摘要：The depictions of ancient artifacts in H.D.'s poems have long been a signal of her interest in Hellenism, yet her engagement with antiquity exceeds the classical allusions to mythic characters common among modernist poets. Instead, she names ancient cities and ports, re-enacts rituals, and culls details of authentic dress from friezes, coins, inscribed gems, and vase paintings. She describes weaponry and architecture with precision, and demonstrates fluency with the flora, fauna and landscape details of the Mediterranean. More than Classical appreciation for the ancient world, H.D. exhibits an anthropological appreciation, filled with archaeological details. H.D. was not the only artist of her time pressuring the material remnants of antiquity with new questions: in those first Imagist editions of Poetry magazine in late 1912, both Pound and Aldington published poems featuring museum artifacts.1And other critics have underscored they way that the highly publicized excavation sites of Arthur Evans at Knossos and Heinrich Schliemann at Troy impacted the imaginations of modernist writers.2They began to wonder, like no others before, "what it might mean to believe that the Odyssey was composed by a real person in touch with the living details of real cities, real harbors, real bowls and cups and pins and spoons, real kings, real warriors, real houses" (Kenner 47). Interest in the sociological concerns of culture—the nature of community formation, the stability of civilizations, the necessity of warfare—grew alongside the more conventional aesthetic investment in classical constructions of beauty and truth that Keats once found central to his interaction with the Grecian urn
