Apollinaire on the Edge: Modern Art, Popular Culture, and by Willard Bohn

By Willard Bohn

The name of the current research refers back to the incontrovertible fact that Apollinaire continually labored on the innovative of contemporary aesthetics. the quantity seeks to rehabilitate 4 experimental genres specifically that experience obtained quite little recognition. the 1st bankruptcy examines a captivating artist's booklet entitled The Bestiary, which good points illustrations by means of Raoul Dufy. the second one is anxious with a bunch of poems that commemorate usual, way of life. the following bankruptcy considers Apollinaire's little-known debt to children's rhymes. the ultimate bankruptcy discusses an avant-garde drama that was once destined to play a key function within the evolution of recent French theater. This e-book can be of curiosity to someone drawn to avant-garde aesthetics. it is going to allure not just to students of twentieth-century poetry but additionally to devotees of contemporary paintings and smooth theater.

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Extra info for Apollinaire on the Edge: Modern Art, Popular Culture, and the Avant-Garde (Faux Titre, Volume 355)

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Comprising four unrhymed stanzas, the text includes bits and pieces of earlier poems arranged to form a kind of mosaic. 23 Not only is each stanza a different length, but the lines themselves vary in length from one stanza to the next. Although the poem is rhymed initially, Apollinaire abandons this idea after the third line. The first stanza sketches an idyllic portrait of the Provençal countryside. Tabaquin tabaquin ma tabatière est vide Mets-y pour deux sous de tabac mais du fin Il fait si beau qu’en leurs bastides Les messieurs de la ville s’en sont venus dîner Les olives sont mûres et partout l’on entend Les chants des oliveuses sous les oliviers (Tobacconist, tobacconist my snuff-box is empty Give me two cents worth of your best snuff The weather is so nice that gentlemen from the city Have come to dine in their country houses The olives are ripe and everywhere one hears Olive-pickers singing beneath the olive trees).

The Cat is juxtaposed with the Lion, the Octopus with the Jellyfish, the Dove with the Peacock, and so forth. Similarly, a number of poems, such as “La Puce” and “Le Poulpe,” are grouped together thematically. In addition, one notes a gradual progression from the Classical world, presided over by the Orphic poet, to the modern world, where he is transformed into a messianic figure. Since the poet is engaged in a divine mission, Apollinaire declares in the notes, he is destined to become immortal.

31 In contrast to Keat’s “Ode on a Grecian Urn,” which illustrates one approach, “A Linda” does not represent a meditative exercise. Since it utilizes an alien vocabulary, any kind of explicit discussion is out of the question. Rather, the poem calls attention to poetry’s material properties. Like “A Linda,” it seems to say, every poetic composition is both a visual poem and a sound poem. We only need to stop, look, and listen. Although the Futurists had also begun to publicize this fact, they were attracted to machine-age onomatopoeia and flashy typography.

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