Alcools by Guillaume Apollinaire

By Guillaume Apollinaire

En 1913, Apollinaire publie Alcools, son preferable recueil. qui rassemble quinze ans de poésie. S'il est alors influencé par un symbolisme sur le déclin, il s'en démarque par d'audacieuses techniques : l. a. ponctuation disparaît et des innovations récentes, comme l'avion ou l'automobile, font leur entrée en poésie. Mais Alcools est aussi une oeuvre contrastée, où los angeles journey Eiffel et le pont Mirabeau côtoient des champs de colchiques et des forêts légendaires, où l'agitation du progrès se mêle aux motifs consacrés de l'amour perdu et du temps qui passe. Tantôt clairs comme le son des cloches rhénanes, tantôt sombres comme les geôles de l. a. felony de los angeles Santé, ces poèmes ouvrent los angeles voie à un nouveau lyrisme. Partagés entre culture et modernité, ils reflètent los angeles créativité bouillonnante d'une époque sur le aspect de basculer dans le chaos de los angeles Grande Guerre.

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Song Sucking milk from a pastoral poem, the little bull was sucking. As flowers blossomed the eyes of the bull becoming the eyes of a maiden. Now that you're a bull, my child, slash at me with your little horns. You'll find somewhere within me another bull unborn. ) WILLIAM CARLOS WILLIAMS The Words Lying Idle Summary of a Year's Verse The fields parched, the leaves drying on the maples, the birds' beaks gaping! if it would rain, if it would only rain! Clouds come up, move from the west and from the south but they bring no rain, heat and dry winds — the grass is curled, brown and brittle underfoot.

What is astonishing is this poetry's outspoken fearlessness before his grief and his unswerving fidelity to hi» predica­ ment. Even here we discover a wry radiance, an additional lucidity in the midst of torment. Apparently he could bear this torment best by gripping it in language. As we go deeper into the abyss, what further impresses is hie always increasing simplicity, certainty, and selfhood, something we seem to have nearly lost: a direct appeal saintlike in its unassumption. The stamp of his personality has so grown, it can afford, at will, to ignore or to consider itself.

So in his major objective correlative, the metropolis, Schubert impressively reclaims the cliche. He keeps the metropolis in all its drabness; yet this drabness, by the irradiation of his love, by his country-quiet, fragrant pres­ ence, becomes total poetry. Finally, we see that even his night is luminous; a human being has been here.

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