 | 1961 - 692 psl.
[ Atsiprašome, šio puslapio turinio peržiūra yra ribojama ] | |
 | 1913 - 536 psl.
...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... | |
 | Harriet Monroe - 1913 - 248 psl.
[ Atsiprašome, šio puslapio turinio peržiūra yra ribojama ] | |
 | 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 psl.
...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 psl.
..."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 psl.
...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 psl.
...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 psl.
...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... | |
 | 1955 - 838 psl.
[ Atsiprašome, šio puslapio turinio peržiūra yra ribojama ] | |
| |
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. 
