I should say (tho' I've said it before), that I was able to get into what Crane was doing by way of Mandelstam. I latched onto something distinctive in Mandelstam - something about the emotive-evocative integrity of the image, the way the image emerges from the poem as a kind of free-floating, self-sustaining entity. A lyrical salience or monad. Free-standing beauty. & then I noticed the same thing in some of Crane's short poems.
It is the imaged Word, that holds
Hushed willows anchored in its glow
- that's it all right, exactly. Crane built on that to make a whole, integral long poem - a bridge-span.
(Curiously parallel to Pound's attempted extension of the Imagist photo into ideogram-montage.)