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Updated: July 26, 2025
Lowes, as we have already remarked, has printed dozens of passages from Meredith's novels in the typographical arrangement of free verse so as to emphasize their "imagist" character. One of the most effective is this: "He was like a Tartar Modelled by a Greek: Supple As the Scythian's bow, Braced As the string!"
Unless we adopt the Japanese theory of "stop poems," where the implied continuation of the mood, the suggested application of the symbol or allegory, is the sole justification of the actual words given, a great deal of imagist verse, in my opinion, serves merely to sharpen the senses without utilizing the full imaginative powers of the mind.
There is a clear parallelism between their point of view in verse and the Intimate-and-friendly Photoplay, especially when it is developed from the standpoint of the last part of chapter nine, space measured without sound plus time measured without sound. There is no clan to-day more purely devoted to art for art's sake than the Imagist clan.
Then the illusion is lost in the next turn of the reel. Perhaps it would be a sound observance to confine this form of motion picture to a half reel or quarter reel, just as the Imagist poem is generally a half or quarter page. A series of them could fill a special evening. The Imagists are colorists. Some people do not consider that photographic black, white, and gray are color.
It will be observed that in the special sort of picture-making which Imagist poetry achieves, the question of free verse is merely incidental. "We fight for it as a principle of liberty," says Miss Lowell, but she does not insist upon it as the only method of writing poetry. Mr. Aldington admits frankly that about forty per cent of vers libre is prose. Mr.
To these followers I would say: the Imagist impulse need not be confined to verse. Why would you be imitators of these leaders when you might be creators in a new medium?
The Imagist photoplay will put discipline into the inner ranks of the enlightened and remind the sculptors, painters, and architects of the movies that there is a continence even beyond sculpture and that seas of realism may not have the power of a little well-considered elimination. The use of the scientific film by established institutions like schools and state governments has been discussed.
As for diction, they have, like all true artists, a horror of the cliche the rubber-stamp word, blurred by use. As for rhythm, they fear any conventionality of pattern. In subsequent chapters we must look more closely at these matters of diction and of rhythm, but they are both involved in any statement of the principles of Imagist verse. Direct treatment of the subject. 2.
But the smiling Dame Nature sets her inexorable limits to "Burbanking"; she allows it to go about so far, and no farther. Freakish free verse, like freakish plants and animals, gets punished by sterility. Some of the "imagist" verse patterns are uniquely and intricately beautiful.
Those who are interested in the growth of imagist poetry in English should read the three slender anthologies published respectively in 1915, 1916, and 1917, called Some Imagist Poets, each containing poems nowhere previously printed. The short prefaces to the first two volumes are models of modesty and good sense, whether one likes imagist poetry or hates it.
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