F. S. Flint

 

 

French Chronicle

[Auszug]

 

People may laugh at M. Marinetti; but if they will take the trouble to consider his theories without prejudice – it is very stupid to have literary [360] prejudices – they might profit; and the beginning of the poetic art that is to fit in with the future mind, modified by machinery, might be made. Without going so far as M. Marinetti, we may ask ourselves what is the use, for instance, of logical syntax in poetry? Why we should have so absolute a respect for the integrity of words? Whether poetry will not finally develop into a series of emotional ejaculations, cunningly modulated, and coloured by a swift play of subtle and far-reaching analogies? Are we not really spellbound by the past, and is the Georgian Anthology really an expression of this age? I doubt it. I doubt whether English poets are really alive to what is around them. And, to betray myself completely, whether, perhaps, it is worth while being so alive. It is a question to consider and thresh out. There are so many old emotions to which we cling that it is legitimate to pause before we set out to transform ourselves into the fiends M. Marinetti would have us be, although it may be admirable to be a fiend.

 

*       *       *       *       *

 

But the French poet most confident of the future is M. Henri-Martin Barzun, the editor of Poème et Drame, in the May number of which he has published an art poétique d'un idéal nouveau. He is not, he says, founding a new school, but is formulating the æsthetic of a new era, the "era of drama." According to M. Barzun, the lineal, monodic, consecutive poetry of the past is doomed. It is impotent to express the multifarious life of our globe, and, whether neo-classic or vers libriste, its form is effete and inadequate. To take its place, M. Barzun has invented the simultaneous dramatic poem. The vers libre was a reform in length; the simultaneous poem will be a reform in depth. Like the chords in music, the voices of the world heard by the poet all around him and combined by poetic inspiration will be harmonised on a scale of verbal tones; the effects of rhyme, assonance, alliteration, echo, and other embellishments used in the symbolist æsthetic, will be heard and felt up and down the scale during the progress of the poem; and as the trained listener hears a symphony and disengages the different instruments and motives, so the voices in the simultaneous poem will be heard together as harmony and understood separately as sense; the listener must train himself to this; the printed poem will have the same value as the musical score. The whole poem will be a dramatic expression of the life of this planet, quintessentialised by the genius of the poet. Such, it seems to me, is the main outline of what M. Barzun proposes to do; but [361] until he has published his new book, L'Universel Poème, orphéide, en VII épisodes (voix, rythmes, et chants simultanés), it will be impossible to say how far he can carry his ideas into practice. If their realisation is possible, then poetry will become an art as rich as music, and still more complex, since, in addition to sound and emotion, it will deal with thought. It will also become, like music, an art requiring performers, or, for private enjoyment, a gramophone record: few will ever, I imagine, learn to read and enjoy the "score." But for a complete statement of M. Barzun's æsthetic, you must consult his essay, which, though confused and turbulent, is full of ingenious remarks.

 

 

 

 

Erstdruck und Druckvorlage

F. S. Flint: French Chronicle.

In: Poetry and Drama.
Jg. 1, 1913, Nr. 3, September, S. 357-362.
URL: https://archive.org/details/poetrydrama01monruoft

Gezeichnet: F. S. Flint.

Unser Auszug: S. 359-361.

Die Textwiedergabe erfolgt nach dem ersten Druck (Editionsrichtlinien).

 

 

Zeitschriften-Repertorium

 

 

Literatur

Apollinaire, Guillaume: Simultanisme – Librettisme. In: Les Soirées de Paris. 1914, Nr. 25, 15. Juni, S. 322-325. [PDF]

Barzun, Henri-Martin: Voix, rythmes et chants simultanés. In: Poème & drame. Anthologie internationale de la poétique, des arts et des idées modernes. 1913, Mai, S. 5-50.

Bergman, Pär: "Modernolatria" et "simultaneità". Recherches sur deux tendances dans l'avant-garde littéraire en Italie et en France à la veille de la première guerre mondiale. Uppsala 1962 (= Studia litterarum Upsaliensia, 2).

Brandmeyer, Rudolf: Poetiken der Lyrik: Von der Normpoetik zur Autorenpoetik. In: Handbuch Lyrik. Theorie, Analyse, Geschichte. Hrsg. von Dieter Lamping. Stuttgart u.a. 2011, S. 1-14.

Carr, Helen: The Verse Revolutionaries: Ezra Pound, H.D. and The Imagists. London 2009.

Chinitz, David E. u.a. (Hrsg.): A Companion to Modernist Poetry. Chichester 2014.

Davis, Alex u.a. (Hrsg.): A History of Modernist Poetry. Cambridge 2015.





