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He had written much about our shortage of genuine spiritual values; about "the continual frustrations and aridities of American life." He was a member of various groups the Imagist group, the Egoist group, the Sphericists, other groups piquantly named; versed in the new psychology, playing upon the word "pragmatism" as upon a violin.
In the preface to Imagist Poets , and in Miss Amy Lowell's Tendencies in Modern American Poetry the tenets of imagism are stated briefly and clearly.
Another way to demonstrate the thesis is to use the old classification of poetry: dramatic, lyric, epic. The Action Play is a narrow form of the dramatic. The Intimate Motion Picture is an equivalent of the lyric. In the seventeenth chapter it is shown that one type of the Intimate might be classed as imagist. And obviously the Splendor Pictures are the equivalent of the epic.
Who will see that the public documents and university researches take on the form of motion pictures? Who will endow the local photoplay and the Imagist photoplay? Who will take the first great measures to insure motion picture splendors in the church? Things such as these come on the winds of to-morrow.
"Imagist" Verse Such a conception of the association of images as reflecting not only this "acquired constitution of the soul" of the poet but also the genius of the age is in marked contrast to some of the theories held by contemporary "imagists." They discard, as far as possible, the long "loop-line" of previous experience.
Nothing could be more gallantly frank than the phrase "unrelated beauty." For it serves as a touchstone to distinguish between those imagist poems which leave us satisfied and those which do not. Sometimes, assuredly, the insulated, unrelated beauty is enough.
And to use these colors with definite steps from one to the other does not militate against an artistic mystery of edge and softness in the flow of line. There is a list of possible Imagist textures which is only limited by the number of things to be seen in the world. Probably only seven or ten would be used in one scheme and the same list kept through one production.
Miss Amy Lowell has written fully about it in the Prefaces to Sword Blades and Poppy Seed and Can Grande's Castle, in the final chapter of Tendencies in Modern American Poetry, in the Prefaces to Some Imagist Poets, and in the North American Review for January, 1917. Mr. Braithwaite's annual Anthologies of American Verse give a full bibliography of special articles upon this topic.
The artist has to do with the semblance of things; not with things as they "are in themselves" either physically or logically, but with things as they appear to him. The work of the impressionist painter or the imagist poet illustrates this conception. The conventions of the stage are likewise a case in point.
Yet artists have always been jumping each other's claims, and the sole test of the lawfulness of the procedure is the success of the result. If the border-foray of the impressionist or imagist proves successful, well and good, but a triumphant raid should not be mistaken for the steady lines of the main campaign. The Special Field What then do we mean by the province of poetry?
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