It is social.
It feels the need for violent motives of faith, and finds them in the passion of the cities.
It cultivates a scientific technique.
It does not reject any words in forming a vocabulary.
It seeks swift, hurtling, dynamic rhythms.
It is based on “dynamic notions of qualitative duration, of heterogeneous continuity, of multiple and mobile states of consciousness.”
It perceives the elements of poetry contained in modern cities, locomotives, aëroplanes, dreadnoughts, and submarines; in a stock exchange, a Wall Street, or a wheat pit; and in every scientific marvel and in the sonorous song of factories and railways.
It emphasizes their dynamic consciousness.
To sum up: It aims to attain and express with the quick, keen vigor and strength of steel, the whirling, audacious, burning life of our epoch in all the paroxysm of the New Beauty.
When M. Beauduin’s new volume, La Cité des Hommes, is translated and published in America, it will be less difficult to estimate the success with which paroxyst poetry may be achieved.