- Aussi fort qu'autrefois... (Harlequin Azur) (French Edition)
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His passionate erotic lia. She inspired most of the love poems in "Etendards'' and "Case d Armons," but after ApoUinaire left Nlmes for the 1 front there was a rapid cooling off on her side-hence the growing notte of melanc. There followed a rapid courtship by letter, culminating in a proposal in. During this time he continued to correspond with Lou as well as Madeleine, but the majority of his love poems from May are inspired by Madeleine. The metaphoric connections that are woven so persistently between the battlefield and the distant object of the poet's dreams draw together two widely different realities and, by enlarging the poet's awareness of both, allow him to t: Remarkably, the escalating erotidsm of the poems is made to fulfill a sim- ilar function.
The whole violence of war is colored by the poet's sexual long- ing and becomes the expression, not of a destructive aim, but of a fierce cel- ebration of passion. This is not a Freudian hypothesis about the link between sex and aggression, but rather an attitude of quasi-religious awe at the convulsion which shakes humanity. It is an attempt to humanize and make sense of violence by see- ing it as an expression of a vital urge which ultimately transcends its death..
Undoubtedly the greatest challenge to his powers as a poet was that of finding a convincing form and style in which to convey his epic vision of the war, without insen. The solution is found in a constant striving to elevate events to a mythic dimension; beyond the notions of death and destruction. In other poems "Chant de! There is ample evidence in the poems from the last months of Apolli- naire's service that he was aware of the real horrors of war.
In the artillery the dugout had been, like the wood, a sym.. It is at once a definitive expression of the anarchy of war and yet, in the way the wild sweep of event: War for him was a total and complex experience whose contradictions can be reconciled only within a heightened poetic vision. His achievement is that his war poetry as a whole successfully embodies that vision. They are most fully elabotated in his famous lecture ''l'Esprit Nouveau et les Poetes" in November , whose central theme is the need for constant experiment and innovation if poetry.
The miracles achieved by contemporary science and technology are so staggering, according to Apollinaire, tha. To rival the achievements of the scientist. Through prophecy the artist will constantly be able to look into the unknown. This radical commitment to innovation is qualified by the statement that a modernist aesthetic should nevertheless seek to retain the finest elements of the past. U the new spirit inherits from Romanticism its restless quest for novelty, it must draw from classicism certain traditional qualities.
These concessions to tradi- tion, however, strengthen rather ,t han weaken a paean of praise which per- fornts the considerable rhetorical feat of bestowing on the avant-garde spirit both a cloak of heroic glamour and a mantle of authority. The ideas of ,.
L'Esprit Nouveau" form the very stuff of the last great poems of Calligra. Whereas the lecture was enthusiastic and confident, anxiety and uncertainty again invade the poems. More strikingly still, where the allian. It is sometimes said that this note of self-doubt is attributable to personal difficulties a. His head wound , had left him debilitated and frequently.
He also suddenly found himself elevated to the status of a recognized master for a whole new generation of poets, but he was uneasily aware that some of his disciples were prepared to be more radically iconoclastic than himself "hence some veiled criticisms in the lec- ture. As in the He can rightly claim to be the one poet above all others who unites the virtues of a long poetic tradition and those of a new phase of bold expertment and change.
In the depth of his vision and his consummate mastery of poetic language he is in complete continuity with the great poetry of the past. It is fitting that his poetic testament should be so lucid and poignant a recognition of his unique position. University of Stirling S.
Rails binding the nations We are only two or three men Free of all chains Let's join hands Violent rain combing the smoke Cords Woven. II y a un poem. Les Chabins chantent des airs a mourir Aux Chabines marronn. Archange aux ailes radieuses Ainsi le calcul au problerne Ainsi la nuit contre Ie jour Ainsi attaq.
High over Paris one day Two enottnous airplanes fought One was red and one was black Meanwhile in the zenith flamed The eternal solar plane One was all my youth And the other was the future They raged against each other So struggled with Lucifer The radiant-winged Archangel Thus calculation reckons with the problem Night strives against the day Thus what I love. From all natural t. Emanations et splendeurs Unique douceur hannonies ]e m'arrlte pour regarder Sur Ia pelouse z: We'll watch them ripe.
A nd I go with you along a road near Lyons I haven't forgotten the long-ago sound of a licorice vendor's bell Already I hear the shrill sound of that future voice Of the. A lors c'est vrai La serveuse rousse a ete enletJee par un libraire Un lournaliste que je connais d 'ailleurs tres vagueme. Six mirrors keep staring at one another I think we're going to get into an even worse mess Dear sir You are a crummy fellow That dame has a nose like a tapewonn Louise forgot her fur piece Well I don't have a fur piece and I'm not cold The Dane is smoking his cigarette while he consults the schedule The black cat crosses the restaurant Those pancakes were divine The water's running Dress black as her nails It's absolutely impossible Here sir The malachite ring The ground is covered with sawdust Then it's true The redheaded waitress eloped with a bookseller A journalist whom.
Postage Tout est ca. Sin ce the travckrs on the Espagne arc supposed j u. Postage Everything is qui e t here and we are awa iting eve nts. Que je lis assez bien dans la main Car je ne crois pas mais je regarde et quand c'est possible j'ecoute Tout le monde est prophete mon cher Andre Billy Mail il y a si long temps qu 'on fait croire aux gens Qu 'ils n'ont aucun avenir qu'ils sont ignorants a jamais Et idiots de naissance Qu'on en a pris son parti et que nul n'a meme l'idee De se demander s'il connaft l'avenir ou non Il n'y a pas d'espri.
