H.D.’s Epic and Imagism
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My essay reads H.D.’s Trilogy as an emanation of her imagist spirit. Throughout her long-ranging career, she continues to maintain the principles of imagism, contrary to the mainstream critical tendency of bi-secting her oeuvre. While the early criticism foregrounds the period of imagism, the recent feminist critics mainly focus on her later long poems, denouncing male imagists’ and modernist critics’ confinement of and control over her texts. However, I suggest continuity between these seemingly disparate periods, appreciating her persistent characteristics of imagism. Trilogy does not so much obscure the earlier imagist impulse and techniques as it weaves them into a new pattern. Its repeated images, especially those of enclosure and opening, are as clear, sharp, precise, and even dynamic as in her earliest imagist poems, “Priapus” and “Hermes of the Ways.” Trilogy’s free verse dispenses with any consistent rhyme scheme or meter, but carries various chains of repeated sounds whose coherence and beauty create a unified web of meaning. Trilogy is an acknowledgement of the unity of H.D.’s career, depending both conceptually and technically on imagism.
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