Dhiver états dâme (MT.ROMAN) (French Edition)
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Natives of Nice, Menton and La Turbie. The fish is an early symbol of Christ. The rose-beetle in the heart of the rose prefigures the flaws in Apollinaire's experience of love. During a visit to the church of Saint-Vit in Prague, Apollinaire thought he discerned in the flaws of a precious stone, the delineation of a mad face which resembled his own.
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His superstitious nature never forgot this. The hands of the clock in the Jewish quarter of Prague travelled anti-clockwise. The Hradcany, a royal palace in Prague. Reference to his arrest on suspicion of the theft of the Mona Lisa from the Louvre in A veiled reference to his love affairs with Annie Playden and Marie Laurencin.
After this line the original version had the couplet: Je me sens abandonne sur terre depuis mon plus jeune age Je n'ose pas me confier a 1'dtoile comme les rois mages and 1. These explicit regrets for a lost faith are merged into a less direct lamentation. The sense of isolation is apparent and the chronicle of wandering becomes an errance having as its aim the realisation of identity. The lines lead naturally into a description of the emigrant Jews for whose life-style Apollinaire had an enduring interest and sympathy. The original version was considerably longer and contained a section on expatriate Poles: Et moi en qui se mele le sang slave et le sang latin Je regarde ces pauvres Polonais qui revent aux jours lointains Aux jours ou la Pologne e"tait un grand royaume On y cultivait les lettres, on y formait des hommes but once again Apollinaire covered his tracks by omission.
Apollinaire owned a red eiderdown which his mother had given him and which he transported into his various habitations. Before this line a list of social outcasts and misfits is omitted in order to give a tighter construction revolving around the central figure of the poet. The horror of the night figures vanishes as the dawn comes but the poet is left alone having passed through hope and defeat into final resignation.
Lines do not appear in the brouillon. Although Pascal Pia suggests that the name Ferdine comes from a licentious novel Une Nuit d'orgies a Saint-Pierre-Martinique Pilkington plausibly argues that the names Ferdine and Le"a are employed for their alliterative values. Apollinaire moved to Auteuil in October An exhibition of Iberian or pre-Spanish sculpture held in the Louvre in and which was said to have a great influence on Picasso and the Cubists , is a proof of the interest in the Paris of that time in primitive art forms.
Apollinaire, in common with other writers and painters of his time had collected such objets d'art. In this context however they are seen as symbols of religions which have decayed and died. The sad exclusion contained in 'Adieu Adieu' prepares for the despair of the decapitated sun.
The sun is a generalised symbol of hope and rebirth in Alcools and its death, implying the denial of both, closes the poem on a note of unadulterated gloom. De"caudin has discovered the refrain in a manuscript dating from Apollinaire's imprisonment in September Dans une fosse comme un ours Chaque matin je me promene Tournons, tournons, tournons toujours Quand done finira la semaine Quand done finiront les amours Vienne la nuit sonne 1'heure Les jours s'en vont et je demeure Doss.
Mario Roques has found similarities of rhyme and rhythm with a thirteenth-century spinning song—'Gaite et Oriour. The inexorable movement of events passing by the man fixed in unhappiness is brilliantly conveyed by the refrain and the structure of the poem whose first line is also its last.
Lines 2 four syllables and 3 six syllables formed one decasyllabic line in the original printed version giving a stanza of three decasyllabics on one feminine rhyme. The dismembering of the single line into two lines of unequal length displays a more interesting visual pattern and, with the suppression of punctuation, gives a more fluid and ambiguous movement to the poem. This was one of the poems chosen by Apollinaire for his recording made at the Archives de la parole in It was much worked over and M.
D6caudin has described it as 'une marquetterie de pieces ou d'ensembles'. Different states of the manuscript are examined in M. De"caudin, Doss.
Et bien des expressions de ce poeme sont trop seVeres et injurieuses pour une fille qui ne comprenait rien a moi et qui m'aima Commentaries p. Elle etait fine et gaie cependant. J'en fus jaloux sans raison et par 1'absence vivement ressentie, ma poesie qui peint bien cependant mon etat d'ame d'alors, poete inconnu au milieu d'autres poetes inconnus, elle loin et ne pouvant venir a Paris. Je fus la voir deux fois a Londres, mais le mariage etait impossible et tout s'arrangea pour son depart a 1'Amerique, mais j'en souffris beaucoup, temoin ce poeme ou je me croyais mal-aime tandis que c'etait moi qui aimais mal.
He had met Apollinaire one evening by chance and talked with him for an hour : A un moment je lui demandai pourquoi il n'envoyait pas de vers au Mercure. II me r6pondit qu'il y avait pas mal de temps qu'il en avait envoye et qu'il n'en avait aucune nouvelle. Le lendemain matin, en arrivant au Mercure, monte chez Vallette [then editor of the Mercure de France] pour prendre les papiers de mon service, je cherchai tout de suite dans le carton des manuscrits. Je trouvai celui d' Apollinaire: 'La Chanson du mal-aime'.
Je dis de loin a Vallette, assis a son bureau, a 1'autre bout de la grande piece: 'Vous savez qu'il y a la des vers d'Apollinaire remarquables'. II me repondit sans plus: 'Mettez-les dans la case des manuscrits accepted! In it the poet dominates time; the past merges with the present and both combine to affect the future. Legendary and historical figures are evoked to illustrate the plight of the mal-aime as well as to generalize it and so to retain a certain aesthetic distance between the poet and a too-overt confession of his private experience.
Between the two poles of London and Paris, between the seasons of winter and summer, the poem covers a wide sweep in space.
