意象派诗歌运动

The principles
• Direct treatment of the “thing”, whether subjective or objective. • To use absolutely no woБайду номын сангаасd that did not contribute to the presentation. • As regarding rhythm: to compose in sequence of the musical phrase, not in sequence of a metronome.
Pound’s “A Few Don’ts”
• Use no superfluous word, no adjective which does not reveal something… • Go in fear of abstractions… • Use either no ornament or good ornament… • Don’t chop your stuff into separate iambs. Don’t make each line stop dead at the end, and then begin every next line with a heave…
• In 1914 he was included by Pound in Des Imagistes. He entered into a short-lived dispute with Pound as to each one's relative contribution to the imagist movement.
Disgreement began
Neither Pound nor other Imagists were ever entirely satisfied with the policies of her magazine Poetry. 1. Ingnore the need for a continuous educational campaign that would lead to the “American Risorgimento.” 2. “ To have great poets there must be great audiences too.” 3. Miss Monroe’s inclination to accept poems on a basis not exclusively literary. 4. Monroe’s tendency to “ Christianize” his poems
("The death of the gravedigger") by Carlos Schwabe is a visual compendium of symbolist motifs.
• Miss Monroe started her Poetry magazine and asked Pound to act as foreign editor. • Imagism emerged as a school with ambitious, when the January issue of Poetry printed H. D.’s first poems "Hermes of the Ways," "Orchard," and "Epigram", . • “The youngest school here that has the nerve to call itself a school is that of the Imagistes.” —Pound
Other little magazines took notice of the movement :
Poetry and Drama ---Harold Monro The New Freewoman---Harriet Shaw Weaver and Dora Marsden (What they needed now was a magazine of their own, one in which they could formulate their own editorial policy and concentrate upon measures which would bring them wider recognition.)
H.D. and Richard Aldington
Aldington was best known for his World War I poetry
• Pound wrote a prefatory note for Ripostes, which included “the complete poetical works of T. E. Hulme”, introducing Les Imagistes as the descendants of a “forgotten school of 1909,” organized by Hulme.
• In the spring of 1912, Ezra Pound announced that Hilda Doolittle and Richard Aldington were Imagists, after studying some of their poems. But what the word meant to him at this time would be difficult to say. • In October of 1912, the publication of his Ripostes were Les Imagistes presented to the public.
The 1909 club
• This club began its weekly meetings from March of 1909. • Assuming a need for experiment, the members studied other literature—the Japanese and Hebrew poets and the French Symbolists—for techniques that might benefit English poetry. • The members gave special attention to the use of imagery and the ways of achieving an exact and efficient diction.
• The principles reported by Flint in his “Imagisme”. • “A Few Don’ts” offered by Pound began by defining the Image.
F. S. Flint
• “one of the greatest men and one of the beautiful spirits of the country.” • He is mostly known for his participation in the "School of Images" with Ezra Pound and T. E. Hulme in 1909. • his account in the "Poetry Review" in 1909 was to serve as the theoretical basis for the later imagist movement (1913).
Symbolists
• Symbolists believed that art should aim to capture more absolute truths which could only be accessed by indirect methods. Thus, they wrote in a highly metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning. • Symbolism was largely a reaction against naturalism and realism.
The truth was that Poetry would never become an imagist magazine. Open to any poet who seemed to show promise, and particularly, as the imagists well knew, to poets who wrote what Miss Monroe felt best expressed the spirit of her own country.
The imagist movement (1912-1914)
What is Imagism?
• Imagism refers to the theory and practice of a group of poets who, between 1912 and 1917, joined in reaction against the careless technique and extra-poetic values of much nineteenth-century verse. • However, there is no exact definition of Imagism.
Other Imagists’ objections
• John Gould Fletcher • William Carlos Williams Williams and Flint, as well as Pound, had difficulty with her over such matters as line arrangement, paragraph indentation, and initial capitals.
Harriet Monroe
• was an American editor, scholar, literary critic, poet and patron of the arts. She is best known as the founding publisher and long-time editor of Poetry Magazine. • a supporter of the poets Ezra Pound, H. D., T. S. Eliot, William Carlos Williams, Carl Sandburg and others, she played an important role in the development of modern poetry.
The imagists now had an assured outlet for their writing
• It was the first attempt by contemporary poets to formulate a change of direction that would mark them as contemporary, and an understanding of Imagism is important for explaining, in part, the direction taken by poetry since 1912.