Imagism

But it was a word, the beginning for me, of a language in colour. I do not mean that I was unfamiliar with the kindergarten stories about colours being like tones in music. I think that sort of thing is nonsense. If you try to make notes permanently correspond with particular colours, it is like tying narrow meanings to symbols. Ezra Pound

Vortex: Every concept, every emotion, presents itself to the vivid consciousness in some primary form. It belongs to the art of this form I once saw a small child go to an electric light switch and say, “Mamma, can I “open” the light?” She was us9ing the age-old language of exploration, the language of art. It was a sort of metaphor, but she was not using it as ornamentation.

The Imagist Movement in Literature Started 1912 in the British Museum Tea Room. The Image: “that which presents an intellectual and emotional complex in an instant of time.” Practitioners: Ezra Pound, T.S. Eliot, Richard Aldington, H.D., William Carlos Williams, James Joyce, Ford Madox Ford, Allen Upward, F.S. Flint, Amy Lowell, the later William Butler Yeats. Caught fire throughout Europe and America

A Few Don’ts by an Imagiste (1913) 1.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 sequence of the musical phrase, not in sequence of the metronome.

In a Station of the Metro (1913) The apparition of these faces in the crowd Petals on a wet, black, bough Pound: “In a poem of this sort, one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective.” Edmund Gustav Husserl, starts “School of Phenomenology”: 1913: Ideas Pertaining to the Pure Phenomenology and to a Phenomenological Philosophy 1928: On Phenomenology “Whatness” or “Quidditas”

The Red Wheel Barrow William Carlos Williams so much depends upon a red wheel barrow glazed with rain water beside the white chickens