Alcools: Poèmes 1898-1913 by Guillaume Apollinaire

By Guillaume Apollinaire

Variation enrichie (Introduction, notes, file et chronologie)

Placés sous le signe du temps qui passe, les poèmes d’Alcools récréent tout un monde : celui des lieux où son life a conduit leur auteur et dont ils entrecroisent les souvenirs, comme celui de ces grandes figures féminines qui ont traversé sa vie. Mais ils sont en même temps imprégnés d’une tradition à los angeles fois populaire et savante qui permet au poète de recueillir l’héritage du passé tout en s’ouvrant à los angeles modernité de los angeles vie ordinaire – les affiches ou bien les avions. On aurait ainsi tort de croire que ce recueil où s’inaugure l. a. poésie du XXe siècle soit, à sa parution en 1913, un livre de rupture. Nourri de poèmes anciens aussi bien que récents, le chant que font entendre ceux d’Apollinaire, à l’oralité si puissante, tire ses ressources du vers régulier comme du vers libre, et il ne s’agit pas pour le poète de céder au easy plaisir du nouveau : seule compte ici sa liberté et ce que lui dicte l. a. voix inimitable d’un lyrisme qui n’a pas cessé de nous toucher.

Édition présentée, annotée et commentée par Didier Alexandre. Chronologie de Laurence Campa.

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Extra info for Alcools: Poèmes 1898-1913

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In many quarters, one is encouraged to give a talk rather than to read a paper precisely because it encourages a little more animation and expression and (at least the appearance of) spontaneity in one’s delivery, so as to engage the live audience, as in theatrical performances. Reading out loud not merely binds one’s words but also one’s movements, and it changes the way one achieves expressiveness. Some people are better able to achieve expressiveness as speakers and 30 Chapter Two others as readers.

The second part of my project is a DVD documentation, which is yet to be made. It will be filmed by the Swedish maker Lars Westman, and it will include commented excerpts from my performances. It will also include a critical interview with me, made by Astrid Kvalbein, a Norwegian singer and musical journalist who is a doctoral student within artistic research at the Musical Academy of Oslo. The third part of my doctoral project will be written reflection which I would call an interpretation of the two interpretations.

Naturally, then, it changes an audience’s expectations with respect to what they will see and hear. A second objection to readers being “silent Ions” addresses the fact that Kivy’s claim is intended to apply to first-time readers, which, he plausibly claims, constitute the bulk of silent readers, a point that is rather crucial to his case. Even if the Ions of the ancient world were able to read, and even if, what seems contrary to fact, they would have given readings, “lecturas,” their performances would not have been first-time readings.

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