A Stylistic Study of Visual and Linguistic Interplay in Apollinaire’s Calligrams

A Stylistic Study of Visual and Linguistic Interplay in Apollinaire’s Calligrams

Farida Ouali¹ , Yacine Moulai Hacene²

¹Department of English, University of Mostaganem Abdelhamid Ibn Badis -ALGERIA

²Department of English, University of Ibn Khaldoun Tiarte – ALGERIA

DOI: https://dx.doi.org/10.47772/IJRISS.2024.81100012

Received: 25 October 2024; Accepted: 30 October 2024; Published: 27 November 2024

ABSTRACT

This research at hand investigates the effectiveness of stylistic analysis in the interpretation of visual poetry, specifically Guillaume Apollinaire’s calligrams, emphasizing the interplay between visual form and linguistic components. The study confronts the difficulties presented by the visual intricacies of this poetic genre, which amalgamate graphic design with textual elements, thereby rendering conventional interpretative approaches inadequate. To this end, it examines how stylistic analysis can enhance the comprehension of the multifaceted meanings inherent in Apollinaire’s oeuvre. The methodology employs qualitative textual analysis, examining graphological, phonological, lexical, and syntactic features across selected poems, including La Cravate et la Montre and Cœur Couronne et Miroir. The analysis concentrates on how stylistic anomalies—such as nontraditional layout, punctuation, and word selection—enhance the overall significance of the poems. The findings indicate that stylistic analysis provides critical insights into the synergistic relationship between visual and textual elements, which collectively forge a cohesive poetic message, with visual forms frequently acting as an additional layer of meaning. The study concludes that stylistic analysis serves as an effective instrument for unravelling the complexities of Apollinaire’s calligrams, yielding a more subtle interpretation that harmonizes visual aesthetics with linguistic content.

Keywords: Stylistics, Calligrams, Guillaume Apollinaire, visual poetry, graphic design

INTRODUCTION

Guillaume Apollinaire’s ‘Calligrammes’ (1918) represents a distinctive genre of poetry that integrates linguistic expression with visual art, thereby challenging the conventional distinctions between verbal and visual communication. As a form of visual poetry, calligrams engage readers on various sensory levels, intertwining form and meaning in a way that necessitates both reading and visual interpretation. This duality poses an interpretive challenge, as readers must navigate the concurrent visual and linguistic components to extract meaning from the text. Apollinaire’s innovative poetic vision offers a novel experience of poetry, one that requires a thorough stylistic and structural analysis to fully grasp its intricacies.
The primary objective of this article is to investigate how stylistic analysis, which emphasizes linguistic and textual characteristics, can effectively elucidate the complex relationship between form and meaning in Apollinaire’s calligrams. The study will examine stylistic deviations, including graphological, phonological, lexical, and syntactic patterns, to ascertain their contributions to the overall significance of the poems. This research aims to determine whether stylistic analysis can reveal the multilayered meanings embedded within the visual components, thereby enhancing accessibility for readers. While prior scholarship has predominantly concentrated on the visual dimensions of Apollinaire’s poetry (Hollander, 2003; Katz, 2010), this study adopts a stylistic perspective, exploring how the unconventional linguistic structures in calligrams enrich their interpretive potential. The research will employ qualitative textual analysis on selected calligrams, with the intention of demonstrating that stylistic analysis is not only a valuable interpretive instrument but also essential for understanding the interplay between the visual and textual aspects of Apollinaire’s oeuvre (Lefebvre, 2015).

POETRY IN PAINTING AND PAINTING IN POETRY

Poetry, by its very nature, is primarily intended to be auditory, while painting is a visual art form. The integration of poetry and painting gives rise to a genre known as visual poetry, or concrete poetry. Throughout literary history, numerous renowned poets have also engaged in painting, including William Blake (1757–1827), Victor Hugo (1802–1885), Charles Baudelaire (1821–1867), Tennessee Williams (1911–1983), and Günter Grass (1927–2015), among others. In the works of these poets, the visual elements are often augmented by the readers’ imagination. In contrast, the poems of Apollinaire present visual elements directly to the reader, often resembling pictographic forms or shapes. According to Garcia (2020):