Bonn to Beuel and disappears across Ptitzchen At the same moment A young girl in love with the mayor In another neighborhood Emulate poet the labels of perfumers In sum oh laughers you haven't gotten a great deal from men And scarcely have you obtained a little grease from their misery Bu. I'heureux musicien Corteges 6 corteges C'est quan: A vec de la fourrure aux poignets et aux chevilles n poussait des cris brefs Et saluait en ecartant gentiment les avant-bras Mains ouvertes a Une Iambe en arriere prlte Ia genuflexion 11 salua ainsi aux quatre points cardinaux Et quand i1 marcha sur une boule Son corps mince devint une musiqu.
Panado Et nous sommes tranquilles de ce cote-la Qu'est-ce que tu vois mon vieux M. Panado And we're not worried in that respect What do you see my old M. A rteres 1errov'lalres ou ceux qu. Batir et aussi agencer un univers nouveau Un marchand d'une opulence inoule et d'une ta'ille prodigieuse Disposait un- eta. Regiment d'artillerie de campagne devant l'ennerni, et le tirage a ete acheve le 17 juin The 1st edition of 25 copies of "Case d'Armons" was polygraphed on graph paper, in violet ink, by means of gelatin, at the battery of heavy guns 45th battery, 38th Regiment of field artillery facing the enemy, and the printing was completed June 17, Un seul bouleau crepusculaire Paut au seuil de thorizon Otl fuit Ia mesure angula.
A single twilit birch tree Pales on the horizon's sill Where flees the measured angle ,Of heart to soul and reason A blue gallop of mernories Traverses the lUac of eyes And the cannons of indolence Fire my dream. Shells popping Ehl Oh! Se montrent tour a tour Glint in turn v. Quelque alumrnzum ou tu t tngenaas A Umer jusqu 'au. Ia guerre C'etait un temps beni La. Edairent des formes de rive E. Swirl of Flies A cavalier ride.
Et des pms manttmes Mais le c. Et puis il y a aussi un. Ia beaute est-il done aussi vain Existes.. Un chat-huant ailes fa: A green mouse darts off through the moss The rice has scorched in the camp cooking pot The meaning of that is you h. Nuit violente et violette et sombre et pleine d'or par momen. Qui est Ia mere de la civilisation R.
Plus doux que n'est le miel et plus simples qu'un peu de t: Never and the heart alone is winner But do you see my memory As blindfolded she prepares t. U U ,t ,H U , La sentinelle au long. The sentinel with the long gaze the sentinel with the lingering gaze Come in the sow So so many scarlet poppies Where did all that blood come from He's not half chugalugging God bless the skunk he's rotten drunk With no vino and no brandy Just with wate. UTS visages etaient pales r.: M on amour est puiSsant 1 atme JUSqu '.: De nos ruches d'acier sortons a tire..
Provient de ce jardin exquis l'humanite A. You must be tired of startling the sky. Having lost my best friends in the frightful conflict I know of old and new as much. Critical works listed in the bibliography are referred to by the name of the author or, when m. Full references are given for works.
The italic type suggests that the poem. The assault of the modern world on the senses is suggested through clamorous sound 1. Apollinaire sometimes referred to this style as "telegraphic. Bells have been ringing for centuries and thus concentrate past time in themselves, as well as sounding out to one another over frontiers. Bridges between countries swarm with people of every tongue..
The vertical made horizontal occurs also in ''Les Fenetres"; "Les Tours ce sont les rues. Although lines seem to sum up the theme of the poem as a celebration of the bright new world of the senses. Far from having turned his back on melancholy and elegiac introspection, he declares himself to be as. The real theme of the poem.
A corrected proof of the catalogue, exhibited at the Galerie Louis Carre, December 17, January 17, and reproduced in Vriesen and lmdahl, p. The corrected proof is also reproduced in Omaggio ad Apollinaire Rome: Editions Ente Premi Roma, , pls. La Pala- tine, ], p. Adema and Decaudin resolve these conflicting stateme. Whether its point of departure be scraps of cafe witticisms or an atelier backdrop, all such external matter is digested in the finished poem, which is an undoubted creation of the poet's.
This same point is made by Adema, pp. Indeed, it was one of Apollinaire's favorites, an example, in his own. In November Les Soirees de Paris published an article by him which consists mainly of quotations from the painter's. A phrase in the condusion is particularly significant: The statement as a whole. Collage, anonymous voices, fragmentation, juxtapositions between space and time, are not new in Apollinaire's work, but in 1. Lockerbie has, in addition, pointed out parallels with Picasso',s early cubism [GA 51 pp. More convincing, as an indication of Delaunay' s relationship to the poem, may be the role of color words in lines 1 and 34; always chosen by Apollinaire for their rhyth- mic and emotional effects, they are, in the opening line of "Les Fenoetres,'' directly related to Delaunay' s ideas about color and about nin,eteenth-cen- tury color theories Greet.
But see also Lockerbie, The poet seems atypically absent from his own poem, except at the end when he shares in or takes over the painter's powers and the poe: The notion that the poem derives exclusively from external stimuli, however, has not as yet been satisfactorily clarified. The title, for example, sugg.
