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Several critics have been intrigued by the gap between late Victorian poetry and the more “modern” poetry of the 1920s. It is my contention that a close analysis  of the poetry and criticism written in the first decade of the 20th century and  until the end of the First World War – excluding war poetry – will be rewarding  if we want to acquire a greater understanding of the transition.  The book is not meant as a total overview of the intellectual climate in England  from Tennyson to Eliot. Rather, it describes the development that took  place within art and literature – especially poetry – as a reaction against the  positivist attitude. Early in the 19th century, science came to be taken as the  opposite of poetry because the Romanticists conceived of the lyrical poem as  the outlet of the poet’s feelings. That attitude was dominant during the rest of  the 19th century.  To many readers and critics, T.E.Hulme represents little more thasn a footnote.  He is vaguely known as one of the precursors of the far more interesting  T.S.Eliot, for which reason some lip-service may be paid to him, but his own  achievement is hardly ever referred to.  Hulme and the Imagists represent an intermediary stage between Tennyson  and Eliot, but they are more than mere stepping-stones. Besides being experimenting  poets, most of them are acute critics of art and literature, prescriptively  as well as descriptively. Hulme’s theories are sketchy, his presentation not  infrequently confusing, and his poetry mostly fragments. The following pages  attempt to analyse his oeuvre, a material hardly anybody has taken the trouble  to consider in its entirety, He understood that some form of theory is a useful  accompaniment of poetic practice, and, like his Imagist friends, he made the  poetic image the focus of his attention. The Imagists were opposed not only to  the monopoly of science, scientia scientium, which claimed to be able to decide  what truth and reality “really” were, but also to the “Tennysonianisms”, which,  they felt, had made poetry predictable and insipid.    This book attempts to get to grips with the watershed.  I owe Professor Lars Ole Sauerberg my heartfelt gratitude for his advice,  encouragement and patience during the process of writing this book.

Between Positivism and T.S. Eliot : Imagism and T.E. Hulme