Would the instances you cite be applicable to the fairly explicit concept of the jump-cut as used in cinema i.e. a split-second disjunctions in film editing, so that two consecutive shots of the same subject are taken from slightly varying camera positions? I think that this use of it has more in common with Cubism than the two Shakespeare sonnets you mention.
The classical jump-cut as used in the cinema of Eisenstein (who may have originated it) wasn’t used as lacunae. If a literary comparison for it has to be made, Parataxis would be closer the mark.
Original message:
Between Sonnet 17 and Sonnet 18 for starters, and pervasively throughout the
rest of the sequence. It's the major narrative rationale of what's
happening -- behind the sequence of poems, there's a narrative which has
major lacunae. (In this differing from Sidney's _Astrophil and Stella_,
which has a continuous implied narrative with no such hiatuses. A.k.a. jump
cuts.)
It's a direct influence on the first generation American confessionals, not
just Berryman's Sonnets but the Dream Songs, and Lowell's _Life Studies_.
It may possibly be an influence on some earlier epistolary novels --
Swinburn's _Love's Cross-Currents_, for example -- but I wouldn't go to the
stake for this.
(This does, of course, turn on accepting the sequence of the Thorpe edition
as authoritative. Whether or not is is, that's how Berryman and Lowell read
the Sonnets.)
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