Aussi fort qu'autrefois... (Harlequin Azur) (French Edition)
Fragxnented lines may evoke Delaunay's atelier or his art 1, , ; the same and other lines may be interpreted as snatches of conversation overheard by the poet; and the role of place-names or of adjectives derived from place.. It is, however, Apollinaire's own overwhelming reaction to a painter's work, and not that work as such, which dominates this poem as well as the other two major poems. Here, the poem expresses a lyrical apprehension of space and time-and becomes a triumphant form of simultaneity.
A poetic transformation of the kind of nineteenth-century color theory Delaunay attacked discussed by Imdahl, in Vriesen and Imdahl, pp. Despite these conceptual implications, colors float. The style of these lines, while not so rhythmic and sonorous as that of line 1, can hardly be called prosaic when one considers the role of phonemes in lines , the imagery in lines , the mysterious tenninology of line 6, and its control over line 7.
Line 2 offers an immediate appeal to faraway places, which later on becomes at once more dominant and more p: The unspecified rain forest. They are associated, in turn, with the pihis of lines An association between a magical bird of some kind and telegrams emerges in calligraphic forrn in ''Voyage" OP, p. One can say that the pihi, the telegram, the con. Two disconnected observations of a type familiar to readers of uz " one.
Line 8 might refer to either present or past but, in the context of line 9, it probably refers to the past. The use of the past, in line 9, is significant because it fuses two possibilities -a fragment of conversation and a fragment of memory. The image of the window, here and at the end of the poem, evokes the series of window pictures by Delaunay, possibly one painting in particular. The use of the future 10 , present 11 , and imperfect 12 creates a sense of temporal simultaneity.
Spatial simultaneity may be stressed by the ambiguou. One thinks of an artist whose mediurn is paint rather than words. From the light created in line 12, the whole -o f 'line 13 seems to emerge. In the final version, beauty, paleness, and color are in ambivalent apposition. Thus one sees how, w. Another interjection, in familiar language.
The theme of time may have been triggered by the play on wo. Le Temps and La Liberte were newspapers. The puns juxtapose journalistic and poetic effects: Much has been written about this line. On one level it may con,- jure up objects in Delaunay's atelier, but its evocative power has other sources. The dominant impression created by these changes is that Apollinaire wanted to avoid the image of boots probably because of the shoes in I.
A secondary impression is that he was attracted by the possibility of adding to the unexpected assortment of marine life: One might counter that lotte comes from Iota which is also Hindu for a globular water jug and thereby circular Grand Larousse. The only likely reference in this line to Delaunay's paintings, however, is multiples Soleils some of the Fonnes circulaires were Soleils. In the same way the three- dimensional puits ''wells'' are transposed into two-dimensional places "city squares" and then back to three..
By contrast the same pun, ten years earlier, in uLa Tsigane, '' has an effect of 1yridsm and condensed ambiguities. Capresses, Chabins, Chabines are terms used in the Antilles mentioned in Here, l'oie "goosei' becomes the trumpeting cry of geese on their way northward and evokes enormous mysterious migrations. This line has caused much comment. An image of faceted sur- faces is seen simultaneously as reflecting light and also providing at least an illusion of depths. Not only is it associated with poem, poet, the globe itself, as well as the city lights of Vancouver and the glitter of the hurrying train, but it is n.
Apollinaire's modernism differs from that of his futurist friends by its lyricism. Trains always fascinated him. Here the image of tbe train emphasizes the flight of time. In the corrected proof a variant reads: And this fading of yellow may be related to the setting sun. Thus Une 34 has mo. The refrain that changes meaning with its context is a favorite technique of Apol- linaire's. Line 35, This line w. The place-names are spread out over two continents and, by impli. The original austere modernism of line 35 is so.
Apollinaire's poems inspired by the war were to reveal an increasing transformation of modem objects into poetically cha. Delaunay's own observation that color is the fruit of light Vriesen, in Vriesen and lmdahl, p. ApoUinalre seemingly resolves conflicting color theories by offering Delaunay and u. On a deeper level the whole poem, with its colors, its noises and voices, its far.. A travers Chagall, '' In Apollinaire et la peinture.
Les 11 Amis d' Apollinaire. A rbouin's article see n. Apollinaire had plans to publish these four poems, together with 'Lettre- Ocean,'' in mid under the title ''Et Moi Aussi Je Suis Peintre,," but the outbreak of the war frustrated his intention. At that stage the poems were still called ideogrammes lyriques. A satisfactory reading of '1'aysage, '' as of all the calligrams, has to see the poem as an integrated whole rather than as a succession of separate entities. The main difficulty here lies in the ambiguity of the shape beginning amants couches ensemble.
The text, on the other hand,: Some critics have understood this to be an allusion to the failure of love, visualized in the poefs own body, and thu. The most logical reading of the poem, in this case, would be to begin with the house and proceed in a dock wise direction to end with the spread-eagled shape.
The theme would de,a rly be the loss or death of love, which casts a shadow over a landscape that is shown. The use of a landscape setting to express, by COJ trast, the personal distress of the poet has many other parallels in Apollinaire' s poetry, not least in "Voyage," composed at exactly the sam,e time. JS 1over, then rising to salute. It is interesting to note, as far as the latter shape is concerned, that in the poem "Les Profon. Equally relevant is the fact t: The cigar and its smoke could thus be seen as an entirely appropriate linking device between the poet or the lovers and the landscape symbols at the top of the page Lockerbie, Scrutiny reveals many other detailed felicities: Not least, the breakup of words into syllables in the design of t.
