A term to describe a poem which relies upon 'throwing a visual image on the mind'.
In “Exile’s Letter,” Pound found a language purged of the Decadent poeticality of chinoiserie, a modernist bareness:
"And if you ask how I regret that parting:
It is like the flowers falling at Spring’s end
Confused, whirled in a tangle.
What is the use of talking, and there is no end of talking,
There is no end to things in the heart."