Hey, Martin, I'm enjoying a calmer morning, fewer distractions, and realizing more clearly the rhyme scheme of the poem. It was written some time ago and so I kind of lost track of my intentional pattern in my earlier remarks. That often happens to me; after composition I like to read a poem without counting; likewise I usually read the poems of others without counting, just letting them flow unless something bumps against my ear. That congested line is indeed five beats, but the line before it was actually originally conceived as tet, with the and not promoted.
It was a snapshot, in iv'ry, of travel and of trade
The whole poem was written in alternating lines of tet and pent.
It was one of those forbidden things,
foreign, fragile—and many times my age.
“It was hand-carved from the bones of kings,”
yet sprang to life beneath my guileless gaze.
It was pure stillness and pure pilgrimage.
It was part precious heirloom and part riddle.
It was a snapshot, in ivory, of travel and of trade—
and if raised to your eye, you could stare right through its middle.
I am afraid such a scan will probably make you delirious, and if you want to call it accentual you may. But I wrote it with the basic tet/pent framework in mind, and made it adhere to what I consider natural voice patterns.
The fact that I could passionately mis-scan that line in my rush may give ammunition to those who object to the liberties taken. But again, I think in context, and in relaxed voice, the patterns become clear.