DES IMAGISTES PDF

Des Imagistes: An Anthology by Elyse Graham When Ezra Pound arrived in London in , he began arranging introductions to all the literary people he could manage. The most felicitous was to the novelist Olivia Shakespear; not only did she connect Pound with her lover, W. Yeats , but Pound eventually married her daughter, Dorothy. By late he had found a room in Kensington, produced two slim books of verse, which earned neither money nor renown, and published a more successful survey of Romance literature, The Spirit of Romance. During his early months of networking, Pound joined a poetry club that met at a restaurant in Soho.

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Des Imagistes: An Anthology by Elyse Graham When Ezra Pound arrived in London in , he began arranging introductions to all the literary people he could manage. The most felicitous was to the novelist Olivia Shakespear; not only did she connect Pound with her lover, W.

Yeats , but Pound eventually married her daughter, Dorothy. By late he had found a room in Kensington, produced two slim books of verse, which earned neither money nor renown, and published a more successful survey of Romance literature, The Spirit of Romance. During his early months of networking, Pound joined a poetry club that met at a restaurant in Soho. The club had been founded a month earlier by T. Hulme, a philosopher and translator of Henri Bergson. Another intellectual bulldog, Hulme had established himself as a brilliant student at Cambridge before being sent down for rowdiness; he enrolled at another university but continued to attend philosophy lectures at Cambridge.

From Bergson he took the conviction that mental life should be a flow of raw, intuitive perception, unblocked by received ideas. He began mingling in poetry circles, and in he started his own circle, where he led discussions of how poetry might imitate this raw flow of consciousness by casting off meter and familiar imagery. This is where he met Pound. Of all the literary theorists in the salons Pound had been wandering through, it was Hulme whose ideas most attracted him, for they seemed to rhyme with what Pound had been working on in his juvenile verse.

Two years later, the Imagists found themselves struggling amid the power plays made inevitable when people as powerless as artists unite. Starting in , they had been publishing poems and manifestoes in little magazines; the movement at this point centered on three: Pound, Richard Adlington, and H.

Flint and whoever else they might co-opt for a special collection. Then Amy Lowell, a woman bulwarked by great wealth and a formidable personality, decided that she was another Imagist, a judgment with which Pound disagreed. Eventually it was Pound who left the group, which instead flocked around Lowell, who underwrote their next three anthologies.

In Some Imagist Poets they announced that they had formed a democratic board that gave every member a part in defining their common principles. Des Imagistes is their first anthology, which Pound assembled while he was still a member.

No list of principles appears. Influences from the French Symbolists are apparent, as are the polytheism and fragmentary texture of classical poetry and the compact verse forms of China and Japan. Many of these works were first written before the Imagists came together, but they were selected and edited under its banner, and with the object of declaring a revolt. The cruelty of beauty—the idea that beauty is not just an aesthetic perception, but a wound of the soul—is a theme that pervades the volume.

Richard Aldington is typical; he deals with the agony of desire, whether felt by a viewer in the presence of art, a modern in touch with the past, or a lover regarding his beloved. In every case, the mortality of flesh cuts off the possibility of perfect union. And thou hearest me not… The archetypal Imagist, in terms of technique, is H.

Hermes of the Ways and the grains of it are as clear as wine. Far off over the leagues of it, the wind, playing on the wide shore, piles little ridges.

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“DES IMAGISTES” ONLINE.

It drips from the tables That tell us the tolls upon grains, Oxen, asses, sheep, turkeys and fowls Set into the rain-soaked wall Of the old Town Hall. The poor saint on the fountain! He stands on a dragon On a ball, on a column Gazing up at the vines on the mountain: And his falchion is golden And his wings are all golden. He bears golden scales And in spite of the coils of his dragon, without hint of alarm or invective Looks up at the mists on the mountain. Now what saint or archangel Stands winged on a dragon, Bearing golden scales and a broad bladed sword all golden? Alas, my knowledge Of all the saints of the college, Of all these glimmering, olden Sacred and misty stories Of angels and saints and old glories.

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