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Imagism(1900-1910)Imagism:its definitionT.E.Hulme:Theimagemustenableone“todwellandlingeruponapointofexcitement,toachievetheimpossibleandconvertapointintoaline”.Ezra Pound:Animageis“thatwhichpresentsanintellectualandemotionalcomplexinaninstantoftime”.Richard Aldington:Theexactwordmustbringtheeffectoftheobjectbeforethereaderasithadpresenteditselftothepoetsmindatthetimeofwriting.The Coming of Image1.Imagismasatermp.158-1592.T.E.Hulmesdefinition momentaryimpressiononedominantimagepersonalwordforexpressionImageThe representation of sense experience through languages.A concrete representation,as in art,literature,or music,that is expressive or evocative of something else.Types of ImageAn image is something which evokes a sense experience.A writers imagery can be visual(pertaining to sight),olfactory(pertaining to smell),tactile(touch),auditory(hearing),gustatory(taste),or a bodily sensation such as pain or the perception of something cold.Mixed ImageryAll the images formed into a meaningful whole in a literary piece is often called imagery.In the case of mixed imagery where two or more senses cross,a strong impression is made.Kinesthetic ImageBesides,words can convey a kinesthetic sense when there is a vivid description of motions indicating body language through the use of active verbs and their various formsImagismImagismwasapoeticvoguethatflourishedinEnglandandevenmorevigorouslyinAmerica,betweentheyears1912and1917.Theimagistproposalswereforapoetrywhich,abandoningconventionalpoeticmaterialsandversification,isfreetochooseanysubjectandtocreateitsownrhythms,usescommonspeech,andpresentsanimageorvividsensorydescriptionthatishard,clear,andconcentrated.Characteristics of Imagist PoetryTypically written in free verse and undertakes to render as precisely and tersely as possible the writers impression of a visual object or scene.Often the impression is rendered by means of metaphor,or by juxtaposing the description of one object with that of a second and diverse object.Imagism:principles1.Direct treatment of the“thing”,whether subjective or objective;2.To use absolutely no word that does not contribute to the presentation;3.As regarding rhythm,to compose in the sequence of the musical phrase,not in the sequence of a metronome.Imagism:its representatives T.E.Hulme:“Autumn”F.S.Flint:“The Swan”Richard Aldington Hilda Doolittle:“Oread”Amy Lowell:“Wind and Silver”William Carlos Williams:“The Red Wheelbarrow”Ezra Pound:“In a Station of the Metro”Imagism:influences1.A rebellion against the traditional poetics which failed to reflect the new life of the new century.2.A new way of writing which was valid not only for the Imagist poets but for modern poetry as a whole.3.A training school in which many great poets learned their first lessons in the poetic art.4.The first pages of modern English and American poetry.Phases of Imagist MovementFirst PhaseLondon,1908-1909;T.E.HulmeSecond PhaseEzraPound,1912-1914threeimagistpoeticprinciples:p.159Third PhaseAmyLowell,1914-1917disagreementbetweenLowellandPound;themovementendedin1917Image and Imagist Poemp.160-161Reading“InaStationoftheMetro”巴黎地铁站“Oread”奥瑞德/林中女仙“TheRedWheelbarrow”红色手推车LimitationandinfluencesoftheImagistMovement人群中幽然浮现的一张人群中幽然浮现的一张张脸庞，张脸庞，黝黑的湿树枝上的一片黝黑的湿树枝上的一片片花瓣。片花瓣。In a Station of the MetroThe apparition of these faces in the crowd;Petals on a wet,black bough.Possible ThemesLove,friendship,death.Transience of beauty and the permanence of art The modern culture,alienation from the contemporary worldBackgroundThree years ago in Paris I got out of a metro train at La Concorde,and saw suddenly a beautiful face,and then another and another,and I tried all that day to find words for what this had meant to me,and I could not find any words that seemed to me worthy,or as lovely as that sudden emotion.The apparition of these faces in the crowd;Petals on a wet,black bough.