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Updated: September 27, 2025
The imagists, Ezra Pound in particular, were Chinese long before they discovered Cathay in the works of Ernest Fennellosa. And in music, certainly, the East is on us; has been on us since the Russian five began their careers and expressed their own half-European, half-Mongol, natures.
Given free reign under the conditions herein outlined, the youth of the land is abandoning itself to a safe and sane orgie of iconoclasm. Satanic epigrams cloud the air of the very market-place. Poets, column conductors, hack literary reviewers, hack romancers, lecturers, realists, imagists, and all are gloatingly engaged in sacking the Temple, in thumbing their nose at the taboos.
I have certainly not lost faith in his future. John Gould Fletcher was born at Little Rock, Arkansas, in 1886. He studied at Andover and at Harvard, and has lived much in London. He has become identified with the Imagists. Personally I wish that Mr. Fletcher would use his remarkable power to create gorgeous imagery in the production of orthodox forms of verse.
We exchange fraternal greetings.... But neither my few heterodox pieces nor my many struggling orthodox pieces conform to their patterns.... The Imagists emphasize pictorial effects, while the Higher Vaudeville exaggerates musical effects. Imagists are apt to omit rhyme, while in my Higher Vaudeville I often put five rhymes on a line." Impossible to quarrel with Vachel Lindsay.
Read some of the poems of the people listed above, then imagine the same moods in the films. Imagist photoplays would be Japanese prints taking on life, animated Japanese paintings, Pompeian mosaics in kaleidoscopic but logical succession, Beardsley drawings made into actors and scenery, Greek vase-paintings in motion. Scarcely a photoplay but hints at the Imagists in one scene.
"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.
It is therefore no accident that the contemporary imagists tend to abandon the forms of verse; their poetry has little or no regular rhythm; it approximates to prose. For in proportion as poetry becomes free, it ceases to be tied to musical expressiveness, and may become objective, without prejudice to its own nature.
But he is absolutely contemporary, "modern," "new," in his fearlessness. He has this in common with the practicers of free verse, with the imagists, with the futurists; he is not in the least afraid of seeming ridiculous. There can be no progress in art until artists overcome wholly this blighting fear.
A hardness and economy of speech. 3. Individuality of rhythm; vers libre. 4. The exact word. The Imagists would like to possess 'le mot qui fait image, l'adjectif inattendu et precis qui dessine de pied en cap et donne la senteur de la chose qu'il est charge de rendre, la touche juste, la couleur qui chatoie et vibre."
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