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By Rosemary M. Canfield Reisman

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Even the most enigmatic poems of Alcools follow a familiar plan, he maintains, whereas in “Waves” the reader is in unfamiliar territory, disoriented in space and time. In “Waves” one feels both the insecurity and the indefiniteness that can only be called modern art. The introductory poem, “Chains,” uses the elements recommended by Apollinaire in “The New Spirit and the Poets” yet remains anchored in the past. It leaps from the Tower of Babel to telegraph wires in disconcerting juxtapositions, speaking of humankind’s eternal, frustrating quest for unity.

Poets, he says, have the right to expect after death the full knowledge of God, which is sublime beauty. Alcools The most analyzed and the best known of Apollinaire’s works is Alcools, a slender volume published in 1913 with the subtitle Poèmes, 1898-1913. A portrait of Apollinaire, an etching by Picasso, serves as the frontispiece. Apollinaire chose fifty-five of the many poems he had written from his eighteenth to his thirty-third year and assembled them in an order that has continued to fascinate and baffle critics.

The concept of messianism and the advent of a new millennium is evident in both the early works and the war poems, which predict a new universe. In the Symbolist tradition, the poet is the seer of the new kingdom. Many of Apollinaire’s symbols are from the realm of legend and myth. Rosemonde, the idealized woman of the Middle Ages, is present in several poems, though she appears also as a prostitute. In “Merlin et la vielle femme” (“Merlin and the Old Woman”), the medieval seer foreshadows Apollinaire’s vision of the future.

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