In answer to your last question, concerning H.D.,
her biographer, Janice Robinson, would say yes,
although, for Pound at least, the situation
was ambivalent.

According to Robinson, Pound and H.D. were engaged
long before H.D. came to England.  Yet when H.D.
arrived, at his behest, Pound broke off the engage-
ment.  He continued this on-again/off-again attitude,
throughout the process of encouraging her poetry,
and founding the school of "imagism".  Robinson
claims he went so far as to move in across the hall
from her immediately after she and Richard Aldington
got married, a situation which H.D. apparently found
quite distressing.

--- Brennen Lukas <[log in to unmask]> wrote:
> Rick,
>
> Thank you for expounding on Imagism/Amygism/Vortecism. I have
> a few other
> questions along the same lines:
>
> Can you explain Pound's original conception for imagism? How
> does that
> initial conception relate to French imagisme? What caused
> Pound to lose
> interest in his imagist movement, at least as it was first
> construed?
>
> Also, was Pound romantically linked to H.D. when he forwarded
> her poetry for
> publication, calling her an imagist poet?
>
> Brennen Lukas
> http://members.cox.net/blukas/frames_index.html
>
> >Pound's Image (vortex) was not a thing.  Amy Lowell's image
> was a thing.
> >Pound's Image was more a verb than a noun.  Amy Lowell never
> got the idea
> >and went blithering on about the image as a thing.  Her
> blithering
> >essentially created a separate school of imagism.  Amygism is
> not
> >necessarily bad poetry; it is simply not Pound's idea of
> Imagism.
> >
> >I think you mean to speak of "Luminous Detail".  A "Luminous
> Detail" is not
> >an Image, however "Luminous Detail" can be Imaged (vortexed)
> into a much
> >greater understanding by the individual reader.  It is this
> vortexed
> >(Imaged) luminous detail that is an essential feature of the
> ideogramic
> >method found in "The Cantos".
> >
> >
> >Rick Seddon
> >McIntosh, NM
>
>
>
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