connection between sunrise and sunset, which together represent the cyclical nature of death and rebirth. The enjambment in line 13, meanwhile, puts focus on both the word “bent” and the word “world,” which can be read as emphasizing the brokenness of the world as well as the way that God ("the Holy Ghost") nurtures that broken world to create new life. Throughout “God’s Grandeur,” enjambment creates emphasis and rhythm that hones and supports the meaning of the poem's language.