speed bumps ahead

Not speed reading, reading poetry should impede the reader.

bottomless feeling

In terms of language, leaping is the ability to associate fast. In a great poem, the considerable distance between associations, that is, the distance the spark has to leap, gives the lines their bottomless feeling, their space, and the speed (of association) increases the excitement of the poetry.
[…]
We often feel elation when reading Homer, Neruda, Dickinson, Vallejo, and Blake because the poet is following some arc of association that corresponds to the inner life of objects he or she speaks of, for example, the association between lids of eyes and the bark of stones [de Nerval’s poem "Golden Lines"]. The associative paths are not private to the poet, but are somehow inherent in the universe.
[…]
The poet who is “leaping” makes a jump from an object soaked in conscious psychic substance to an object soaked in latent or instinctive psychic substance. One real joy of poetry—not the only one—is to experience this leaping inside a poem.

—Robert Bly, “Looking for Dragon Smoke,” American Poetry: Wildness and Domesticity (Harper & Row, 1990)

need for speed

A poem that can only be read headlong, without a backward look.

missed exit

As the poem proceeded you could almost see the poet glancing back at the perfect ending he’d blown by.

speed writing

Often we recognize poetry by its language speed.

timing device

He would try to get at least the outline of the poem down before the tea kettle whistled.

attack syntax

A syntax that will not impede the speed of thought.

hit it

From the first line the poem was pedal down.

Bernoulli's principle

If a fluid is flowing horizontally and along a section of a streamline, where the speed increases it can only be because the fluid on that section has moved from a region of higher pressure to a region of lower pressure; and if its speed decreases, it can only be because it has moved from a region of lower pressure to a region of higher pressure. Consequently, within a fluid flowing horizontally, the highest speed occurs where the pressure is lowest, and the lowest speed occurs where the pressure is highest. (cited from Wikipedia)
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A line of poetry obeys this dynamic.

not obscure but a blur

[Browning] is something too much the reverse of obscure; he is too brilliant and subtle for the ready reader of a ready writer to follow with any certainty the track of an intelligence which moves with such incessant rapidity, or even to realize with what spider-like swiftness and sagacity his building spirit leaps and lightens to and fro and backward and forward as it lives along the animated line of its labor, springs from thread to thread and darts from centre to circumference of the glittering and quivering web of living thought woven from the inexhaustible stores of his perception and kindled from the inexhaustible fire of his imagination. He never thinks but at full speed; and the rate of his thought is to that of another man’s as the speed of a railway to that of a wagon or the speed of a telegraph to that of a railway It is hopeless to enjoy the charm or to apprehend the gist of his writing except with a mind thoroughly alert, an attention awake to all points, a spirit open and ready to be kindled by the contact…


—Algernon Charles Swinburne, “Browning’s obscurity,” 1875, reprinted Swinburne as Critic edited by Clyde K. Hyder (Routledge & Kegan Paul, 1972)