For long ''Les Co1lines" was assigned a pre- war date, in spite of Scott Bates's intuition in his pioneer essay that the poem was written. Pou- pon GA 6, pp. The manuscript at the Bibliotheque Litteraire Jacques Doucet is a collage of stanzas written in different inks on pieces of paper and then pasted onto the page. Some of the glued papers correspond. Several stan- zas are written on the page.
The variations in ink and paper indicate that the poem was composed over a period of time. These variations include th. For although there are some corrections of purple ink in a more recent black ink, one scrap of brown paper containing tw'o stanzas begins in black ink and changes to purple, while the title of the poem is written firmly in purple ink. Some definite groups include stanzas ; and the: It seems evident, as Adema observed in conversation, , that the manuscript's composition was piecemeal and prolonged. This type of composition is seen frequently in Apollinaire's poems, although never so complexly as here,.
But whereas Tiresias may have taken shape over many years, the time lapse for IlLes Collines" is much less, perhaps two years. If the poem was written after Apollinaire's return from the front, why is it placed in ''Ondes"7 In Alcools, Apollinaire's latest poem ''Zone" serves as preface; but Alcools makes no claim to a chronological presentation. Calli- grammes, on the othe. Rousse, '' w here a prmapal. See also Bates, pp. For Bates it has a Promethean tone. There can be noted through- out, however, asS.
Perhaps most interesting to the modern reader is the fusion of that quest with personal anxieties. The Stendhalian colors, red and black, may refer to spiritual conflicts, manifest in early poems like "Le Larron" Aicools , dominant in the prewar ''Zone," and1. Like the image of the Christ- plane in "Zone,', these airplanes may also be a reminiscence of medieYal Rhenish paintings. The solar plane of line 5, flaming eternally like the phoe- nix, is distinct from the two temporal airplanes. Burgos, the solar plane is the poet see note to stanza For LevaiUant, the spaces of the poem intermingle the objec- tive and the subjective.
For Lockerbie, it is more a question of time and space, while the motif of the poet's wandering reflects his yearning to be everywhere at once, a state he may reach only after periods of hesitation, doubt, and suffering p. One does not know, for certain, which airplane is red or black in line 3 and which is compared to Lucifer or the archangel But past and future, Order and Adventure; damnation and salvation, are suggested in an antithetical manner by the two: A lCools, and the prophetic voice of the grandstand poet.
Poetry as prophecy fascinatedApollinaire, beginning around ; and was probably inspired by Pkassois experiments at that time. The public tone of voice emerged later, during the w. For the possibili ty of Apollinaire"s exposure to German expressionism, see note to ''A Travers rEurope. The first of a continual series of breaks or shifts in thought which gjve the poem the air of a soliloquy interrupted by outer reality or irrational trains of thought. We seem, suddenly and briefly, to emerge into the present: Paris singing her song, in line 20, cont: The song itself introduces stanza 5 which seemingly begins with a nostalgic question 21 , answered with a visionary's faith in future glory The musical flow of line 21, undermined by ambiguities and the notion of a Pyr- rhic victory, is interrupted also by syntactical devices in lines Or see introduction, p.
The image of prophets as high hills, elaborated in lines , is reminiscent of Baudelaire's "Les Phares. The Psylli of lines we,r e, according to Herodotus,, an ancient race of snake charmers in Libya who vainly with their magic fought the south w. The poet conceivably com- parEs himself to the magicians of the PsylH and their inevitable fate: Line 32 echoes a paradoxical notion of time, or of the human being within time who simultaneously passes by and endures, -which has already been expressed in Al. Les jours s'en vont je demeure" [Time draws in I.
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The notion of machines becoming men or mastering the world of men recalls the science fiction of Wells or Kapec. A eag1-es - 's h. Like lxion in Alcools, and perhaps replac- ing him in the poet's mythology, Icarus is a persona of the creator. The ambiguity surrounding his achievement and his fate is prolonged through- out the stanza which refers not only to man's soaring flight but to a possible downfalL Une 42, "C'est lui qui. One is stressed by an associa- tion between the phonemes in mers ''seas" and mere umother" 40 , which underlines ancient and modem ideas of the ocean as the source of life.
Thus man is the ocean's crowning achievement. Teste and Mme Emilie. Although ombre 44 may, in context, suggest the unconscious or some other inward source of dreams, and even mortality, it suggests also a play on meanings: The theme of human consciousness as prime creative source, which first emerges unambiguously in stanza 9, dominates the two subsequent stanzas. That age of magic heralded in stanza 10 seems closely related to an era of scientific progress which Apollinaire sees as resulting from World War I.
The word fable 49 is used in the same sen. Consciousness and its different levels are finally described in precise te. The whole of stanza 11, in fact, recalls once again Valery "Aurore''. There is a seemingly explicit reference to Freud compare L. Breunig's discussion of Apollinaire's possible contact with Freud's ideas, GA 7, pp.
