ABSTRACT
"Revery" is without the doom and the polemics of expressionist diction, its expressionism is rather, as will be seen, that of "blue" painting; in diction it is still symbolist; add to that its French impressionism, and one sees the folly of pigeonholing a poet under any exclusive classification. Symbolism and expressionism are the pigeonholes usually applied to George and Heym respectively, as if both were not both. The transplanter of "Revery" has retained Heym's characteristic division into quatrains and his unchacteristic alternation of unrhymed feminine endings with rhymed masculine ones. The American avant-garde, once associated with anti-form, reached full circle in 1974 when Theodore Solotaroff, founder of a leading avantgarde magazine, admitted: "New consciousness does not necessarily require new forms in literature". American readers must bear in mind that in our language blue often lacks the connotation of ethereal yearning; think only of unethereal "blue movies".