The pictograph is thus taken as synonymous with visual style, a manner of imaging, such as it is described in the writings of image theorists W. J. T. Mitchell (27-31) and Hans Belting (31-33) … One of the principle characteristics of pictographic use is its close association with oral performance… in addition to the experimental allegorical ethnography… This close association between icon and oral performance implies that pictographs have a distinct poetic system. (p. 10)

Many poets have used visual poetry before Apollinaire; however, the early development of pictorial poems (or visual poems) is less a synthesis of poetry and painting and more an exploration of the interplay between images and words. In the early 20th century, Apollinaire produced a significant body of pictorial poetry whereby he introduced the concept of ‘Calligramme’ in 1918. Consequently, the subsequent sections will elucidate the fundamental concepts that emerged from the intersection of poetry and painting, specifically focusing on calligrams, visual poetry, concrete poetry, and sound poetry.

Calligrams

Calligrams represent a distinctive form of poetry that was first introduced by Apollinaire in 1918. According to Rosario (2011), Apollinaire considered an alternative name for what is currently recognized as calligrams. In this respect, Rosario (2011) asserts that “at the beginning he thought of calling them ‘idéogrammes lyriques’. These poems, in fact, allow to free from the constraints of the linear reading thank to the instantaneous perception of the image.” (p. 48). However, Poggi (1992) believes otherwise as he claims that “In his calligrammes, Apollinaire sought to achieve a new synthetic form of poetry, addressed to the ear and to the eye. The original title for Calligrammes had been Moi aussi je suis peintre.” (p. 198). Indeed, Apollinaire is widely regarded as forefather to Surrealism, which is defined as an artistic endeavour to connect reality with imagination. Surrealists aim to reconcile the contradictions between the conscious and unconscious mind by crafting narratives that are unreal or bizarre, characterized by striking juxtapositions (What is Surrealism in Literature? – Definition, Characteristics & Examples, 2015). His work ‘Calligrammes’ (1918) exemplifies a fusion of poetry and visual art, thereby making a significant contribution to the genre of concrete or visual poetry.

Visual Poetry

Visual poetry is considered as an intermedium as it joins between poetry and other human activities such as painting. It destroys the borders between art and text as it makes the poet and a painter one person. (Sokar, 2016) Hence, his major concern is not the text only, but the complete literary work that is made of an image and a text. Visual poetry can be defined as poetry which is meant to be seen, and thus, Bohn (2001) asserts that “Although poetry is a linguistic construct, the way in which it communicates is influenced by spatial relations as well. In the final analysis, every poem, even a Shakespearean sonnet or an ode by Ronsard, possesses a visual dimension.” (p. 15)

In order to write a visual poem, the poet can create a peculiar form of poetry by using different techniques such as text arrangement/rearrangement. In this regard Bohn (2011) explains that:
What makes visual poetry so unique, after all, is the way in which the text and the design interact with each other. Reevaluating each one in the light of the other frequently reveals new connections between them. At the very least, it allows the reader to formulate a comprehensive interpretation. (p. 17)

In the context of calligrams, it is important to note that Apollinaire was not the pioneer of visual poetry. Historical evidence indicates that various ancient civilizations, including Arabic, Chinese, Japanese, and Western cultures, engaged in this form of poetic expression. Notably, while the Western tradition may not possess the same level of richness in visual poetry as the aforementioned cultures, it nonetheless contributes to the evolution of this art form. In this regard, the practice of this particular form of poetry within the Western tradition may not exhibit the same level of richness and complexity as that found in Arabic, Chinese, or Japanese cultures, there exist numerous compelling instances of interplay between the written word and visual imagery throughout history. (Rosario, 2011)

Concrete Poetry

The word concrete in poetry differs from the term that was used in art. Additionally, in an interview with Augusto de Campos which was conducted by Romani (2017), Augusto stated that:
Before Schaeffer used the word “concrete” for his music, we [Noigandres Group] were already connected with the Paulista painters and sculptors of Ruptura group, whom we knew in 1952 and who called themselves “concrete” or “concretists”, from the expression “concrete” introduced by Van Doesburg and replaced in circulation by Max Bill, in the Forties, with the specific goal of distinguishing it from “abstract” art.

