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16 Sep 2014, 01:53
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The new approach to poetry that emerged between 1900 and 1920 sought to put aside the sentimentality and strict obedience to established forms that had characterized the Victorian poets of preceding decades. Many poets in both the United States and Europe had begun to experiment with free verse – poetry that does not adhere to set standards of rhyme or rhythm – and several magazines were founded in order to publish this “new poetry.” It was not until 1912, however, that the first real school of new poetry emerged from the chaos of experimentation.
With only a handful of adherents, but access to the editorial department of a key American literary magazine, Ezra Pound created and sustained Imagism by mere declaration. Pound, an American poet living in London, had at first opened lines of communication with a small group of English poets who combined deep appreciation for Japanese verse forms, such as haiku, with experiments in free verse.
Although Pound was briefly aligned with this group, he soon found greater artistic affinity with Richard Aldington, a fledgling English poet, and Hilda Doolittle, who signed her poems “H.D.” One of H.D.’s first poems, “Hermes of the Ways,” so delighted Pound with its crystal clear images and lack of ornamentation that he assigned her the penname “H.D., Imagist” and sent the poem immediately to the U.S. for publication in the magazine Poetry, for which he was serving as foreign editor.
In a later issue of Poetry, Pound articulated the guiding principles of Imagism, stressing that poets should treat objects directly, use no words that do not contribute to the presentation, and write according to the rhythm of the words rather than an accepted poetic form. In addition to his work with literary periodicals, Pound also edited an anthology of Imagist poems in 1914. Ironically, however, his insistence that no explanation of the Imagist movement be offered in the anthology backfired; readers did not understand that Pound and his Imagists were experimenting with a new form of poetry, and many of the anthologies were returned to the publisher.
The section at the end of the first paragraph most clearly implies which of the following about new poetry movements before 1912?
"Many poets in both the United States and Europe had begun to experiment with free verse – poetry that does not adhere to set standards of rhyme or rhythm – and several magazines were founded in order to publish this “new poetry.” It was not until 1912, however, that the first real school of new poetry emerged from the chaos of experimentation."
A. Although many poets had begun to experiment independently with free verse, there were no clearly defined movements before Imagism.
B. Movements adhered strictly to the established forms that had characterized Victorian poets.
C. Although many poets had begun to experiment with free verse, none was successful enough to achieve lasting recognition.
D. The sheer number of new poetry movements in the United States and Europe created chaos.
E. Many movements founded magazines in which to publish their experiments with free verse.
With only a handful of adherents, but access to the editorial department of a key American literary magazine, Ezra Pound created and sustained Imagism by mere declaration. Pound, an American poet living in London, had at first opened lines of communication with a small group of English poets who combined deep appreciation for Japanese verse forms, such as haiku, with experiments in free verse.
Although Pound was briefly aligned with this group, he soon found greater artistic affinity with Richard Aldington, a fledgling English poet, and Hilda Doolittle, who signed her poems “H.D.” One of H.D.’s first poems, “Hermes of the Ways,” so delighted Pound with its crystal clear images and lack of ornamentation that he assigned her the penname “H.D., Imagist” and sent the poem immediately to the U.S. for publication in the magazine Poetry, for which he was serving as foreign editor.
In a later issue of Poetry, Pound articulated the guiding principles of Imagism, stressing that poets should treat objects directly, use no words that do not contribute to the presentation, and write according to the rhythm of the words rather than an accepted poetic form. In addition to his work with literary periodicals, Pound also edited an anthology of Imagist poems in 1914. Ironically, however, his insistence that no explanation of the Imagist movement be offered in the anthology backfired; readers did not understand that Pound and his Imagists were experimenting with a new form of poetry, and many of the anthologies were returned to the publisher.
The section at the end of the first paragraph most clearly implies which of the following about new poetry movements before 1912?
"Many poets in both the United States and Europe had begun to experiment with free verse – poetry that does not adhere to set standards of rhyme or rhythm – and several magazines were founded in order to publish this “new poetry.” It was not until 1912, however, that the first real school of new poetry emerged from the chaos of experimentation."
