Imagist group) were very much influenced by modern French symbolist poetry.” “The group died a lingering death at the end of its second winter.” “He (Pound) had made Imagism to mean pictures as Wyndham Lewis understands them; writing later for _T. P.’s Weekly_, “he made it pictures as William Morris understood them.” So much for the history of Imagism and the expansion of Mr. Ezra Pound according to Mr. F. S, Flint. One next learns with regard to Mr. Pound that “he will sincerely work over a few lines of _vers libre_.” He “tried to cultivate a sense of style, a feeling for words” ... “he began to try to make poetry out of the realities of existence.” ... “he is a ‘bookish’ poet.” ... “It is inevitable that the ‘improved’ and selected world which the Romantic poet creates should be composed, at least in part, of ideas, of declaration, of emotions derived from _extensive reading_.” If the prizes of this world ... were given to merit ... that poem deserves the prize usually reserved for some not too revolutionary “honest craftsman.” Thus Mr. Richard Aldington or Mr. Ezra Pound. Next as to “H. D.” “The poetry of H. D. has been described as a kind of “accurate mystery” ... “it has the precision of Goldsmith’s work.” “The things she (H. D.) has seen and the emotions she has felt have been transmuted in her mind into an unreality that reveals itself in images of an unsuspected virtue and in phrases that seem to owe nothing to common speech.” ... “A poet who will accept nothing that has not come to her direct.” ... “Her ceaseless scrutiny of the word and phrase.” “A tendency to pare and cut too far.” It is Mr. F. S. Flint who writes. From the next article one gathers that “every poet must seek anew for himself, out of the _language_ medium at his disposal, rhythms which are adequate and forms which are expressive of his own unique personality.” And again, “what will teach us most is our _language_ and life.” “He (Mr. Fletcher) is seen at his best where fancy, imagination, musical ingenuity, verbal magic, and a curious feeling for the landscape of Chinese painting are fused in an intriguing and quite beautiful lyric sequence.” Mr. Ferris Greenslet is writing on the poetry of John Gould Fletcher. I have quoted sufficient to indicate the history, aim, scope and methods of Imagism as set forth by the Imagists. Perhaps I should add an extract or two (also in inverted commas) from Mr. Harold Munro’s contribution.