There are, at the same time, implidt parallels with the essay "L'Esprit Nouveau": This notion, expanded in stanzas , anticipates the emphasis that Breton places on surprise, in hi. Insofar as love of a woman. Through this mixture of associations, lines present an image of present liberationr associated, in typical Apoilinairean manner, with exorcised sorrows of the past.
Stanzas 13 and 14 comment on a notion implicit in the poems, which evolves in the war poems and becomes a key theme here and in ''La Jolie Rousse,'' that suffer. In fact, both what Apollinaire calls suffering and what he calls willpower are inextricably linked to his notions of desire and of human consciousness. Another abrupt change or new beginning, which Davies attributes to the ''cyclical" structure of the poem r p. There may be an association of ideas between the theme of human consciousness and the image of helpful ghosts 76 , but there is a marked shift from a general co.
The ring as a circle of N time or infinity, and the association of circular time with ghosts, are remi- niscent once more of "La Maison. Stanza 16 builds up to an effect already existent in 11 Zone;;! And indeed, in contrast with the atmosphere of the past, veiled by the present tenses of stanza 16, present and future seem evoked in stanza A more fanciful reading ,to make towers" the verbal play may welJ have triggered or been triggered by the preceding carrefours and places refers probably to Delaunay once more and to Apollinaire's highly contrived poems about him.
Is this mysterious image a mystification appropriate to a magician? Or is it a reference to the ring on his finger,. Almost at once, in line 88, not only the poet's future death is invoked but his present purification, a state linked to a mysterious past experience ll. One may also interpret lines as the words of a survivor of trench warfare and brain surgery who attempts to communicate his experi- ence of life and death to noninitiates. Also something like a progress in perception is indicated by the verbs.: They indicate different aspect-s or levels of insight or vision and also suggest that the poet as carpenter; potter, craftsman, is working with his hands to shape his poem so that he may face death with equanimity.
The theme of the poet as visionary leads to a renunciation of his past. Burgos, an eagle GA 8, p. The sudden familiar style that emerges in line 97 is ambiguous: Lines may express a new awareness of Apollinaire's autobiographical poetry as a means of playing out his emotions. The farewell to youth becomes an explicit refrain in stanzas There ; a flavor of Vitarn lmpendere Amori C'O rna jeunesse abandonnee" and, ignificantly, in line , an echo of Alcools: Quotation of his own works is a way of evoking the past and n old habit with Apollinaire.
The technique of naming what one rejects learned perhaps from Lucretius or Cicero continues with a parade of mem- ,ries. After the earliest, that of Rome at carnival time, the memories fuse. Indeed, by the time ne reaches the end of stanza 23 it is a little hard to know whether the poet till repudiates the past or whether memories have fused, in lines , 1ith present visions. Whether gently or abruptly, the refutation of youth leads the.
The basic idea of double identity, in which one not only observes neself but becomes what one does, is derived in part from Western notions: There is also a curious parallel with Valery's "Jeune 'arque" who is part serpent. The poet takes up, once more, the theme of prophecy. His ision of a kind of balance the middle age of the world expresses also his wn present feelings about himself, in his late thirties. Here, at the center of: Not only is there a duster of key words in stanza 25 but there appears also a new word, la bonte, which col..
In line the possibility of knowing the future assumes Faustian overtones. Forbidden knowledge, in the eyes of the medieval church, carried with it the penalty of death and even the death of onels soul. Such a reading closely alHes visionary to scientific insight. A simpler reading is that a vision of the future is so intense that, before the new age of heroes, it would have been unbearable. Increasingly the theme of prophecy takes on a personal coloring.
Pre- occupations with friends and lovers underlie the exaltation of man's image. Line has biblical associations with the seven years actually twice seven years Jacob served for Rachel. There may also be, in lines , beneath the human-. As the prophecy becomes more enigmatic, it becomes more concrete. The discovery of other worlds is already ambiguous are they external?
Does the mind that languishes yearn for these new worlds or for its own fruit? The poet returns to pr-esent Ume, but his mood has changed since his last return, in stanza Now he proclaims not only 'JL'Esprit Nou- veau" but his own uniqueness. For Bates, the Promethean tone of the poem becomes testy in these Jines pp. It is possible, however, that they are a commentary on line , that is, that they exemplify the spiritual state he has just referred to, the confidence which Apollinaire was far from feeling, as a steady mood, at any time that.
Line may express a conscious, exalted impudence, reminiscent of the poet's you. Floating on the water like the Maid of Asto- lat, she suggests a mixture of symbolist and Pre.. The image of the torch in line again suggests Picasso cf. Les Trois Vertus Plastiques as well as, to a lesser degree, the Christ of ozone" and perhaps the poet himself. There continues to be much discussion about stanzas Particularly ambiguous is stanza 31, depending on whether one attaches it more closely to the preceding stanza or to 32, as do most critics. On the one hand, there is the theme of the friend who inspires and transforms stanza 30 and subsequently withdraws stanza 31 , so that the poet is thrown on his own resoun: On the other, the theme of a friend is set against the theme of a withdrawn, lost self.
The notion generally held is that Apollinaire speaks uniquely of himself in stanza In a conversation with Adema in , that interpretation was rejected; however, Apollinaire's biographer was positive that line In addition, the profondeurs incolor: Or the stanza may describe a return from meditation, which takes the form of a new experience of dedouble- ment.