(as cited in Romani, 2017, p. 238)

When it comes to the definition of the term concrete poetry, Williams (1967) and Solt (1968) believe that defining the term is not an easy task. Respectively, Williams (1967) asserts that “Concrete poetry . . . is what the poets in this anthology make” (p. v) and Solt (1968) writes “There are now so many kinds of experimental poetry being labeled “concrete” that it is difficult to say what the word means.” (p. 1) Consequently, Kostelanetz (1993) brings a useful starting point for comprehending concrete poetry, whereby, he says that:

Concrete Poetry aims to reduce language to its concrete essentials, free not only of semantic but of syntactical necessities. It is often confused with SOUND POETRY and VISUAL POETRY…but is really something else. The true Concrete Poem is simply letters or disconnected words scattered abstractly across the page or a succession of aurally nonrepresentational (and linguistically incomprehensible) sounds. (p.45)

Even though the abovementioned definition seems to be a more elaborate definition than Williams’ (1967), Kostelanetz (1993) failed to capture concrete poetry’s nuanced manifestations as not all concrete poems use disconnected letters/word. Concrete poetry is not exclusively characterized by disjointed or dispersed letters; rather, some examples exhibit a cohesive structure. Furthermore, concrete poetry is not inherently simplistic; it can extend over multiple pages, resulting in elaborate, multi-panel compositions. (Schmaltz, 2018)

STYLISTICS AS AN APPROACH TOWARDS APOLLINAIRE’S CALLIGRAMS

The field of literary criticism has increasingly focused on the examination of language within literary works over the past few decades, revealing this endeavour to be a complex and multifaceted undertaking. In this context, Spitzer (1988) introduced a novel approach to the study of literary language, which is grounded in a rigorous statistical analysis of linguistic techniques, complemented by a thoughtful application of linguistic theories. This type of analysis has evolved into what is now referred to as ‘stylistics.’

The historical development of the field of stylistics can be traced back to the ancient Greek discipline of rhetoric. According to Wales (2014), rhetoric is defined as “techne rhetorike ‘art of speech,’ originally a discipline concerned with the practical skills of public speaking as a means of persuasion” (p. 368). During this period, scholars posited that the primary function of language was to facilitate effective speech-making. Such speeches were characterized by their informative, cohesive, and memorable qualities, which are examined within the context of oratory. Buehler and Johannesen (1965) define oratory as “a memorized, original, persuasive speech demonstrating qualities of logic, organization, language, and delivery, and producing an effect of eloquence that is far above the ordinary” (as cited in Al-Mussawi and Al-Husseini, 2009, p. 3).

The Definition of Stylistics

The field of stylistics represents an intersection of style and linguistics, encompassing the examination of linguistic and artistic expressive techniques and devices within the context of communication studies. Nevertheless, the definition of stylistics varies among scholars, contingent upon the specific perspective from which it is analysed. In this respect, Simpson (2004) defines Stylistics as:

A method of textual interpretation in which primacy of place is assigned to language. The reason why language is so important to stylisticians is because the various forms, patterns and levels that constitute linguistic structure are an important index of the function of the text. (p. 02)

On the hand, Verdonk (2010) states that Stylistics is “the study of style, can be defined as the analysis of distinctive expression in language and the description of its purpose and effect.” (p. 04) whereby Wynne, (2005) argues that “Stylistics, which may be defined as the study of the language of literature, makes use of various tools of linguistic analysis.” (p. 01). Another definition provided by Widdowson (1975) where he claims that stylistics can be seen as a fusion between literary criticism and linguistics, where its morphological making is constructed upon two component ‘style’ and ‘istics’. He argues that stylistics is an analytic tool of relating disciplines and subjects.

As a matter of fact, One may gather as many definitions as he could get from different scholars concerning the concept of stylistics where most of them vary from one definition to another as their differences lie upon which approach they have been tackling, yet, despite the fact that they differ; the aim of stylistics remains the same- to study style. At this point, we can say that different types of definitions lead to different types of stylistics. However, before delving into the murky waters of stylistics’ branches, it may be useful to point at Enkvist’s, (1973) nature of stylistics where he asserted:

We may… regard stylistics as a subdepartment of linguistics and give it a special subsection dealing with the peculiarities of literary texts. We may choose to make stylistics a subdepartment of literary study which may draw on linguistic methods. Or we may regard stylistics as an autonomous discipline which draws freely, and eclectically, on methods from linguistics and from literary study. (p. 27)

What Enkvist (1973) is trying to point out here is that stylistics is a hybrid discipline crisscrossing both literary criticism and linguistics. However, when it comes to linguistics, it is not always an absolute matter that linguistics in a part of stylistics. To make this clear, Leech and Short (1981) agreed that stylistics, in a broad term, is ‘the (linguistic) study of style’ (p. 11). This means that stylistics could be linguistics or non-linguistics, but as far as this research is concerned, the non-linguistics notion of stylistics is out of our expertise.

