Classic and Contemporary Poetry: Explained

In "Homage to Guillaume Apollinaire," Blaise Cendrars, born Frederic-Louis Sauser, crafts a tribute to his contemporary, Guillaume Apollinaire, that functions as both a personal eulogy and a broader reflection on the zeitgeist of post-WWI France. Cendrars, himself an influential modernist writer, captures the essence of Apollinaire's impact on a generation of poets who bore witness to societal upheaval, the disillusionments of war, and the evolution of modernism in literature and art.

Cendrars starts with an evocative tableau: "1919, The bread is rising." The image of bread rising serves as a metaphor for rejuvenation and growth following the barren years of war. France is named, setting the geographical and cultural stage, followed by Paris, the intellectual and artistic heart of the nation. "An entire generation" adds a further layer, suggesting that the poem speaks not just of individual loss but collective experience.

The poet then confronts the existential absurdity of saying "Apollinaire is not dead" when, in fact, everyone followed "an empty hearse." Through these paradoxical statements, Cendrars captures the intangible ways in which a poet, or any influential figure, can leave an imprint that survives physical demise. Apollinaire is described as "a magus," attributing to him an almost mythical, wizardly quality. The notion of Apollinaire being alive in the "silk of the flags at the windows" and "throwing you flowers and wreaths" conjures up his spirited and avant-garde personality, making him an eternal symbol of French resilience and artistic endeavor.

Cendrars also dives into the complex landscape of post-war France with the lines, "The times change / The years roll by like clouds / The soldiers have gone back home." The transition from wartime to peace is rarely smooth, and Cendrars captures the transitory nature of life and history. even as the war generation matures or fades, a new generation "is rising," one that is a blend of multicultural influences. The line "The dream of the BReASTS is coming true!" suggests a nurturing, perhaps even maternal, aspect of this dream of international unity. These children are "half english, half black, half Russian, a bit Belgian, Italian, Annamite, Czech," pointing to a vision of cosmopolitanism, a world that is interconnected and diverse.

This heterogeneous new generation still possesses the spirit of Apollinaire, speaking "the language of Apollinaire," a language that may be inferred to encompass not just words but also ideas of liberty, equality, and fraternity. Like the Nile River, nurturing civilizations for centuries, Apollinaire is depicted as "the father of the waters," with new voices and ideas "flowing all over him."

In conclusion, Cendrars' homage to Apollinaire transcends the limitations of a simple eulogy. It serves as a commentary on a society in flux, a tribute to the indomitable spirit of art and creativity, and a meditation on the cyclical nature of life and history. Through this poetic endeavor, Cendrars immortalizes Apollinaire as an enduring symbol who speaks to the continuous transformation of culture and humanity.

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