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In spite of his fast-changing intellectual trajectories, T. E. Hulme (1883-1917) tends to be neatly labeled as a precursor of Imagism and Classicism (more precisely, ‘Classicist Modernism’) in many literary histories. This labeling helps literary historians place or demarcate Anglo-American Modernism conveniently in their historical narratives, but the convenience comes with a cost. For example, Hulme the Bergsonian disappears from the view even though his inadvertent Romanticism, as exemplified in his celebration of the French philosopher’s romantic concept of intuition, serves as one of the foundations of his poetic theory. Here, Hulme’s much anthologized essay “Romanticism and Classicism” is a case in point. Although it is often hailed as a seminal text of Modernism, it holds on to Romantic notions of poetry emphasizing individuality and subjectivity; the Hulme of “Romanticism and Classicism” is a transitional figure straddling Romanticism and what is to become Classicist Modernism. In fact, what has been rather uncritically viewed as Hulme’s Classicist and Imagist position is a faithful reflection of his age, and accordingly, he can be seen as a site in which the intellectual currents of the late nineteenth and early twentieth century collide, disappear and/or merge. As a whole, Hulme’s writings reveal how promptly he mirrors his turbulent and dynamic age rather than expressing his own original perspectives or individuality, whether philosophical or literary. It is precisely this lack of originality--“impersonality” if we borrow T. S. Eliot’s term--that makes him significant and ‘useful’ in delving into the dynamic nature of Anglo-American Modernism in its early phase.