Evadne by H. D.

Evadne, a mortal woman from Greek mythology, captured the affection of Apollo and became the mother of Iamos, a renowned seer. She is mentioned in Pindar's Sixth Olympian Ode. H.D. reinterprets this character, leaving out the narrative of her son and centering solely on her passionate encounter with the god.

It feels like a ritual chant or a formal declaration of identity, reminiscent of ancient hymns and prayers. By repeating her name, Evadne claims her identity and presence — she isn't merely a passive figure in Apollo's tale; she is the one speaking, the subject, the one who remembers.

H.D. was an Imagist who focused on concrete, sensory details. By likening Apollo's hair to a crocus flower and his body to a handful of yellow blooms, she transforms the divine into something physical and tangible. This also ties him to his own imagery—sunlight, gold, and nature—without resorting to abstract language.

It serves a dual purpose. It conveys "even now," indicating that the feeling is still present, not merely a distant recollection. Additionally, it evokes a sense of stillness, as if the speaker is taking a moment to quietly focus on what her body experiences. This single word is the pivotal element around which the entire poem revolves.

It feels more like possession than loss. Evadne doesn't grieve for Apollo's absence. Instead, the last stanza emphasizes that her hands and skin still carry the experience. The poem suggests that a powerful encounter becomes a lasting part of the body.

Imagism was a literary movement from the 1910s that advocated for poetry constructed from clear images, using free verse and avoiding unnecessary words. "Evadne" exemplifies this approach perfectly: it lacks a rhyme scheme, avoids abstract moralizing, and each line conveys a distinct texture, temperature, or sensation — like crisp hair, cool cress, and the brush of skin.

H.D.'s Greek world isn’t filled with marble statues and a remote Olympus — it’s wet, fragrant, and grounded in the earth. By describing Apollo through flowers, rivers, and plants, he shares a connection with Evadne. This approach levels the playing field, making their encounter feel more natural than supernatural.

"Erotos" is the genitive form of Eros, the Greek god of desire, so "Erotos bank" refers to a riverbank that belongs to Eros—a river of desire. By placing the cool silver cress there, it connects the natural world directly to erotic feelings, implying that desire and nature share a similar kind of force.