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F. S. Flint and Ezra Pound / 2003 http://www.englishworld2011.info/ F. S. FLINT AND EZRA POUND / 2003 * * * The point is that exactly the same activity is at work as in the highest verse. That is the avoidance of conventional language in order to get the exact curve of the thing. s a # * * * A powerfully imaginative mind seizes and combines at the same instant all the important ideas of its poem or picture, and while it works with one of them, it is at the same instant working with and modifying all in their relation to it and never losing sight of their bearings on each other—as the motion of a snake's body goes through all parts at once and its volition acts at the same instant in coils which go contrary ways. A romantic movement must have an end of the very nature of the thing. It may be deplored, but it can't be helped—wonder must cease to be wonder. I guard myself here from all the consequences of the analogy, but it expresses at any rate the inevitableness of the process. A literature of wonder must have an end as inevitably as a strange land loses its strangeness when one lives in it. Think of the lost ecstasy of the Elizabethans. 'Oh my America, my new found land,'3 think of what it meant to them and of what it means to us. Wonder can only be the attitude of a man passing from one stage to another, it can never be a permanently fixed thing. 1911-12 1924 3. Line 27 of John Donne's "To His Mistress Going to Bed." F. S. FLINT AND EZRA POUND In the March 1913 issue of Poetry magazine, the English poet and translator F. S. Flint published an article summarizing an interview with an unidentified "imagiste"— surely Ezra Pound. The article, partly dictated and rewritten by Pound, famously states the three principles of imagism—directness, economy, musical rhythm—which Pound later said he and the poets H. D. and Richard Aldington had agreed on in 1912. Flint's prefatory piece was followed in the same issue by Pound's manifesto, "A Few Don'ts by an Imagiste." There Pound defines the image and issues injunctions and admonitions to help poets strip their verse of unnecessary rhetoric and abstrac- tion. Poets, he argues, should write direct, musically cadenced, image-grounded verse. Born in London, F. S. Flint (1885—1960) worked in the British civil service, trans- lated poetry (mostly French), and eventually published volumes of his own imagist poetry. Ezra Pound (1885—1972) was born in Hailey, Idaho, and was educated at the University of Pennsylvania and Hamilton College. During his twelve years in London, from 1908 to 1920, where he became closely associated with W. B. Yeats and T. E. Hulme, he was the most vigorous entrepreneur of literary modernism, helping James Joyce, T. S. Eliot, and other writers launch their careers. In London he also began working on material for his major work, the massive poem The Cantos. Living briefly in Paris and then for twenty years in Italy as an ardent supporter of the Fascist regime, he was arrested for treason in 1945, having made Rome Radio broadcasts against the U.S. war effort. He spent twelve years, from 1946 to 1958, in a Washington, D.C., asylum for the criminally insane before returning to Italy, where he fell into an almost complete silence until the end of his life. http://www.englishworld2011.info/ 2004 / MODERNIST MANIFESTOS Imagisme1 Some curiosity has been aroused concerning Imagisme, and as I was unable to find anything definite about it in print, I sought out an imagiste, with intent to discover whether the group itself knew anything about the "movement." I gleaned these facts. The imagistes admitted that they were contemporaries of the Post Impres- sionists and the Futurists; but they had nothing in common with these schools. They had not published a manifesto. They were not a revolutionary school; their only endeavor was to write in accordance with the best tradition, as they found it in the best writers of all time,—in Sappho, Catullus, Villon.2 They seemed to be absolutely intolerant of all poetry that was not written in such endeavor, ignorance of the best tradition forming no excuse. They had a few rules, drawn up for their own satisfaction only, and they had not published them. They were: 1. Direct treatment of the "thing," whether subjective or objective. 2. To use absolutely no word that did not contribute to the presentation. 