Ten poetic terms we need to know

https://www.huffingtonpost.com/edward-hirsch-/10-terms-you-need-to-know_b_5153884.html?guccounter=1

Extract

“Here then are 10 key terms that can enlarge your understanding of poetry:

rhythm: The word rhythm comes from the Greek word rhythmos, “measured motion,” which in turn derives from a Greek verb meaning “to flow.” Rhythm is sound in motion. It is related to the pulse, the heartbeat, the way we breathe. It rises and falls. It takes us into ourselves; it takes us out of ourselves. Rhythm is the combination in English of stressed and unstressed syllables that creates a feeling of fixity and flux, of surprise and inevitability. Rhythm creates a pattern of yearning and expectation, of recurrence and change. It is repetition with a difference.

line: A unit of meaning, a measure of attention. The line is a way of framing poetry. All verse is measured by lines. The poetic line immediately announces its difference from everyday speech and prose. An autonomous line makes sense on its own, even if it is a fragment. It is end-stopped and completes a thought. The first line in Keats’s “Endymion” is end-stopped: “A thing of beauty is a joy forever.” By contrast, an enjambed line carries the meaning over from one line to the next, as in the next four lines of Keats’s poem: “Its loveliness increases; it will never / Pass into nothingness, but still will keep / A bower quiet for us, and a sleep / Full of sweet dreams…” Whether end-stopped or enjambed, however, the line in a poem moves horizontally, but the rhythm and sense also drive it vertically, and the meaning continues to accrue.

iambic pentameter: A five-stress, roughly 10 syllable line. This fundamental line, established by Chaucer (1340?-1400) for English poetry, was energized when English attained a condition of relative stability in the late fifteenth and early sixteenth centuries. It might be the traditional formal line closest to the form of our speech and thus has been especially favored by dramatists ever since Christopher Marlowe, whose play Tamburlaine (1587) inaugurated the greatest Elizabethan drama, and William Shakespeare, who used it with astonishing virtuosity and freedom. John Milton showed how supple and dignified the pentameter line could be in Paradise Lost (1667): “Of man’s first disobedience, and the fall / Of that forbidden tree, whose mortal taste / Brought death into the world, and all our woe, / With loss of Eden, till one greater Man / Restore us, and regain the blissful seat, / Sing, Heav’nly Muse…””