Flint, F. S.: Recent Verse. In: The New Age. A Weekly Review of Politics, Literature, and Art. 1908, 26. November, S. 95-97.
URL: http://modjourn.org/journals.html

Flint, F. S.: Verse. In: The New Age. A Weekly Review of Politics, Literature, and Art. 1909, 9. Dezember, S. 137-138.
URL: http://modjourn.org/journals.html

Flint, F. S.: Contemporary French Poetry. In: The Poetry Review. Jg. 1, 1912, Nr. 8, August, S. 355-414.

Flint, F. S.: Imagisme. In: Poetry. A Magazine of Verse. Bd. 1, Nr. 6, März 1913, S. 198-200.
URL: http://modjourn.org/journals.html



Flint, F. S.: French Chronicle.
In: Poetry and Drama. Jg. 1, 1913, Nr. 1, März, S. 76-84.
URL: https://archive.org/details/poetrydrama01monruoft

Flint, F. S.: French Chronicle.
In: Poetry and Drama. Jg. 1, 1913, Nr. 2, Juni, S. 217-231.
URL: https://archive.org/details/poetrydrama01monruoft

Flint, F. S.: French Chronicle.
In: Poetry and Drama. Jg. 1, 1913, Nr. 3, September, S. 357-362.
URL: https://archive.org/details/poetrydrama01monruoft

Flint, F. S.: French Chronicle.
In: Poetry and Drama. Jg. 1, 1913, Nr. 4, Dezember, S. 473-484.
URL: https://archive.org/details/poetrydrama01monruoft

Flint, F. S.: French Chronicle.
In: Poetry and Drama. Jg. 2, 1914, Nr. 5, März, S. 97-106.
URL: https://archive.org/details/poetrydrama02monruoft

Flint, F. S.: French Chronicle.
In: Poetry and Drama. Jg. 2, 1914, Nr. 6, Juni, S. 211-220.
URL: https://archive.org/details/poetrydrama02monruoft

Flint, F. S.: French Chronicle.
In: Poetry and Drama. Jg. 2, 1914, Nr. 7, September, S. 302-304.
URL: https://archive.org/details/poetrydrama02monruoft

Flint, F. S.: French Chronicle.
In: Poetry and Drama. Jg. 2, 1914, Nr. 8, Dezember, S. 393-403.
URL: https://archive.org/details/poetrydrama02monruoft



Flint, F.-S.: Imagistes. In: Les Soirées de Paris. Jg. 3, 1914, Nr. 26/27, Juli/August, S. 372-383. [Gallica]

Flint, F.-S.: The History of Imagism. In: The Egoist. Bd. 2, 1915, Nr. 5, 1. Mai, S. 70-71.
URL: http://modjourn.org/journals.html

Jones, Peter (Hrsg.): Imagist Poetry. Harmondsworth u.a.: Penguin Books 2001 (= Penguin Classics).

Copp, Michael (Hrsg.): The Fourth Imagist. Selected Poems of F. S. Flint. Madison, NJ: Fairleigh Dickinson University Press u.a. 2007.

Copp, Michael (Hrsg.): Imagist Dialogues. Letters between Aldington, Flint, and Others. Cambridge: Lutterworth Press 2009.

Pondrom, Cyrena N.: The Road from Paris. French Influence on English Poetry, 1900 – 1920. Cambridge: University Press 2010.
Zuerst 1974; mit mehreren Texten von Flint.





Grant, Joy: Harold Monro and the Poetry Bookshop. Berkeley 1967.

Hamilton, P.T.: The Role of Futurism, Dada and Surrealism in the Construction of British Modernism 1910-1940. Oxford 1987.

Hibberd, Dominic: Harold Monro. Poet of the New Age. Basingstoke u.a. 2001.

Hibberd, Dominic: The New Poetry, Georgians and Others: The Open Window (1910–11), The Poetry Review (1912–15), Poetry and Drama (1913–14), and New Numbers (1914). In: The Oxford Critical and Cultural History of Modernist Magazines. Hrsg. von Peter Brooker u.a. Bd. 1: Britain and Ireland 1880-1955. Oxford 2009, S. 176-196.

Higgins, Jennifer: English Responses to French Poetry 1880-1940. Translation and Mediation. Leeds 2011.

Krzywkowski, Isabelle: Le Temps et l'Espace sont morts hier. Les années 1910 – 1920: Poésie et poétique de la première avant-garde. Paris 2006 (= Collection "Les aéronautes de l'esprit").
Kap. 4: Simultanéité (S. 87-111).

Krzywkowski, Isabelle: Épopée et avant-garde. L'exemple de "L'Orphéide" ou "L'Universel poème" de Barzun. In: Désirs et débris d'épopée au XXe siècle. Hrsg. von Saulo Neiva. Bern u.a. 2009, S. 57-74.