3. As regarding rhythm: to compose in sequence of the musical phrase, not in sequence of a metronome. By these standards they judged all poetry, and found most of it wanting. They held also a certain 'Doctrine of the Image,' which they had not committed to writing; they said that it did not concern the public, and would provoke useless discussion. The devices whereby they persuaded approaching poetasters to attend their instruction were: 1. They showed him his own thought already splendidly expressed in some classic (and the school musters altogether a most formidable erudition). 2. They re-wrote his verses before his eyes, using about ten words to his fifty. Even their opponents admit of them—ruefully—"At least they do keep bad poets from writing!" I found among them an earnestness that is amazing to one accustomed to the usual London air of poetic dilettantism. They consider that Art is all sci- ence, all religion, philosophy and metaphysic. It is true that snobisme may be urged against them; but it is at least snobisme in its most dynamic form, with a great deal of sound sense and energy behind it; and they are stricter with themselves than with any outsider. F. S. Flint A Few Don'ts by an Imagiste An "Image" is that which presents an intellectual and emotional complex in an instant of time. I use the term "complex" rather in the technical sense ]. In response to many requests for information prescribed form ["Editor's Note" from original]. regarding Imagism and the Imagistes, we publish "Vers libre": free verse (French). this note by Mr. Flint, supplementing it with fur- 2. Francois Villon (1431-after 1463), French ther exemplification by Mr. Pound. It will be seen poet. Sappho (fl. ca. 610—ca. 580 B.C.E.), Greek from these that Imagism is not necessarily associ- poet. Catullus (ca. 84—ca. 54 B.C.E.), Roman poet. ated with Hellenic subjects, or with vers libre as a http://www.englishworld2011.info/ POUND: A FEW DON'TS BY AN IMAGISTE / 2005 employed by the newer psychologists, such as Hart,1 though we might not agree absolutely in our application. It is the presentation of such a "complex" instantaneously which gives that sense of sudden liberation; that sense of freedom from time limits and space limits; that sense of sudden growth, which we experience in the presence of the greatest works of art. It is better to present one Image in a lifetime than to produce voluminous works. All this, however, some may consider open to debate. The immediate neces- sity is to tabulate A LIST OF DONT'S for those beginning to write verses. But I can not put all of them into Mosaic negative.2 To begin with, consider the three rules recorded by Mr. Flint, not as dogma—never consider anything as dogma—but as the result of long contem- plation, which, even if it is some one else's contemplation, may be worth consideration. Pay no attention to the criticism of men who have never themselves written a notable work. Consider the discrepancies between the actual writing of the Greek poets and dramatists, and the theories of the Graeco-Roman grammar- ians, concocted to explain their metres. Language Use no superflous word, no adjective, which does not reveal something. Don't use such an expression as "dim lands of peace." It dulls the image. It mixes an abstraction with the concrete. It comes from the writer's not realizing that the natural object is always the adequate symbol. Go in fear of abstractions. Don't retell in mediocre verse what has already been done in good prose. Don't think any intelligent person is going to be deceived when you try to shirk all the difficulties of the unspeakably difficult art of good prose by chopping your composition into line lengths. What the expert is tired of today the public will be tired of tomorrow. Don't imagine that the art of poetry is any simpler than the art of music, or that you can please the expert before you have spent at least as much effort on the art of verse as the average piano teacher spends on the art of music. Be influenced by as many great artists as you can, but have the decency either to acknowledge the debt outright, or to try to conceal it. Don't allow "influence" to mean merely that you mop up the particular decorative vocabulary of some one or two poets whom you happen to admire. A Turkish war correspondent was recently caught red-handed babbling in his dispatches of "dove-gray" hills, or else it was "pearl-pale," I can not remember. Use either no ornament or good ornament. Rhythm and Rhyme Let the candidate fill his mind with the finest cadences he can discover, preferably in a foreign language so that the meaning of the words may be less likely to divert his attention from the movement; e.g., Saxon charms, Hebri- 1. British psychologist Bernard Hart (1879-1966) analysis.
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