{"id":48,"date":"2015-02-26T17:12:00","date_gmt":"2015-02-26T16:12:00","guid":{"rendered":""},"modified":"2026-07-12T09:00:44","modified_gmt":"2026-07-12T07:00:44","slug":"lorganisation-des-poemes-lou","status":"publish","type":"post","link":"https:\/\/maprofdelettres.fr\/index.php\/2015\/02\/26\/lorganisation-des-poemes-lou\/","title":{"rendered":"L’organisation des Po\u00e8mes \u00e0 Lou d’Apollinaire"},"content":{"rendered":"
\nPo\u00e8mes \u00e0 Lou<\/i>
\nd’Apollinaire<\/span>\n<\/div>\n


\n<\/span><\/p>\n

\nUNE ORGANISATION
\nCHRONOLOGIQUE
\n<\/span><\/div>\n
\n<\/div>\n
\n<\/div>\n
\n     Les
\nPo\u00e8mes \u00e0 Lou<\/i>
\nforment un recueil chronologique sans composition sp\u00e9cifique. A
\nd\u00e9faut de construction, l’\u00e9volution des sentiments et les
\ncirconstances de l’\u00e9criture rythment les grandes \u00e9tapes du recueil<\/b>.<\/span><\/div>\n


\n<\/span><\/p>\n

\n
<\/span>\n<\/div>\n


\n<\/span><\/p>\n

\n    Les
\npo\u00e8mes I-III datent d’octobre-novembre 1914. Con\u00e7us comme des
\nhommages, ils marquent le d\u00e9but des relations d’Apollinaire et de
\nLou<\/b>. Le po\u00e8te choisit la forme calligrammatique<\/b>, invention qui fait
\nsa fiert\u00e9.<\/span><\/div>\n
\n<\/div>\n
\n<\/a><\/span><\/div>\n

\n
\n<\/span><\/p>\n

\n<\/div>\n
\n    Dans
\nles po\u00e8mes IV-X, le po\u00e8te, seul \u00e0 N\u00eemes, exprime son enthousiasme
\namoureux, sa passion charnelle et son manque de Lou, ainsi que la
\nsolidarit\u00e9 des combattants<\/b>.<\/span><\/div>\n
\n<\/div>\n


\n<\/span><\/p>\n

\n    A
\npartir du po\u00e8me XI, \u00ab\u00a0Guirlande de Lou\u00a0\u00bb, \u00e9crit le 24
\njanvier 1915 \u00e0 Tarascon, suite \u00e0 la seconde permission de Nice,
\nApollinaire sent Lou se d\u00e9tacher de lui<\/b>. Les po\u00e8mes de cette s\u00e9rie
\nsont marqu\u00e9s par la m\u00e9lancolie, l’approche du d\u00e9part pour le front
\net le fantasme<\/b>. Le po\u00e8me XIV, \u00ab\u00a0Parce que tu m’as parl\u00e9 de
\nvice…\u00a0\u00bb, renoue avec l’inspiration \u00e9rotique mais sur un mode
\nplus froid qui rappelle l’\u00e9p\u00eetre. Le po\u00e8me XVIII, \u00ab\u00a0Adieu\u00a0\u00bb,
\nco\u00efncide avec le d\u00e9part de Lou pour les Vosges.<\/span><\/div>\n
\n<\/span><\/div>\n
\n<\/div>\n


\n<\/span><\/p>\n

\n<\/a><\/div>\n
\n    Les
\npo\u00e8mes XIX-XXV correspondent au s\u00e9jour de Lou \u00e0 Baccarat aupr\u00e8s
\nde Toutou. Apollinaire, qui se sent abandonn\u00e9, entrelace les th\u00e8mes
\namoureux et martiaux<\/b> : l’attente de Lou et la faction se confondent,
\nde m\u00eame que le d\u00e9part des soldats pour le front et la pr\u00e9sence de
\nLou dans les Vosges. Les calligrammes du po\u00e8me XXII s’efforcent, par
\ndes \u00e9l\u00e9ments symboliques de la vie affective du po\u00e8te (miroir,
\ncanon, Maison carr\u00e9e de N\u00eemes, sabre, portrait de Lou et orange),
\nde donner une pr\u00e9sence \u00e0 Lou.<\/span><\/div>\n
\n<\/div>\n


\n<\/span><\/p>\n

\n     Le
\npo\u00e8me XXVI, inspir\u00e9 des \u00ab\u00a0Nuits\u00a0\u00bb de Musset, \u00e9crit apr\u00e8s
\nla derni\u00e8re entrevue marseillaise, repr\u00e9sente une \u00e9tape importante
\ndans le processus de recr\u00e9ation po\u00e9tique de la femme aim\u00e9e<\/b>.<\/span><\/div>\n
\n<\/div>\n


