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By Brian Trehearne

Trehearne observes that during so much instances the cultured effect used to be sustained during the whole profession of the poets whose paintings he examines. even though later laid low with the Modernists, their works endured to be formed and special by means of an early Aesthetic education. with regards to A.J.M. Smith, for instance, his preliminary thematic and stylistic Aetheticism impacts his mature serious pronouncements. John Glassco, who used to be encouraged by way of the cultured and Modernist rules all through his occupation, created a special type of Aesthetic glossy poetry. Trehearne's new readings of significant and minor Canadian poets make Aestheticism and the Canadian Modernists a crucial textual content within the review of Canadian literary historical past from a latest element of view.

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Extra resources for Aestheticism and the Canadian Modernists: Aspects of a Poetic Influence

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Pound's) three rules published in Poetry (Chicago) offer a foundation for most studies,28 although their vagueness and generality have led many critics to look elsewhere for exact definitions of Imagism, and they will serve the purpose for the time being. 29 Impressionism surfaced when Pater licensed the pursuit of "moments for their own sake," without consideration of their value in any other than an aesthetic sense. Such seizing of "moments" is another example of the Aesthetic attempt to submit to and yet to stabilize the Heraclitean flux of which Pater had made so much in his Conclusion to The Renaissance and his Marius the Epicurean.

A frequently expressed scepticism about his own ability to live life nobly brings to the poet's fear of death a sharp edge, as in the stark vision of "Cedars": ... we shall remember ... When we quiet our clamour, and, awaiting the echo, Choke for the air, and it is not, and mocks us, And our head sinks down and we cannot raise it, Holding our hand behind us, hoping that life may come and take it yet; And the soul floats high, and will not see, Cannot even smile. E. Ross and Raymond Knister and beauty are entwined in a strange perpetual dance, so that the striking image often leads to thoughts of death, or fear of death to a regret for the loss of beauty.

The Poundian? The "Amygistic"? Williams's Imagism? Did they receive it passively or develop it in directions that we can now delineate? If the latter, how far did they go? These questions lurk behind the conventional assessments of the two poets, but they have yet to be broached, much less answered. Imagism was a movement always tending away from a nuclear and restrictive definition that was, I shall suggest, the Poundian Image. Only a few poems by Pound, Lowell, and Richard Aldington could be called Imagist if that purist definition were enforced, so it is quite obvious that Imagism must be defined more flexibly in order 4O Aestheticism and the Canadian Modernists to have meaning.

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