Solitude cannot be mastered, or the other self does not complete the return but still wanders la-bas uthere"; the poet's memory seems to stop recording and to stick in a groove. He passes from an earthbound to an airborne stage the latter recurs in other poems: A resume and repetition of the poem's didactic side, with echoes of 'IL'Esprit Nouveau. The long sequence of "'surprises'f with which the poem cul- minates may be considered as prophecy in action and also, in the light of the preceding stanza, as a kind of automatic writing.
The poet begins anew, as in stanzas 24 and 28, with the present mom. Emerging from a prophe. If lines are pretty straightforward, lines are ambiguous: As in stanza 3, on. According to manuscript evidence, the two groups of stanzas Renaud has reproached ApolHnaire for only talking, in ''Le: However, like Les Mamelles de Tiresiasl which was put into final shape at about the same time, ITLes Collines" and, in particular, these stanzas are related both to con- temporary cubism and to a not yet fot rnu.
There is much, too, that hearkens back to "Ondes. Stanza 37 has a fragmented effect, i. Cubist painters de- lighted in both especially Picasso, Marcoussis, Ju. The top hat, like that of a vaudeville magician, offers us. Line , too, surprises by its imagery. Its fantasy prepares the bizarreness that follows, while death, first suggested by the funeral top hat, dominates the stanza, pernteating the images of gloV'es and suicidal lady and suggesting the category of the painting that the stanza becomes-for the figures themselves prepare to be subjects in a nature morte literally, a "dead nature".
There is a breakdown of the frontiers between life an. The dance takes pla. The death motif continues but, instead of characterizing what the poet sees, it c,harac- terizes his action, He has killed the handsome orchestra leader who, like the lovely murdered lady, seems t. In stanza 39 space is abolished and there is a shift to future time. The emphasis on the theme of death continues. AU now are dead. But all who7 Does the poet dismiss the oddities he created in stanza 37 and the friends he evoked in stanza Or those who attempt to lead the dance7 And who is the maitre d'hotel1ls he the poet7 Is he death?
And the unreal champagne? We seem, for a mome. As int'e resting as the champagne itself is what it is compared to: Or one can say, to the contrary, that the stanza rises to an affirmation over death, that the image of the poet is linked to that of the eternally singing rose whose image sends one back to uzone" and to a remembered moment of repose, or to nLe Brasieru and the Dantean rose of paradise, and, at t,h e same time, foiWard to the end of this poem.
After the series of endings and beginnings which, in stanzas , sug.. The manuscript version of line , "L'empereur tien. Yet, whether slave or em,Peror, he recalls the subjection that Apollinaire associates with love and a fusion between sexual love and poetic powers. The second number is the. The idea is quite similar: The chauffeur's position, in Apollinaire's poem, is ambivalent. The third number combines the traditionally poetic resonances of the first number with the modernism of the second.
Dam,e suggests a middle-aged woman or a court lady mysterious and lovely of the ,Middle Ages. A dreamlike atmosphere, or dream logic, imposes itself, and an almost surrealistic magic of the machine. Inevitably, because of the re1ahon. Here the two images seem to have fused: O ,r more likely these properties emanate from her. The two sections and seern to balance, and complement each other; the first celebrates the poet's role, the second, eventually , the role of the mysterious female-Muse, Mother Nature, Rimbaud's witch? All these stanzas are based on surprise, "le grand ressort nouveau, " according to "L'Esprit Nouveau et les poetes," but they are only "little" secrets, as Apollinaire indicates in stanza 43, that is, tentative examples of his new aesthetic.
On,e reading of lines is that they describe the invasion of the individual by an overwhelming vision. The final two stanzas resume major themes of "Les Col- lines'' and, perhaps inevitably, provide thematic oppositions, between Ia souffrance and la bonte and, notably, between life's ephemeral chann and its central mystery. Stanza 44 evokes suffering without naming the experi.. In a comparable way, the passing of time, never mentioned, is evoked by antithetical juxtapositions crescent and full moon, moon and sun.
The nostalgic evocation of sunlit joys in the past may be read as 11 a final farewell to youth, a retum to it in memory cf. The flame and the rose, to be found in some of Apollinaire's most beautiful poems, nearly always com- municate a faint atmosphere of Dante's II Paradiso. The image of perfume may recall to the reader Baudelairean visions of exotic or dream landscapes, although the emphasis here is on the rising perfume, not on what it inspires.
The first version of line , which has Qui instead of Que, reads. Or, in a more traditional context the perfume may suggest the poem itself, as it vanishes. The Hnal images of rose, flame, perfume, which may all be found in mystical poetry, express the poet's final attainment of his vision, after the poem's long preparation.
For the entire poem leads us through the poet's life by a series of nonchronological flashbacks relating to his memories and to his autobiographical poetry. Thus nLes Collinesu embraces Apollinaire,s concept of the poet in the modem wodd and an earnest attempt to evaluate his own life and works-a final attempt, as it turned out. Its reappearance in Cabaret Voltaire June indicates the interest felt in the poem by the Dadaists.
The title suggests, among o ther things, a tree whose foliage or fruits of gold and silver grant one godlike powers, a tree hidden in a grove and guarded by a monster, a tree that is at once a cross and a gallows. On the level of the poefs own. Here again the general sense would be both of danger since crea- tion is always a risk and of discovery. One may also find, after reading the poem, retroactive implications such as branches that wander, cross over, come to a dead end, like roads or railway tracks.
