ZHANG Tongzhu. On the Divergence of Imagism and Pound's Contribution to “Image”[J]. International Comparative Literature, 2023, 6(2): 87-95. doi: 10.19857/j.cnki.ICL.20236205
Citation:
ZHANG Tongzhu. On the Divergence of Imagism and Pound's Contribution to “Image”[J]. International Comparative Literature, 2023, 6(2): 87-95. doi: 10.19857/j.cnki.ICL.20236205
ZHANG Tongzhu. On the Divergence of Imagism and Pound's Contribution to “Image”[J]. International Comparative Literature, 2023, 6(2): 87-95. doi: 10.19857/j.cnki.ICL.20236205
Citation:
ZHANG Tongzhu. On the Divergence of Imagism and Pound's Contribution to “Image”[J]. International Comparative Literature, 2023, 6(2): 87-95. doi: 10.19857/j.cnki.ICL.20236205
Imagism played a key role in the development of modern English and American poetry. Hulme, Flint, Amy Lowell and others prepared for this movement, but there is no doubt that Pound was the most decisive character. As an excellent organizer, Pound built a momentum for the "Imagist school" by taking the journal Poetry as a model, and compiled "Des Imagistes." However, within the Imagist school, Pound became marginalized, which ultimately led to his departure. A few years later, the Imagist school came to an end. The article believes that this internal disagreement not only reflects an internal leadership dispute, but also reflects two core differences in the theoretical propositions of its members:whether to study only modern French poetic theory or also to study traditional Eastern poetry? Pound did not shy away from the French influence. The anthology published in 1914 directly adopted the French "Des Imagists" as its title. However, unlike Flint, he always denied that "Imagism" is subordinate to French Symbolism. Flint and Hulme(especially Hulme) were passionate advocates of Bergson's theory, and Hulme's advocacy of "image" as a poetic principle originated from Bergson's philosophy. Although Bergson valued "image," "image" is only an intermediary for him, ultimately leading to emotions and intuition. Following Bergson, Hulme regarded "image" as a kind of intermediary, and it was not until Pound that the "image" was seen as a unity of subjective emotions and objective objects with independent value, and thus it truly developed into "imagisme," becoming the "object" itself(subjective object). For this, Pound invented the French word "imagisme." So we infer that on the basis of Bergson and Hulme, Pound developed the concept of "image," granting it an independent theoretical status, thus promoting the development of poetics. The reason why Pound was able to further his understanding of "image" is due to his increasing understanding of Eastern culture and active absorption of its nutrients.
(法)柏格森:《时间与自由意志》,吴士栋译,北京:商务印书馆,2005年。[Bergson,Henri.Shijian yu ziyou yizhi(Time and Free Will).Translated by WU Shidong.Beijing:The Commercial Press,2005.]
[16]
——:《形而上学导言》,刘放桐译,北京:商务印书馆,1963年。[——.Xingershangxue daoyan(An Introduction to Metaphysics).Translated by LIU Fangtong.Beijing:The Commercial Press,1963.]