A. Although many poets had begun to experiment independently with free verse, there were no clearly defined movements before Imagism.
B. Movements adhered strictly to the established forms that had characterized Victorian poets.
C. Although many poets had begun to experiment with free verse, none was successful enough to achieve lasting recognition.
D. The sheer number of new poetry movements in the United States and Europe created chaos.
E. Many movements founded magazines in which to publish their experiments with free verse.
21 Jan 2018, 13:43
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Quote:
You can say the same thing about B: "Promote new and talented poets."
Not once is this stated in the passage as a goal of imagism. The explanation says:
Quote:
His goal was to promote a distinctly Imagist style of poetry, not a new and talented poet.
Case 1: He is excited about Japanese verse form, because he can leverage it to promote Imagism
Case 2: He is excited about the new poets, because he can leverage their new style to promote Imagism
You have to jump through the same assumption hoops in both cases.
BrulesRules
Joined: 11 Jul 2017
Last visit: 25 May 2019
Posts: 7
Given Kudos: 1
Location: Canada
Schools: Tuck '21 (A) Stern '21 (A)
GMAT 1: 760 Q48 V47
GPA: 3.3
24 Aug 2018, 12:59
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the question regarding "goals of imagism", or more specfiically, the answer choices and explanations given, are one of the poorest attempts at simulating a GMAT question that i've come across - i apologize if this comes off rude as i dont mean to offend.
but the connection drawn in the explanation for answer b) , the explanation that the sentence "one of H.D.’s first poems, “Hermes of the Ways,” so delighted Pound with its crystal clear images and lack of ornamentation that he assigned her the penname “H.D., Imagist” and sent the poem immediately to the U.S. for publication in the magazine Poetry" , infers that "Promot[ing] new and talented poets" was a goal of imagism is such a stretch that it would be an immediate incorrect answer on the GMAT.
perhaps it would be valid, were the question asking about, "the ways Pound promoted Imagism", or "what contributed to Pound's significance in the movement of the New Poetry", anything along these lines.
for this topic (goals of imagism), from Pound's "insistence that no explanation of the Imagist movement be offered in the anthology...", it would just as likely, if not more so that one of the goal's of Imagism was precisely NOT to promote talent but rather keep a low-profile, and meaningfully contribute to the New Poetry movement WITHOUT calling attention to the poets [promoting them].
This question honestly does more harm than good for students trying to get a feel for what the gmat tests. the gmat tests sound logic and inference, and specifically penalizes making inferences based on other inferences not included in the test. for answer choice b) to be plausibly implied as a "goal of imagery", several such outside inferences need to be made.
PLEASE REMOVE THIS QUESTION - its not just a bad question, but actually a detriment to students' learning.
but the connection drawn in the explanation for answer b) , the explanation that the sentence "one of H.D.’s first poems, “Hermes of the Ways,” so delighted Pound with its crystal clear images and lack of ornamentation that he assigned her the penname “H.D., Imagist” and sent the poem immediately to the U.S. for publication in the magazine Poetry" , infers that "Promot[ing] new and talented poets" was a goal of imagism is such a stretch that it would be an immediate incorrect answer on the GMAT.
perhaps it would be valid, were the question asking about, "the ways Pound promoted Imagism", or "what contributed to Pound's significance in the movement of the New Poetry", anything along these lines.
for this topic (goals of imagism), from Pound's "insistence that no explanation of the Imagist movement be offered in the anthology...", it would just as likely, if not more so that one of the goal's of Imagism was precisely NOT to promote talent but rather keep a low-profile, and meaningfully contribute to the New Poetry movement WITHOUT calling attention to the poets [promoting them].
This question honestly does more harm than good for students trying to get a feel for what the gmat tests. the gmat tests sound logic and inference, and specifically penalizes making inferences based on other inferences not included in the test. for answer choice b) to be plausibly implied as a "goal of imagery", several such outside inferences need to be made.
PLEASE REMOVE THIS QUESTION - its not just a bad question, but actually a detriment to students' learning.