It expresses the fragmentation of a personality by abrupt changes in tone, subject matter, even subjects of verbs, and it could be considered as an ex. In the first six lines the pronoun subject is transfornted in. The relation of line 1 to line 2 is put in doubt by the lack of pun. You the intimate tu may indicate that the poet addresses himself sing in contrast or as an accompaniment to the music of Ehonographs.
Or the gallop of phono- graphs may be related t. In that event they may play the assortment of real, imagined, and literary memories which make up the rest of the stanza and, especially, line 2 with its tuneful variation on a refrain from Villon see note to ''C'est Lou Qu'on Ia Nommait". If they are poets, their disappearance renders doubtful the stature of the singer in line 1. Whether the single leaf be poem or woman or some aspect of knowledge, its importance for the poet lies in its lack of stability: Al ls 1L rather h.
Merry,"' Le Poete Assassine. But who is the formal vous ilyou" whom the poet implores to stay w. The building of the mosque at lspahan, ancient capital of Iran, evokes a multitude of tiny mosaics which compose a single blue dome and a mosaic sky which offers an illusion of reality. In "Liens," sounds link space and time; here the clang of a vendor's bell, which belongs to the poet's past, is juxtaposed to a sound in future time.
The imagery is futuri. In Apollinaire's day the transatlantic cable was used uniquely for tele- graphing. They were equally impossible to transmit over radio waves; voices on the radio, even into the s, were notably squeaky and shrill. Europe and America, in lines Line 14, in tum, brings into his mind Le Douanier Rousseau who had painted a port. The probability, however, is that he does precisely what the poem indicates: The notion of art as an expression of almost simultaneous preoccupations of the consciousness on different levels is emphasized by the surprising interpolation of lines before lin.
Whippoorwill and badger are nocturnaL like many poets, and the mole works in darkness. The latter's labyrinthine creation, achieved blindly may be compared to a crea.. I tion of the unconscious-and to the kind of poem Apollinaire attempts here. The latter was chosen by the translator to ernpha The theme of the voyage per ser whether through memory or actual journeys, at this point beco. The place-name's effect , however, is to stress the poet's ubiquity. And the thought of an intelligent woman is associated with legends 25 and the mysterious "Dame-Abonde" 26 , that is; most probably, with women of fairy tale and myth,.
The poet seems to warn that one should not forget them, prob- ably because they destroy men. He may urge us. Merry" and "Un Fan tome de Nutes. Dame-Abonde is hidden, like a kernel of magic, in a prosaic setting; her very name suggests her COMM. The tramway 26 , which dissolves dreamlike into an elevator 26 , functions like the phonographs by setting imagery in motion and mixing m. Whereas the phonographs are juxtaposed to unexpected images, seeming to launch them; the tramway and especially the elevator seem displaced in their surroundings, and the unlikelihood of their being where they are is stressed by paradoxes or contrasts on the verbal level Abonde I desert chassels 'artetait.
Most significant, je montais, which constitutes the link between the two scenes, "I was getting on" the tr. The hunt that he observes, like Dame. The litany is vividly reminiscent, for English-speaking r-ead- ers, ofT. Eliot, who borrowed from Apollinaire more than once.
These can be seen as in contrast with the commercial associations of the shop- Win. The poet invokes the image; subsequently, it dominates the land- scape, floating between him and all other images he calls up. Stanzas consisting of one line or, at the most, two, suggest silence: His thoughts are fragn1entary and still cling to the same theme. The Nor- wegian s. Birches; like the carob trees in line 39, remind one of the poem's title, with- out clarifying it.
The paleness and the cold of the north contrast with the preceding glowing imagery. Line 35 once more suggests the Creole, Marie. As in 34 there is a delicacy of outline, a suggestion of engraving or etching. It is at once a climax to the poem and a fading away. Lines seem an even more open.
As the poem ends, so does its universe. Or if one thinks of an afterglow fading into twilight, the carob trees may indicate a world that is hardening, Uke metal. It would seem that a new world is launched by, and within, the complaining poet, and that ta voix refers, this time, to his own voice.
The number three recalls, among other things, his favorite magician Hennes Trismegistus. Whereas in 'Vendemiaire" Alcools the death of kings is trismegiste, here it is the birth of new worlds which is based on the magic number three.
Aussi fort qu'autrefois by Anne McAllister (1 star ratings)
Notably, however, "trois par trois" suggests two groups of three or thirty-three and the last stanza makes explicit a dominant preoccupation of the poem: It is hardly a coincidence that his friends, the cubist painters Louis Marcoussis and Juan Gris, were to play with the same number, thirty-three, in book illustrations for Apollinaire and another friend , Max Jacob. The structure of the poem stems from that seemingly spon- taneous association of ideas, plastic images, and even tunes, in other words, the soliloquy of the total consciousness which was Apollinaire's increasing preoccupation just before the war.
Nothing is explained, but there are links between images and between stanzas. Alternatively, one could see the birth of new beings suggesting something as melancholy and omi- nous as the aging of the gods see introduction. With the help of the title, the. Writing only a few months later in his review Les Soirees de Paris, he advised poets that the way to renew their art was to follow the example of the realist novelists of the nineteenth cen. But of course the realist novelists never contemplated reproducing their observations as a series of apparently arbitrary juxtapositions, with little continuity from one line to the next.
