At the beginning of the 20th century, Anglo-Saxon poetry underwent a notable upheaval and it would undoubtedly be useful to refresh our memory.
What shock is this?
From an Anglo-American school called “Imagist” which brought together, in the 1910s, a few figures of American expatriates in the London districts of Soho.
Among these expatriates, let us cite Ezra Pound, F. S. Flint, Richard Aldington and Hilda Doolittle, nicknamed “HD” (1886-1961).
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This imagist movement defended the “right word”, campaigned for the disappearance of ornamental adjectives and conventional metaphors.
His program consisted of three points: first,
“direct treatment of the subjective or objective “thing””
;
second,
“do not use any words that do not contribute to the presentation”
;
thirdly,
“in matters of rhythm: compose following that of the musical phrase, not that of the metronome”.
We clearly recognize the hand of Ezra Pound, grand sachem of the affair.
It would not be an exaggeration to write that it is thanks to him that…
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