 | 1913 - 536 páginas
...manifesto. Mr Flint, however, reproduces a few of their rules " drawn up for their own satisfaction only." 1. Direct treatment of the " thing," whether subjective...presentation. 3. As regarding rhythm : to compose in sequence of the musical phrase, not in sequence of a metronome. By these standards, we learn, they... | |
 | George Park Fisher, George Burton Adams, Henry Walcott Farnam, Arthur Twining Hadley, John Christopher Schwab, William Fremont Blackman, Edward Gaylord Bourne, Irving Fisher, Henry Crosby Emery, Wilbur Lucius Cross - 1917 - 474 páginas
...objection to the three rules of imagism, as formulated by FS Flint in a later number of "Poetry" : "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... | |
 | Ezra Pound - 1918 - 282 páginas
..."HD," Richard Aldington and myself decided that we were agreed upon the three principles following: 1. Direct treatment of the "thing" whether subjective...sequence of the musical phrase, not in sequence of a metronome. Upon many points of taste and of predilection we differed, but agreeing upon these three... | |
 | John Erskine - 1920 - 208 páginas
...objection to the three rules of imagism, as formulated by FS Flint in a later number of Poetry: "I. 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... | |
 | John Erskine - 1920 - 204 páginas
...rules of imagism, as formulated by FS Flint in a later number of Poetry: "1. Direct treat[131] ment 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... | |
 | Harriet Monroe - 1925 - 442 páginas
...determined to misapprehend? The organ derived from the function? In POETRY — March, 1913 — I find also: "To compose in the sequence of the musical phrase, not in sequence of a metronome." That half-sentence does not rule out all forms of bad composition. I have perhaps done... | |
 | William Rose, Jacob Isaacs - 1928 - 346 páginas
...school, founded about 1912 by Ezra Pound, Richard Aldington, and FS Flint. Its doctrines are concise : 1. Direct treatment of the " thing," whether subjective...sequence of the musical phrase, not in sequence of a metronome. This, with the peculiar view of the " image " held by TE Hulme (one of our chief losses... | |
 | Michael Levenson - 1999 - 270 páginas
...they were articulated, for example, in Ezra Pound's imagist "Don'ts": "Go in fear of abstractions" - "compose in the sequence of the musical phrase, not in sequence of a metronome").7 We hoped; we waited for the day The State would wither clean away, Expecting the Millennium... | |
 | Alan Bullock, Stephen Trombley - 1999 - 966 páginas
...subjective or objective ... to use absolutely no word that did not contribute to the presentation ... as regarding rhythm, to compose in the sequence of the musical phrase') and defined the idea of the image as 'a verbal concentration generating energy'. Many of these principles... | |
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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 sequence of a metronome. 
