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souvik101990
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09 Nov 2014, 10:34
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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 open 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.
Which of the following is NOT explicitly stated as a formal principle or goal of Imagism in the passage
A. Challenge accepted standards for poetry
B. Promote new and talented poets
C. Concentrate on objects over ornate speech
D. Experiment with free verse
E. Praise Japanese verse forms
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 open 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.
Which of the following is NOT explicitly stated as a formal principle or goal of Imagism in the passage
A. Challenge accepted standards for poetry
B. Promote new and talented poets
C. Concentrate on objects over ornate speech
D. Experiment with free verse
E. Praise Japanese verse forms
souvik101990
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Location: United States (WA)
Concentration: Leadership, General Management
Schools: Ross '20 (M)
GMAT 1: 760 Q50 V42
GMAT 2: 740 Q49 V42 (Online)
GMAT 3: 760 Q50 V42 (Online)
GPA: 3.8
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Expert reply
09 Nov 2014, 10:35
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Official Solution:
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 open 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.
Which of the following is NOT explicitly stated as a formal principle or goal of Imagism in the passage
A. Challenge accepted standards for poetry
B. Promote new and talented poets
C. Concentrate on objects over ornate speech
D. Experiment with free verse
E. Praise Japanese verse forms
Answer: E
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 open 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.
Which of the following is NOT explicitly stated as a formal principle or goal of Imagism in the passage
A. Challenge accepted standards for poetry
B. Promote new and talented poets
C. Concentrate on objects over ornate speech
D. Experiment with free verse
E. Praise Japanese verse forms
- A. Challenge accepted standards for poetry
Explanation: The passage describes the broader movement away from the "sentimentality and strict obedience to established forms" that characterized Victorian poetry, indicating a clear intent to challenge accepted standards. This spirit of challenging established norms aligns with the principles of Imagism, which sought to forge new paths in poetic expression.
- B. Promote new and talented poets
The main problem with this choice is that it is not a goal of the Imagism. Promotion of new poets was a consequence/side effect. There are references to promoting poets but those reference were not goals.
More detailed view: The passage discusses Ezra Pound's efforts in publishing works by poets like H.D. and Aldington, which indeed indirectly promotes new and talented poets. However, this activity is shown as part of Pound's work and contributions to Imagism and literary circles rather than being explicitly mentioned or cited as a goal Imagism. This creates a nuanced distinction where the promotion of new poets is more of an outcome as the result of actions taken by Pound rather than an explicitly stated goal of Imagism.
- C. Concentrate on objects over ornate speech
Explanation: Pound articulated the guiding principles of Imagism in "Poetry" magazine, stressing that poets should "treat objects directly" and use "no word that does not contribute to the presentation." This directive emphasizes a focus on objects and a rejection of unnecessary ornamentation, clearly aligning with Imagism's formal principles as stated in the passage.
- D. Experiment with free verse
Explanation: The passage mentions that many poets had begun to "experiment with free verse" as part of the broader movement away from Victorian conventions. While this context is associated with Imagism, the explicit principles articulated by Pound focus more on the direct treatment of the subject and economy of language rather than free verse itself. However, the affinity for free verse is implicit in the rejection of established rhyme and rhythm schemes, making this answer somewhat related but less directly stated as a formal goal compared to others.
- E. Praise Japanese verse forms
Explanation: Early in the passage, there's mention of a small group of English poets, including Pound, who appreciated Japanese verse forms like haiku. However, praising Japanese verse forms is not listed as a formal principle or goal of Imagism. Instead, this appreciation influenced the movement's stylistic experiments. This answer choice, similar to (b), does not reflect a principle explicitly stated as part of the Imagist movement within the passage.
Answer: E
