"acquired constitution of the soul" of the poet but also the genius of the
age is in marked contrast to some of the theories held by contemporary
"imagists." As we have already noted, in Chapter II, they stress the
individual reaction to phenomena, at some tense moment. They discard, as
far as possible, the long "loop-line" of previous experience. As for
diction, they have, like all true artists, a horror of the _cliche_--the
rubber-stamp word, blurred by use. As for rhythm, they fear any
conventionality of pattern. In subsequent chapters we must look more
closely at these matters of diction and of rhythm, but they are both
involved in any statement of the principles of Imagist verse. Richard
Aldington sums up his article on "The Imagists"
[Footnote: "Greenwich Village," July 15, 1915.]
in these words:

"Let me resume the cardinal points of the Imagist style:
1. Direct treatment of the subject. 2. A hardness and economy of speech.
3. Individuality of rhythm; vers libre. 4. The exact word. The Imagists
would like to possess 'le mot qui fait image, l'adjectif inattendu et
precis qui dessine de pied en cap et donne la senteur de la chose qu'il
est charge de rendre, la touche juste, la couleur qui chatoie et vibre.'"

In the preface to _Imagist Poets_ (1915), and in Miss Amy Lowell's
_Tendencies in Modern American Poetry_ (1917) the tenets of imagism are
stated briefly and clearly. Imagism, we are told, aims to use always the
language of common speech, but to employ always the exact word, not the
nearly-exact nor the merely decorative word; to create new rhythms--as the
expression of new moods--and not to copy old rhythms, which merely echo
old moods; to allow absolute freedom in the choice of a subject; to
present an image, rendering particulars exactly; to produce poetry that is
hard and clear, never blurred or indefinite; to secure condensation.