Yet it has a skeletal chronology in that what narrative there is corresponds to the movement of his love affair with Annie Playden in Germany in , from its tentative beginnings, hampered by a lack of a common language, to fulfilment and ultimate separation. The love affair between the strictly raised, puritanical English girl and the violently jealous Apollinaire was doomed to failure. It is this evolving curve which helps to give a solid structure to Commentaries p.
The poem is racked between the human desire to forget suffering and humiliation and the intrusive force of memory, the essential tool of the poet.
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It holds in delicate equilibrium the contradictory tensions of love; love idealised and love experienced, fidelity and revolt, hope and despair, clarity and insanity, love and hate, regret and vengeance, tenderness and obscenity, the permanent and the transient. Treachery and exile from happiness are deeply felt. Yet finally, the poet—'Moi qui sais des lais pour les reines'—is triumphant.
Although the poet's task is to crystallise experience in art, ironically this gift does not set him above other men for he, too, can fall victim to the passions of which he will write. For Apollinaire, catharsis is to be found in the act of writing. The form of the poem is vital for the effect of poetic coherence which Apollinaire obtains. It is written throughout in five-lined stanzas quintils] of octosyllabic lines, each stanza rhyming a b a b a. Although the verse is loose with enjambements and many rhymes which do not obey classical canons, it remains a fixed pattern which gives a strong unity.
Alcools (Athlone French Poets) (French Edition)
The seven parts of the poem are disposed symmetrically for each of the parts 2, 4 and 6, printed in roman, are, in Apollinaire's own words, an intermede, that is, at once a commentary on what has happened, a generalised account of the poet's state of mind and a transition. Five stanzas set in London in winter at the beginning of the poem, balance five set in Paris in the summer, at the end. The Kings happy in fidelity at the beginning of the poem balance the mad Kings at the end. The deepest despair of the poem and its rawest confession are set in its mathematical centre See: LeRoy C.
Epigraph Apollinaire originally thought of entitling this poem 'Le Roman du mal-aime' but the final choice of 'La Chanson du mal-aime' more accurately reflects the lyrical, musical structure of the work with its recurring interlinked themes. This musical impression is strengthened by the epigraph which was added in The precise dating of the poem situates it firmly but the strange opening with its curious use of the conjunction et, seems to indicate that the poem should be regarded as a fragment of a continuing autobiography.
This is strengthened by the ambiguous reference to the Phoenix-like quality of'mon amour' which is both the continuing nature of Apollinaire's love for Annie and his Commentaries pp. If one returns to the epigraph after rereading the poem, the black impression is lightened and the work is put into its true perspective as a brilliant record, albeit chilling and violent, of a bleak moment in Apollinaire's life.
The poem begins on a sombre note with dark ambiguities. The mauvais garfon and the prostitute of His erotic sadism and jealousy must have shocked Annie with her strict Edwardian upbringing. Apollinaire's tendency to examine his own personality leads him often enough to a questioning dialogue with himself.
Chronique générale - Persée
It was customary for a Pharaoh to marry his sister. The insistence on fog begun in the first line of the poem heightens the horror and unreality of the setting as well as facilitating the transition which elevates it from the level of narration to the evocation of a wide range of myths. La faussete de Vamour meme immediately brings to the poet's mind, by a kind of logic of contradiction, examples of faithfulness in love.
Ulysses, on his return from Troy, found his wife Penelope faithfully waiting for him. L'epoux royal de Sacontale 1. The play was known in translation and had been admired by Theophile Gautier and Theodore de Banville. It also emphasises the reality of his reflective experience. The theme of memory which plays a major role in the poem appears here with its dubious gifts of regret for the past—regrets, hiver. The theme of the renaissance of love which is also to be found in the epigraph. The periodic evocation of the memory draws to the surface of the poet's mind a curious mixture of happiness, deep regret, recurrent love and hate.
It is one of the structures which holds the poem together. One of the rare direct autobiographical references in the poem. The importance of this stanza is emphasised by the fact that it is repeated three times in the poem, twice in the key position of opening a new section. A complicated network of images begins with the unattainable Milky Way which leads to the Promised Land of Canaan where, says the Bible, 'ruissellent le lait et le miel'.
From here the erotic transition to the milk and honey of the 'amoureuses' is easy. The 'voie lactee' is then demetaphorised, so to speak, in a process which the Surrealists will use with great effect, so that the two elements—voie in its sense of 'route' and lactee as liquid milk—are recombined in a new significance: the river with its nageurs marts. The stanza has an oddly Baudelairean flavour of spleen et ideal because of the awful finality of that failure which lies in wait for man in his pursuit of the unattainable.
Aubade chantee a Loetare un an passe The intermede, the first of three, provides a commentary on the preceding stanza, stating positively the triumph of a love now joyously consummated. Its implications are more universal. Written almost as a parody of a sixteenth-century pastoral, it contains archaic forms like viens-Cen 1. Laetare 'to rejoice' is the office of the Catholic Church celebrated on the fourth Sunday in Lent when it is the custom.
However, if the Aubade relies on a framework of religious reference, its tone, reinforced by classical allusions, is that of a pagan hymn to carnal love. Dawn and Spring, constant symbols of rebirth in Apollinaire, contrast with the dank fogs of the opening verses, just as the triumphant tone of the passage offsets the deep despair that precedes and follows it.
Publisher Series: Southern Classics Series
The poem abruptly returns to the present reality. The death of the Gods, pagan and Christian, is equated with the death of love. Its emphasis is in marked contrast with the hope of resurrection promised in the season of Lent referred to in the preceding section. The first two lines are taken from a poem to Linda, 'Je vis un soir la zezayante' O. Linda Molina da Silva was the daughter of a Jewish family who had befriended the poet in This stanza also closes the poem. There is a stress on archaic musical forms, lais, complaintes, hymnes, romance, chansons, all of which have in common a marked lyrical element.