We are not a school of
painters, but we believe that poetry should render particulars exactly and
not deal in vague generalities, however magnificent and sonorous.
painters, but we believe that poetry should render particulars exactly and
not deal in vague generalities, however magnificent and sonorous.
Imagists
These principles are not new; they
have fallen into desuetude. They are the essentials of all great poetry,
indeed of all great literature, and they are simply these:--
1. To use the language of common speech, but to employ always the _exact_
word, not the nearly-exact, nor the merely decorative word.
2. To create new rhythms--as the expression of new moods--and not to copy
old rhythms, which merely echo old moods. We do not insist upon
"free-verse" as the only method of writing poetry. We fight for it as for
a principle of liberty. We believe that the individuality of a poet may
often be better expressed in free-verse than in conventional forms. In
poetry, a new cadence means a new idea.
3. To allow absolute freedom in the choice of subject. It is not good art
to write badly about aeroplanes and automobiles; nor is it necessarily bad
art to write well about the past. We believe passionately in the artistic
value of modern life, but we wish to point out that there is nothing so
uninspiring nor so old-fashioned as an aeroplane of the year 1911.
4. To present an image (hence the name: "Imagist").
We are not a school of
painters, but we believe that poetry should render particulars exactly and
not deal in vague generalities, however magnificent and sonorous. It is
for this reason that we oppose the cosmic poet, who seems to us to shirk
the real difficulties of his art.
5. To produce poetry that is hard and clear, never blurred nor indefinite.
6. Finally, most of us believe that concentration is of the very essence
of poetry.
The subject of free-verse is too complicated to be discussed here. We may
say briefly, that we attach the term to all that increasing amount of
writing whose cadence is more marked, more definite, and closer knit than
that of prose, but which is not so violently nor so obviously accented as
the so-called "regular verse. " We refer those interested in the question
to the Greek Melic poets, and to the many excellent French studies on the
subject by such distinguished and well-equipped authors as Remy de
Gourmont, Gustave Kahn, Georges Duhamel, Charles Vildrac, Henri Ghéon,
Robert de Souza, André Spire, etc.
We wish it to be clearly understood that we do not represent an exclusive
artistic sect; we publish our work together because of mutual artistic
sympathy, and we propose to bring out our coöperative volume each year for
a short term of years, until we have made a place for ourselves and our
principles such as we desire.
CONTENTS
RICHARD ALDINGTON
Childhood 3
The Poplar 10
Round-Pond 12
Daisy 13
Epigrams 15
The Faun sees Snow for the First Time 16
Lemures 17
H. D.
The Pool 21
The Garden 22
Sea Lily 24
Sea Iris 25
Sea Rose 27
Oread 28
Orion Dead 29
JOHN GOULD FLETCHER
The Blue Symphony 33
London Excursion 39
F. S. FLINT
Trees 53
Lunch 55
Malady 56
Accident 58
Fragment 60
Houses 62
Eau-Forte 63
D. H.
have fallen into desuetude. They are the essentials of all great poetry,
indeed of all great literature, and they are simply these:--
1. To use the language of common speech, but to employ always the _exact_
word, not the nearly-exact, nor the merely decorative word.
2. To create new rhythms--as the expression of new moods--and not to copy
old rhythms, which merely echo old moods. We do not insist upon
"free-verse" as the only method of writing poetry. We fight for it as for
a principle of liberty. We believe that the individuality of a poet may
often be better expressed in free-verse than in conventional forms. In
poetry, a new cadence means a new idea.
3. To allow absolute freedom in the choice of subject. It is not good art
to write badly about aeroplanes and automobiles; nor is it necessarily bad
art to write well about the past. We believe passionately in the artistic
value of modern life, but we wish to point out that there is nothing so
uninspiring nor so old-fashioned as an aeroplane of the year 1911.
4. To present an image (hence the name: "Imagist").
We are not a school of
painters, but we believe that poetry should render particulars exactly and
not deal in vague generalities, however magnificent and sonorous. It is
for this reason that we oppose the cosmic poet, who seems to us to shirk
the real difficulties of his art.
5. To produce poetry that is hard and clear, never blurred nor indefinite.
6. Finally, most of us believe that concentration is of the very essence
of poetry.
The subject of free-verse is too complicated to be discussed here. We may
say briefly, that we attach the term to all that increasing amount of
writing whose cadence is more marked, more definite, and closer knit than
that of prose, but which is not so violently nor so obviously accented as
the so-called "regular verse. " We refer those interested in the question
to the Greek Melic poets, and to the many excellent French studies on the
subject by such distinguished and well-equipped authors as Remy de
Gourmont, Gustave Kahn, Georges Duhamel, Charles Vildrac, Henri Ghéon,
Robert de Souza, André Spire, etc.
We wish it to be clearly understood that we do not represent an exclusive
artistic sect; we publish our work together because of mutual artistic
sympathy, and we propose to bring out our coöperative volume each year for
a short term of years, until we have made a place for ourselves and our
principles such as we desire.
CONTENTS
RICHARD ALDINGTON
Childhood 3
The Poplar 10
Round-Pond 12
Daisy 13
Epigrams 15
The Faun sees Snow for the First Time 16
Lemures 17
H. D.
The Pool 21
The Garden 22
Sea Lily 24
Sea Iris 25
Sea Rose 27
Oread 28
Orion Dead 29
JOHN GOULD FLETCHER
The Blue Symphony 33
London Excursion 39
F. S. FLINT
Trees 53
Lunch 55
Malady 56
Accident 58
Fragment 60
Houses 62
Eau-Forte 63
D. H.
