Masterpieces of Imagism Poetry

Because most imagist poets have experienced symbolic poetry creation, some people in the theoretical circle regard imagism as a branch of symbolism. In fact, imagist and symbolist poetry are very different in essence. Imagism is not satisfied with symbolism to find the metaphorical meaning and symbolic meaning behind the image by guessing, and is not satisfied with finding the mysterious relationship between the image and the thought, but to make poetry reflected in the description of the image in an instant. It advocates using vivid images to restrain feelings, not preaching, not abstract lyricism and unreasonable. Therefore, Imagist poetry is short, pithy and vivid. A poem often has only one image or several images.

Although symbolism also uses images, both of which regard images as "objective counterparts", symbolism regards images as symbols and pays attention to association, suggestion and metaphor, making images into codes to be translated. Imagism, on the other hand, is "from symbolic symbols to the real world", focusing on the image itself of poetry, that is, concreteness. Let emotions and thoughts merge in the image, which is naturally reflected in an instant without thinking.

Origin of development

Imagist poetry is a literary movement initiated and put into practice by some British and American poets from 1909 to 19 17. It was a branch of symbolism literature movement prevailing in the western world at that time. From the Book of Changes, Zhuangzi, The Book of Songs and Li Sao to Wen Xin Diao Long, Tang poetry and Tang and Song poetry, the image theory has experienced a long development process in theory and practice.

At the beginning of the 20th century, under the rich, implicit and vivid influence of French symbolism and China's classical poetry images, some writers and critics, represented by American poets Pound and Amy Lowell, English poets Thomas Hume and richard aldington, started a poetry movement against abstract preaching and outdated themes and expressions.