人群中幽然浮现的一张张脸庞，人群中幽然浮现的一张张脸庞，黝黑的湿树枝上的一片片花瓣。黝黑的湿树枝上的一片片花瓣。In a Station of the MetroEzra PoundIs the air heavy and damp?Is the subway dark and smell of sweat?an image for those beautiful faces,for there is a sense of beauty in thema depiction of the subway stationPoundseesthebeautyofwhateachindividualcontributestoourdailylivesandhowweasasocietyrelyononeanother,evenifwearejustfacesinthecrowd.theundergroundrailwayofParis appearanceghostlythe faces of petals of a flower bring beauty to an otherwise dismal,wet and dark existence.人群中这些面庞的闪现；人群中这些面庞的闪现；湿漉的黑树干上的花瓣。湿漉的黑树干上的花瓣。（赵毅衡）（赵毅衡）这几张脸在人群中幻景般闪现；这几张脸在人群中幻景般闪现；湿漉漉的黑树枝上花瓣数点。湿漉漉的黑树枝上花瓣数点。（飞白）（飞白）出现在人群里这一张张面孔；出现在人群里这一张张面孔；湿的黑树枝上的一片片花瓣。湿的黑树枝上的一片片花瓣。（张子清）（张子清）这些面孔似幻象在人群中显现；这些面孔似幻象在人群中显现；一串花瓣在潮湿的黑色枝干上。一串花瓣在潮湿的黑色枝干上。（江枫）（江枫）人潮中这些面容的忽现；人潮中这些面容的忽现；湿巴巴的黑树丫上的花瓣。湿巴巴的黑树丫上的花瓣。（罗池）（罗池）人群中幻影般浮现的脸人群中幻影般浮现的脸 潮湿的，黑色树枝上的花瓣潮湿的，黑色树枝上的花瓣 （钟鲲）（钟鲲）人群里这些脸忽然闪现；人群里这些脸忽然闪现；花丛在一条湿黑的树枝。花丛在一条湿黑的树枝。（流（流沙河）沙河）人群中，这些面孔的鬼影；人群中，这些面孔的鬼影；潮湿的黑树枝上的花瓣。潮湿的黑树枝上的花瓣。（余（余光中）光中）In a Station of the MetroanImagistpoembyEzraPoundpublishedin1913inPoetry.ThepoemattemptstodescribePoundsexperienceuponvisitinganundergroundmetrostationinParisin1912,andPoundsuggestedthatthefacesoftheindividualsinthemetrowerebestputintoapoemnotwithadescriptionbutwithanequation.Becauseofthetreatmentofthesubjectsappearancebywayofthepoemsownvisuality,itisconsideredaquintessentialImagisttext.Oread by Hilda DoolittleWhirlup,sea-whirlyourpointedpines,splashyourgreatpinesonourrocks,hurlyourgreenoverus,coveruswithyourpoolsoffir.Appreciation“Oread”isasix-linepoempublishedin1915.InGreekmythology,anoreadisawoodnymph.Bygivingthepoemthistitle,H.D.(HildaDoolittle)framesitasanaddressbythewoodnymphtothesea.Althoughthereisno“I,”thepoemsfirst-personpointofviewisfurthersuggestedbymanyofthedescriptivewordsthemselves.Forexample,thesecondlineorderstheseato“whirlyourpointedpines,”andthethirdlinerepeatstheimagewith“splashyourgreatpines.”Clearly,theoceanhaswaves,notpines,yetthewavescouldbereferredtoastreesiftheoreadlikes.“Oread”wellrepresentsH.D.searlylyricalverseandtheImagistmovementofpoetryearlyinthetwentiethcentury:Terseandcompact,thepoemcrisplyconveysthenaturalforcesatwork,orcalledupontowork,bytheseriesofactiveverbsandimperatives“whirl,”“splash,”“hurl,”and“cover.”Thehard-hittinglinesstressasenseofurgencyfornaturetofulfillthisrequest.The Red WheelbarrowsomuchdependsuponaredwheelbarrowglazedwithrainwaterbesidethewhitechickensThe Red WheelbarrowisapoembyandoftenconsideredthemasterworkofAmerican20th-centurywriterWilliamCarlosWilliams.The1923poemexemplifiestheImagist-influencedphilosophyof“noideasbutinthings.”Thisprovidesanotherlayerofmeaningbeneaththesurfacereading.Itcreatesatypical“American”image.AppreciationWilliamswroteTheRedWheelbarrowinlessthanfiveminuteswhileobservingasceneoutofthewindow.“Somuchdependsuponaredwheelbarrowglazedwithrainwaterbesidethewhitechickens”.Withcarefulwordchoice,attentiontolanguage,andunusualstanzabreaks,Williamshasturnedanordinarysentenceintopoetry.Theclaimthat“somuchdependsupon”thiswheelbarrowisquiteaccurate.Onafarm,awheelbarrowisusedforanumberofimportantfarmchores.Noticethateachstanzaisshapedlikeawheelbarrow.Thecolorsstandoutbecauseoftheircontrastwithoneanother:thewhitechickenscontrastwiththeredofthewheelbarrow.Thewheelbarrowcanbeseenasimportanteconomically,anditaddsbeautytoitssurroundings.Evaluation of imagismp.162-163
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