Levenson, Michael H.: A Genealogy of Modernism. A study of English literary doctrine 1908 – 1922. Cambridge u.a. 1984.

Somigli, Luca: Legitimizing the Artist. Manifesto Writing and European Modernism 1885-1915. Toronto 2003.

Wood, Jamie: 'On or about December 1910': F. T. Marinetti's Onslaught on London and Recursive Structures in Modernism. In: Modernist Cultures 10.2 (2015), S. 135-158.

 

 

Literatur: "1913"

Asendorf, Christoph: Widersprüchliche Optionen: Stationen der Künste 1913 In: Internationales Archiv für Sozialgeschichte der deutschen Literatur 38.1 (2013), S. 191–206.

Berranger, Marie-Paule: "À quoi bon les poètes en ces temps de détresse?" In: 1913: cent ans après. Enchantements et désenchantements. Hrsg. von Colette Camelin u. Marie-Paule Berranger. Paris 2015 (= Collection: Colloque de Cerisy), S. 289-324.

Brion-Guerry, Liliane (Hrsg.): L'année 1913. Les formes esthétiques de l'œuvre d'art à la veille de la première guerre mondiale. 3 Bde. Paris 1971/73.
Bd. 3 (1973): Manifestes et témoignages.

Camelin, Colette / Berranger, Marie-Paule (Hrsg.): 1913: cent ans après. Enchantements et désenchantements. Paris 2015 (= Collection: Colloque de Cerisy).

Chickering, Roger: Das Jahr 1913. Ein Kommentar. In: Internationales Archiv für Sozialgeschichte der deutschen Literatur 39.1 (2014), S. 137-143.

Dowden, Stephen D.: Vienna 1913: dans le vrai. In: Internationales Archiv für Sozialgeschichte der deutschen Literatur 38.2 (2013), S. 452-468.

Emmerson, Charles: 1913. In Search for the World before the Great War. New York 2013.

Erhart, Walter: Literatur 1913. Zeit ohne Geschichte? Perspektiven synchronoptischer Geschichtsschreibung. In: Internationales Archiv für Sozialgeschichte der deutschen Literatur 39.1 (2014), S. 123-136.

Hamburger, Michael: 1912. In: Ders., Reason and Energy. Studies in German Literature. London 1957, S. 213-236.

Hübinger, Gangolf: Das Jahr 1913 in Geschichte und Gegenwart. Zur Einführung in den Themenschwerpunkt. In: Internationales Archiv für Sozialgeschichte der deutschen Literatur 38.1 (2013), S. 172-190.

Illies, Florian: 1913. Der Sommer des Jahrhunderts. Frankfurt a.M. 2015 (= Fischer-TaschenBibliothek).

Jauß, Hans R.: Die Epochenschwelle von 1912: Guillaume Apollinaires 'Zone' und 'Lundi Rue Christine'. In: Ders., Studien zum Epochenwandel der ästhetischen Moderne. Frankfurt a.M. 1989 (= suhrkamp taschenbuch wissenschaft, 864), S. 216-256.

Johnson, J. Theodore: The Year 1913: An Interdisciplinary Course. In: Teaching Literature and Other Arts. Hrsg. von Jean-Pierre Barricelli u.a. New York 1990, S. 108-115.

Klausnitzer, Ralf: "Literarische Kunst". Richard Moritz Meyers Beobachtungen des Jahres 1913 und die Gegenwart der Vergangenheit. In: Internationales Archiv für Sozialgeschichte der deutschen Literatur 38.2 (2013), S. 514-539.

Kushner, Marilyn S. u.a. (Hrsg.): The Armory Show at 100. Modernism and Revolution. London 2013.

Mares, Detlev u.a. (Hrsg.): Das Jahr 1913. Aufbrüche und Krisenwahrnehmungen am Vorabend des Ersten Weltkriegs. Bielefeld 2014.

McFarland, Philip James: 1913. Reflections on a Number. In: Internationales Archiv für Sozialgeschichte der deutschen Literatur 39.1 (2014), S. 144-150.

Rabaté, Jean-Michel: 1913. The Cradle of Modernism. Malden, MA 2007.

Sautermeister, Gert: Kultur und Literatur in Deutschland und Bremen um 1913. In: Bremisches Jahrbuch 93 (2014), S. 105-120.

Schaefer, Barbara (Hrsg.): 1912 – Mission Moderne. Die Jahrhundertschau des Sonderbundes. Köln 2012.

Werner, Meike G.: Warum 1913? Zur Fortsetzung des Themenschwerpunkts "Das Jahr 1913 in Geschichte und Gegenwart". In: Internationales Archiv für Sozialgeschichte der deutschen Literatur 38.2 (2013), S. 443–451.

 

 

Edition
Lyriktheorie » R. Brandmeyer