\n<\/span><\/p>\n

\n     Les
\npo\u00e8mes XXVII-XXIX marquent une transition : la s\u00e9paration
\nd\u00e9finitive s’est assortie d’une mutuelle promesse d’amiti\u00e9<\/b>. Hormis
\nle po\u00e8me XXVII qui n’est vraisemblablement pas \u00e0 sa place \u00e0 cet
\nendroit du recueil, les deux autres textes montrent un humour un peu
\nforc\u00e9<\/b>, o\u00f9 Apollinaire, sans doute plus affect\u00e9 qu’il ne le dit et
\nne se l’avoue, fait contre mauvaise fortune bon c\u0153ur. Lou rejoint le
\ncort\u00e8ge des sir\u00e8nes cruelles auxquelles le po\u00e8te r\u00e9siste par la
\nd\u00e9rision.<\/span><\/div>\n
\n<\/div>\n
\n<\/span><\/div>\n
\n<\/div>\n


\n<\/span><\/p>\n

\n<\/a><\/div>\n
\n     Les
\npo\u00e8mes XXX-XXXII correspondent au voyage d’Apollinaire vers le
\nfront. Le po\u00e8me XXXII, \u00ab\u00a0Mourmelon-le-Grand, 6 avril 1915\u00a0\u00bb,
\nqui cl\u00f4t cette s\u00e9rie, repr\u00e9sente un tournant capital dans le
\nrecueil. On y per\u00e7oit tr\u00e8s nettement le choc re\u00e7u par le po\u00e8te \u00e0
\nson arriv\u00e9e sur le th\u00e9\u00e2tre des op\u00e9rations ; la souffrance et la
\nmort qui s’imposent \u00e0 lui ; l’imm\u00e9diate int\u00e9gration des r\u00e9alit\u00e9s
\nguerri\u00e8res \u00e0 son inspiration.<\/b><\/span><\/div>\n
\n<\/div>\n


\n<\/span><\/p>\n

\n     Les
\npo\u00e8mes XXXIII-XLVIII mettent en \u0153uvre le processus fantasmatique
\nqui pr\u00e9side \u00e0 l’inspiration du po\u00e8te-combattant. Ils pr\u00e9parent le
\npo\u00e8me XLIX, \u00ab\u00a0L’amour le d\u00e9dain et l’esp\u00e9rance\u00a0\u00bb, dont la
\ndate, quoique approximative, correspond parfaitement \u00e0 l’\u00e9tat
\nd’esprit du po\u00e8te \u00e0 cette p\u00e9riode. Ce po\u00e8me repr\u00e9sente le
\ndernier grand tournant du recueil : Apollinaire y parach\u00e8ve la
\ntransformation de son amour d\u00e9\u00e7u en objet po\u00e9tique<\/b> et lui conf\u00e8re
\nune dimension programmatique. A partir de ce moment, Lou se
\nd\u00e9sincarne de plus en plus. Les po\u00e8mes \u00e9crits \u00e0 partir de mai
\n1915 sont beaucoup moins \u00e9rotiques. Soit ils adoptent un ton
\nfantaisiste, soit Lou y sert de pr\u00e9texte. C’est dans le dernier
\ntiers du recueil que se concentrent les po\u00e8mes de datation
\napproximative et ceux qui servent \u00e0 une publication post\u00e9rieure.
\nQuoi qu’il en soit, on sent nettement que, comme dans \u00ab\u00a0La
\nchanson du Mal-Aim\u00e9\u00a0\u00bb, les dimensions salvatrice et cr\u00e9atrice
\nde l’\u00e9criture po\u00e9tique permettent au po\u00e8te de d\u00e9passer la douleur
\npour la transformer en chant.<\/b> <\/span><\/div>\n
\n<\/div>\n
\n<\/a><\/span><\/div>\n

\n
\n<\/span><\/p>\n

\n     Le
\nlecteur actuel poss\u00e8de, de surcro\u00eet, un avantage ind\u00e9niable par
\nrapport \u00e0 Lou : il a le loisir de lire les po\u00e8mes selon une double
\ntemporalit\u00e9. D’un c\u00f4t\u00e9, il peut suivre l’ordre chronologique \u00e0 la
\nmani\u00e8re dont Lou d\u00e9couvrit les po\u00e8mes. De l’autre, il peut aborder
\nle recueil avec le recul que donne la connaissance pr\u00e9alable de
\nl’histoire d’amour. Le d\u00e9calage renforce l’\u00e9motion engendr\u00e9e par
\nl’expression des sentiments. Ainsi, le po\u00e8me XVII, du 4 f\u00e9vrier
\n1915, \u00ab\u00a0R\u00eaverie sur ta venue\u00a0\u00bb, \u00e9voque le possible passage
\nde Lou par N\u00eemes \u00e0 son retour du front. Non seulement on sait que
\nLou n’ira pas voir le po\u00e8te, mais une strophe comme :<\/span><\/div>\n


