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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
Also
Basic
Syllable
Doe
English
Rhymes
Line
Syllables
Lines
Lane
Since
Lanes
Lasts
Stressed
Last
Masculine
Urbane
Pain
Rhyme
Methane

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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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One problem we face comes from the lack of any agreed sense of how we should be working to train ourselves to write poetry.
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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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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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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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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.
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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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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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Oh let us not be condemned for what we are. It is enough to account for what we do.
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I prefer writing in the mornings, so to that extent I have a routine. I do reading and other things in the afternoon.
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Poetry carries its history within it, and it is oral in origin. Its transmission was oral.
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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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Great poetry does not have to be technically intricate.
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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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A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.
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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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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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Windbags can be right. Aphorists can be wrong. It is a tough world.
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My sonnet asserts that the sonnet still lives. My epic, should such fortune befall me, asserts that the heroic narrative is not lost - that it is born again.
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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.
James Fenton