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The basic rhymes in English are masculine, which is to say that the last syllable of the line is stressed: lane rhymes with pain, but it also rhymes with urbane since the last syllable of urbane is stressed. Lane does not rhyme with methane.

James Fenton

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James Fenton
Age: 75
Born: 1949
Born: May 25
Author
Correspondent
Journalist
Literary Critic
Opinion Journalist
Poet
University Teacher
Writer
James M. Fenton
James Martin Fenton
Lasts
Stressed
Last
Masculine
Urbane
Pain
Rhyme
Methane
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Basic
Syllable
Doe
English
Rhymes
Line
Syllables
Lines
Lane
Since
Lanes

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Imitation, if it is not forgery, is a fine thing. It stems from a generous impulse, and a realistic sense of what can and cannot be done.
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A poem with grandly conceived and executed stanzas, such as one of Keats's odes, should be like an enfilade of rooms in a palace: one proceeds, with eager anticipation, from room to room.
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For poets today or in any age, the choice is not between freedom on the one hand and abstruse French forms on the other. The choice is between the nullity and vanity of our first efforts, and the developing of a sense of idiom, form, structure, metre, rhythm, line - all the fundamental characteristics of this verbal art.
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Generally speaking, rhyme is the marker for the end of a line. The first rhyme-word is like a challenge thrown down, which the poem itself has to respond to.
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Great poetry does not have to be technically intricate.
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The Mormon mission to Africa, as to other dark-skinned parts of the world, was for a long time hobbled by the racism of the movement's scripture.
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At four lines, with the quatrain, we reach the basic stanza form familiar from a whole range of English poetic practice. This is the length of the ballad stanza, the verse of a hymn, and innumerable other kinds of verse.
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My feeling is that poetry will wither on the vine if you don't regularly come back to the simplest fundamentals of the poem: rhythm, rhyme, simple subjects - love, death, war.
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The voice is raised, and that is where poetry begins. And even today, in the prolonged aftermath of modernism, in places where open form or free verse is the orthodoxy, you will find a memory of that raising of the voice in the term heightened speech.
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Hearing that the same men who brought us 'South Park' were mounting a musical to be called 'The Book of Mormon,' we were tempted to turn away, as from an inevitable massacre.
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When Mr Ackroyd says that in the 18th century, stranglers bit off the noses of their victims, I feel that he probably knows what he is talking about. I just wish he hadn't told me.
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Oh let us not be condemned for what we are. It is enough to account for what we do.
James Fenton
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The composer does not want the self-sufficiency of a richly complex text: he or she wants to feel that the text is something in need of musical setting.
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Lyric poetry is, of course, musical in origin. I do know that what happened to poetry in the twentieth century was that it began to be written for the page. When it's a question of typography, why not? Poets have done beautiful things with typography - Apollinaire's 'Calligrammes,' that sort of thing.
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I don't see that a single line can constitute a stanza, although it can constitute a whole poem.
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Windbags can be right. Aphorists can be wrong. It is a tough world.
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The lullaby is the spell whereby the mother attempts to transform herself back from an ogre to a saint.
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Free verse seemed democratic because it offered freedom of access to writers. And those who disdained free verse would always be open to accusations of elitism, mandarinism. Open form was like common ground on which all might graze their cattle - it was not to be closed in by usurping landlords.
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Poetry carries its history within it, and it is oral in origin. Its transmission was oral.
James Fenton
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A glance at the history of European poetry is enough to inform us that rhyme itself is not indispensable. Latin poetry in the classical age had no use for it, and the kind of Latin poetry that does rhyme - as for instance the medieval Carmina Burana - tends to be somewhat crude stuff in comparison with the classical verse that doesn't.
James Fenton