The poem may share realism's fascination for moments of lived reality up to a point, but it departs radically from the mimetic model in the boldness of its innovatory structure. The invitation to become involved is highlighted by the presence in the text of one or two lines that can. Where logically an undifferentiated mass of phrases might have been. In a lighthearted way it overthrows the concept of poetry as a speciallin8uistic ac: Such shift'S and dashes of lin- guistic register are an important part of the wordplay of the poem.
Line 5 may be descriptive of the cafe's interior, and line 6 could be a consequential detail, highlighted by the internal echo of sound between patronne and poitrinaire. The similarity of construction in lines 7 and 9 both being future clauses with the pronoun tu might suggest an element of continuity, which could be a group around one particular table.
A friend of Apollinaire's, Jacques Dyssord, daim. This line may be read as a provocative comment aimed at the reader. It announces improvisation and challenges the reader to respond to it. Line 11 seems another scene-setting detail, the pile of saucers bein. The bright lively nature of the sound fits well int. A racy colloquial style is particularly evident in the next two lines, which exhibit a colorful brand of J'low-life" humor.
They round off vigorously a paragraph that ha,s a distinct gusto of its own. Line 16 could be a passin.
There is a calculated dissonance between the formal address of line 18 and the savory insult of line 19, which is again in the regist. The pithy tone is maintained by the scornful comment of line 20, but there is then a contrast with the overtones of gentility in the two folp lowing exchanges about ladies with furs. After these lively tonal variations, the paragraph fades out quietly with the two descriptive details of lines The imperfect tense of lin. It may refer back to line 7 and forward to line 29, which might be a waitress's conventional remark when serving.
As Renaud points out , p. The other lines foun a random sequence. The phrases are of approxi- mat-ely the same length and encourage a rapid rhythm of reading, but they clash rather than merge with one another. The final longer line 1. Within the set of three, the first two are similar in tone and con- versational register, but there is a contrast with the change in length and grammatical function of line In the first edition, line 39 begins the final passage.
In the Pleiade edition, line 39 stands alone. There the "framing" of lines by single lines encourages a reading of them together and emphasize. Invitations to inspect engravings and paintings are notorious for the double meaning they frequently have! Apollinaire's intention, however, may have been either more subtle or more straightforward, since he oversaw the first edition. This final paragraph seems to cohere around references to travel cf.
These two lines end the poem on an emphatic note. Line 47 humorously mimics a pedantic maxim, while quinte major has an enigmatic air of solemnity. As such, it is an appropriate phrase to feature in a cafe scene, where games of cards are a regular activity, but the expression is unusual enough ln contemporary French to suggest something more weighty. This impression is enhanced by the fact that quinte can, also mean a muskal chord, which leads the reader into thinking that the poem ends with an orchestral flourish.
The sym- metry between the two parts of the poem demands that they should be seen side by side-as in the original Soirees de Paris publication-but unfor- tunately no edition has respe. The poem celebrates the global awareness of modem man through devel- opments in worldwide communication, a theme that already had a centr al place in Apollinaire's modernism see notes to "Les Fenitres'' and "Liens" and was further stimulated when his brother Albert went to Mexico in The postcard evoking events of the civil war in Mexico is reproduced illusionistically, like a cubist collage, and could well be a verba..
Other phrases from postcards Jeunes fill'es a Chapultepec or more general exchanges between the two brothers are placed at intervals throughout the design, some being known to be biographkaJly correct there was an earthquake at 'Nice where the brothers lived c. The graphic form suggests expanding consciousness in the two circular shapes that dominate the two pages. Simultaneously the right-hand shape, wi. The verbal content of the radio waves and the Gramophone grooves is not m.
Implicitly what is being beamed to the world is a sound picture of the many voices of a great metropolis, making up the typical vox populi common to cities all over the globe. The status of the phrases in this respect is emphasized b: There are political slogans Vive la Rep,ub.. It is in this sense that there is a distinction from other calligrams.
The practice of onomatopoetic sound was one of the hallmarks of their style, as was the use of typographi- cal signs to condense syntax mildly illustrated here by the plus sign. But the resemblances with any particular work are not extensive one or two details only in1 for example, Marinetti's "Turkis,h Captive Balloon'' from. Z ang Tumb Tuum, which Apollinaire might have seen,.
The two explosive shapes are also set into a frame of coherent, discursive language. The final result is a combination of order and disorder. Random reading is possible in many of the parts,. In that the second circular shape is bigger and more explosive than the first, this direction of reading seems to lead to a natural climax. Qcean, " Savoir et B: Under cover of an apparently levelheaded and rational analysis of super- stition, Apollinaire is conducting an astute defense of an imaginative out- look on life.
If superstitious beliefs are but a legitimate way of observing nature, then there is no real conflict between an empirical and a magical understanding of reality. Rather than demystifying superstition, the argu- ment tends to favor a sympathetic exploration of all wider, nonrational fornts of knowledge of the world. Preview — Aussi fort qu'autrefois Code of the West 18 by Anne McAllister.
Soudain, la stupeur de Flynn se mue en choc. Mass Market Paperback , Collection Azur , pages. Published June 1st by Harlequin first published January 1st Code of the West To see what your friends thought of this book, please sign up. To ask other readers questions about Aussi fort qu'autrefois Be the first to ask a question about Aussi fort qu'autrefois Lists with This Book.
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