Editing Imagism (section)

==Legacy==
Despite the movement's short life, Imagism would deeply influence the course of [[modernist poetry in English]]. Richard Aldington, in his 1941 memoir, writes: "I think the poems of Ezra Pound, H.D., Lawrence, and Ford Madox Ford will continue to be read. And to a considerable extent T. S. Eliot and his followers have carried on their operations from positions won by the Imagists."<ref>Smith, Richard. "Richard Aldington". Twayne, 1977. p. 23. {{isbn|978-0-8057-6691-2}}</ref>

On the other hand, the American poet [[Wallace Stevens]] found shortcomings in the Imagist approach: "Not all objects are equal. The vice of Imagism was that it did not recognize this."<ref>Enck (1964), p. 11</ref> With its demand for hardness, clarity and precision and its insistence on fidelity to appearances coupled with its rejection of irrelevant subjective emotions Imagism had later effects that are demonstrable in [[T. S. Eliot]]'s ''Preludes'' and ''Morning at the Window'' and in Lawrence's animal and flower pieces. The rejection of conventional verse forms in the nineteen-twenties owed much to the Imagists' repudiation of the [[Georgian Poetry]] style.<ref>Allott, Kenneth (ed.) (1950). ''The Penguin Book of Contemporary Verse''. Penguin Books. (See introductory note.)</ref>

Imagism, which had made free verse a discipline and a legitimate poetic form, influenced a number of poetry circles and movements. Its influence can be seen clearly in the work of the [[Objectivist poets]],<ref>Sloan (1987), pp. 29–43</ref> who came to prominence in the 1930s under the auspices of Pound and Williams. The Objectivists worked mainly in free verse. Clearly linking Objectivism's principles with Imagism's, [[Louis Zukofsky]] insisted, in his introduction to the 1931 Objectivist issue of ''Poetry'', on writing "which is the detail, not mirage, of seeing, of thinking with the things as they exist, and of directing them along a line of melody." Zukofsky was a major influence on the [[Language poets]],<ref>Stanley (1995), pp. 186–189</ref> who carried the Imagist focus on formal concerns to a high level of development. In his seminal 1950 essay ''Projective Verse'', [[Charles Olson]], the theorist of the [[Black Mountain poets]], wrote "One perception must immediately and directly lead to a further perception",<ref>Olson (1966), p. 17</ref> his credo derived from and supplemented the Imagists.<ref>Riddel (1979), pp. 159–188</ref>

Among [[Beat Generation|the Beats]], [[Gary Snyder]] and [[Allen Ginsberg]] in particular were influenced by the Imagist emphasis on Chinese and Japanese poetry.{{cn|date=January 2022}} Williams also had a strong effect on the Beat poets, encouraging poets like [[Lew Welch]] and writing an introduction for the book publication of Ginsberg's ''[[Howl (poem)|Howl]]'' (1955).