\n<\/span><\/p>\n

\n
<\/span>\n<\/div>\n


\n<\/span><\/p>\n

\nNous
\nferons cent mille b\u00eatises<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\nMalgr\u00e9
\nla guerre et tous ses maux<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\nNous
\naurons de belles surprises<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\nLes
\narbres en fleur les Rameaux<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\nP\u00e2ques
\nles premi\u00e8res cerises<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\n
<\/span>\n<\/div>\n


\n<\/span><\/p>\n

\nr\u00e9sonne
\ndouloureusement car c’est pr\u00e9cis\u00e9ment \u00e0 P\u00e2ques que le po\u00e8te
\npartira pour le front, perdant tout espoir de revoir Lou. Ce po\u00e8me
\nest d’autant plus touchant que \u00ab\u00a0Train militaire\u00a0\u00bb (XXX),
\n\u00e9voquant le voyage vers le front, constate :<\/span><\/div>\n


\n<\/span><\/p>\n

\n
<\/span>\n<\/div>\n


\n<\/span><\/p>\n

\nLe
\ndernier arbre en fleurs qu’avant Dijon nous v\u00eemes<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\n(Car
\nc’est fini les fleurs des environs de N\u00eemes)<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\nEtait
\ntout rose ainsi que tes seins virginaux<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\n
<\/span>\n<\/div>\n


\n<\/span><\/p>\n

\n     Enfin,
\n\u00ab\u00a0R\u00eaverie sur ta venue\u00a0\u00bb n’est pas sans faire penser au
\nlecteur d’Apollinaire \u00e0 l'\u00a0\u00bbAubade\u00a0\u00bb de \u00ab\u00a0La chanson du
\nmal-aim\u00e9\u00a0\u00bb, interm\u00e8de riant et fol\u00e2tre, dans un po\u00e8me de fin
\nd’amour. La mal\u00e9diction du mal-aim\u00e9 poursuit encore le po\u00e8te<\/b>.<\/span><\/div>\n
\n<\/div>\n


\n<\/span><\/p>\n

\n     De
\nm\u00eame, le po\u00e8me XXIV, dat\u00e9 du 11 mars 1915, d\u00e9plore le silence de
\nLou, alors aupr\u00e8s de Toutou, et d\u00e9veloppe une th\u00e9matique
\nchevaleresque<\/b> inspir\u00e9e par des rumeurs sur un prochain d\u00e9part pour
\nles Dardenelles ; le malheureux po\u00e8te souhaite la mort sans
\nd\u00e9m\u00e9riter son amour<\/b><\/span><\/div>\n


\n<\/span><\/p>\n

\n
<\/span>\n<\/div>\n


\n<\/span><\/p>\n

\nQue
\nje voudrais mourir dans le bel orient<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\nQuand
\nCrois\u00e9 j’entrerai fier dans Constantinople<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\nTon
\nimage \u00e0 la main mourir en soupirant<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\nDevant
\nla douce mer d’azur et de sinople<\/i><\/span><\/div>\n


\n<\/span><\/p>\n

\n
<\/span>\n<\/div>\n


\n<\/span><\/p>\n

\n     Dans
\nsa lettre suivante, dat\u00e9e du 17 mars, Apollinaire explique qu’il n’a
\nfinalement pas os\u00e9 se porter volontaire pour la Turquie et que,
\nregrettant am\u00e8rement sa l\u00e2chet\u00e9, il saisira prochainement
\nl’occasion de partir pour le front. Il tiendra parole.<\/span><\/div>\n","protected":false},"excerpt":{"rendered":"

Po\u00e8mes \u00e0 Lou d’Apollinaire UNE ORGANISATION CHRONOLOGIQUE      Les Po\u00e8mes \u00e0 Lou forment un recueil chronologique sans composition sp\u00e9cifique. A d\u00e9faut de construction, l’\u00e9volution des sentiments et les circonstances de l’\u00e9criture rythment les grandes \u00e9tapes du recueil.     Les po\u00e8mes I-III datent d’octobre-novembre 1914. Con\u00e7us comme des hommages, ils marquent le d\u00e9but des relations d’Apollinaire…<\/p>\n","protected":false},"author":2,"featured_media":49,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[17,5,18],"class_list":["post-48","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe","tag-apollinaire","tag-poesie","tag-xxeme"],"yoast_head":"\nL'organisation des Po\u00e8mes \u00e0 Lou d'Apollinaire - Ma Prof de Lettres<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/maprofdelettres.fr\/index.php\/2015\/02\/26\/lorganisation-des-poemes-lou\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L'organisation des Po\u00e8mes \u00e0 Lou d'Apollinaire - Ma Prof de Lettres\" \/>\n<meta property=\"og:description\" content=\"Po\u00e8mes \u00e0 Lou d’Apollinaire UNE ORGANISATION CHRONOLOGIQUE      Les Po\u00e8mes \u00e0 Lou forment un recueil chronologique sans composition sp\u00e9cifique. 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