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에미 로우웰과 에미지즘(AMYGISM) 5

이미지즘(IMAGISM)의 의의(意義) 121

T. E. 흄의 시론과 세계관 157

Bibliography 231

NOTES 234

CONTENTS OF THE IMAGIST ANTHOLOGIES 236

SUMMARY 243

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 Imagism was the poetic movement of England and the United States and flourished from 1909 to 1917. Not many poets participated in the movement. Imagism, like nearly all movements in literature, was a reaction against the careless technique and extra poetic values of much nineteenth-century verse. They were inspired by Greek and Roman classics and through translations of Chinese and Japanese poets. The modern influence was French. This modern influence was of special importance.

Ezra Pound became the first leader of the group. He collected some of their work in Des Imagistes: An Anthology(1914).

Pound's interest began to wane and he became a vorticit. Then Amy Lowell assumed active leadership. Ezra Pound defined the image not as a pictorial representation but as that which presents an intellectual and emotional complex in an instant of time, a unification of disparate ideas. Imagists believe that poetry should render particulars exactly and not deal in vague generalities.

The imagist movement originated in the aesthetic philosophy of T.E, Hulme. He was particularly interested in aesthetics. His poetic theory is not exactly the straight Imagist credo of 1912 or 1915. But all the essentials are stated or implied. Imagism does not mean merely the presentation of pictures. It means a clear presentation of whatever the author wishes to convey.

Remy de Gourmont, the French critic and poet wrote that the Imagists were the descendants of the French Symbolists. And he described Symbolism: "Individualism in literature, liberty of art, abandonment of existing forms...... The sole excuse which a man can have for writing is to write down himself, to unveil for others the sort of world which mirrors itself in his individual glass......"

The Imagist poets say that the exterior world is changing, and with it men's feelings, and every age must express its feelings in its own individual way. The Imagists base much of their poetry upon cadence and not upon metre. They claim for their work only that it is sincere.

They say that the unit in vers libre is not the foot, the number of the syllables, the quantity, or the line, the unit is the strophe, which may be the whole poem, or may be only a part.

A cadenced poem is written to be read aloud and only in this way its rhythm will be felt. Poetry is a sopken and not a written art.

The Imagist poets did not represent a clique. Several of them were personally unknown to the others, but they were united by certain common principles. They say these principles were not new. And they, by means of their poetry and propaganda, have created a considerable impression on the reading public and on many other writers. They were young and experimentalists.

Glenn Hughes says that Imagism may be characterized as the best-organized and most influential "movement" in English poetry since the activity of the Pre-Raphaelites.

William Butler Yeats says that the only real Imagist was the Creator of the Garden of Eden.

It is a great thing to be natural and exact. The Imagist poets wanted to be most natural and most exact.

Here the quality of Amy Lowell's poetry will be introduced. She was called a Brahmin of the Brahmins, born to wealth, high culture, and intellectual interests. These matters are important in any estimate of Amy Lowell, because they influenced her environment and heredity and childhood to womanhood.

In 1913, in London, she met Ezra Pound, the father of Imagism and martyr for modern poetry. Pound's theories interested her profoundly. And she became indentified with the movement of Imagism, and after Ezra Pound abandoned the movement, she assumed active leadership. Thus, she was one of the most important imagist poets. It was in this phase that her most characteristic poems were written in free verse fine in technique. But her technical experimentation includes not only the modes of the Imagists but also "polyphonic prose," a free verse method of which she and John Gould Fletcher are the leading exponents. Amy Lowell was the discoverer of "polyphonic prose" and John Gould Fletcher, one of the most important imagist poets, invented the word. And then she wrote narrative poems. Her work dealt with sensible images, particularly visual ones. And these beautiful images attracted wide attention.

In addition, I have introduced that she was profoundly influenced by ancient Chinese literature and Japanese arts, hokku, and tanka. She translated some poems of Li Tai Po, Tu Fu and other Chinese poets. In short, Amy Lowell devoted her life to writing poetry and to waging a continuous war for the cause of poetry, fighting for vers libre and polyphonic prose. The quality of Amy Lowell's poetry consists in vers libre and polyphonic prose with sensible images, particularly visual ones.

Here I want to introduce and criticize T.E. Hulme as the first imagist poet and the imagist movement's theorist. In his well-known essay, "Romanticism and Classicism", he put a purely literary question into an ethical and metaphysical setting, Hulme's youthful intelligence had found itself in revolt against romanticism. Hulme regards religious attitude as a basic human need, parallel to appetite and the instinct of sex. In a semiphilosophic and semiliterary attitude he rejects vital art and advocates geometrical art. The imagist poets insist that "the exact word, not the nearly-exact, not the merely decorative word" should be employed, and they believe that concentration is of the very essence of poetry. "Poetry is a sort of inspired mathematics."

Here T.E. Hulme's view of life and the world will be introduced. He says n his "Cinders", that "there is a difficulty in finding a comprehensive Scheme of the cosmos, because there is none. The cosmos is only organized in parts; the rest is cinders." It is suggested that there is no such thing as in absolute truth to be discovered. All general statements about truth are in he end only amplifications of man's appetites. Accordingly Hulme is not concerned with the scientific examination of propositions or with the structore of an impartial, comprehensive method. His concern is with the propagation of his personal Weltanschauung which is not scientific, impartial or comprehensive., He uses the Weltanschauung to mean a complex of ideas and feelings that comprises his personal convictions about the nature of man, like and the world. In this sense he is not a philosopher. Under the immediae influence of Bergson he was insisting that philosophy is an art not a science and predicting with belligerent self-confidence the break-up of Renaissance humanism. His work is an attempt to formulate a system of preferences, purposes and principles governing action and giving life both unity and meaning. He is a metaphysician whose thinking is based on the unargued premise of his own personal convictions about god, man and the world. He reveals a characteristic distrust of rationalism and rejected the logical methods of reason and analysis more proper to a philosopher. He dismisses logic as simply a means of passing from a certain premise to certain conclusions. No one ever thinks of Hulme without thinking of Original Sin. Certainly he held with passionate conviction the view that "man is by nature bad or limited," and on this assumption rests his thinking in philosophy, history, politics, art and poetry. Moreover, everything that he most disliked in these fields he saw as springing from the opposite conception of the nature of man as being intrinsically good, spolit by circumstance. Hereupon he advocates religious attitude. But he was not completely free from Victorianism as a poet or as a thinker.

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