Stylistic Deviations and the Problem of Norms

The concept of deviation is based on a violation of the existence of some kind of language norms, whereby, the latter is meant to be axiomatic to every language user. However, Wales (2014) asserts that deviation is used in early stylistic works. Accordingly, she asserts that deviation is mainly used in generative grammar, this means that any piece of language which is not grammatically correct or is ill-formed is considered as deviation. Therefore, Wales (2014) puts that it “refers to divergence in frequency from a norm, or the statistical average.” (p. 110). Within the same framework, Wales (2014) believes that the divergence is based on two levels: (i) deviation from the normal use of language (phonological, grammatical, lexical or semantic) (ii) “upon the overuse of normal rules of usage, and so be statistically unusual in the sense of over frequent” (p. 110).

From another angle, Leech (1969) believes that linguistic deviation is considered as a means for poetic making, whereby, poetry is established from linguistic deviations which is implemented by the poet in his poetry. In this respect, Jeffries & McIntyre (2010) define deviation as “another concept arising from Russian formalists, and poetry is the genre that most clearly exemplifies this feature…Deviation is essentially the occurrence of unexpected irregularity in language…may occur at any of the levels of linguistic structure…” (p. 31) Indeed, what is special about poetry is that poets hardly ever use a straightforward, clear way in saying what they mean, they deviate from the normal use of language in saying what they want to say, whereby, they give their readers
an unexpected surprise and touch their inner artistic value.

As asserted earlier, stylistic analysis has its own method in analysing literary texts, in which, the levels of language (phonology, lexis, grammar, graphology, morphology…etc.) are tackled. Thereby, Simpson (2004) asserts that:

These basic levels of language can be identified and teased out in the stylistic analysis of text, which in turn makes the analysis itself more organised and principled…. However, what is absolutely central to our understanding of language (and style) is that these levels are inter-connected: they interpenetrate and depend upon one another, and they represent multiple and simultaneous linguistic operations in the planning and production of an utterance. (p. 04)

Leech (1969) and Short (1996) believe that stylistic analysis deals with linguistic deviations, therefore, Leech (1969) divides it into eight kinds: lexical, grammatical, phonological, graphological, dialectal, deviation of register, and deviation of historical period. On the other hand, Short (1996) categorizes linguistic deviation into discoursal deviation, lexical deviation, grammatical deviation, morphological deviation, semantic deviation, and internal and external deviation. As it appears, Leech’s and Short’s categorization have some similarities, thus, below a brief description with illustration is presented to some of the aforementioned deviations.

 Lexical Deviation

Lexical deviation is concerned with the invention of new words as Leech (1969, p. 42) calls them ‘nonce-formation’. This deviation is called Neologism which is defined by Brown & Miller (2013) as “A word newly introduced into a language, e.g. by being borrowed or invented.” (p. 306) and Wales (2014) as “Borrowed from a French term based on Gk elements, a neologism in lexicology means ‘a newly invented word’.” (p. 287)

In this respect, Leech (1969) and Short (1996) consider lexical deviation as one of the most commonly used technique by poets in exceeding the normal resources of language, this is done by adding affixes to words that do not require any, respectively, Wales (2014) adds that lexical deviation “reveal a wide range of morphological processes: e.g. compounding, affixation, blends and acronyms.” (p. 287)

Additionally, Short (1996) points out to another kind of lexical deviation, that is to say, functional conversion, whereby, he defines as “The process of converting a word from one grammatical class to another…” (p. 45) what Short is referring to is that in English language it is a common thing that there are some words that have a double grammatical function, for example, words that are both nouns and verbs such as: access, charge, drive, excuse, gaze…etc. However, in literary texts we may encounter words that have only one grammatical function converted into another grammatical function, here Short (1996) illustrates functional conversion in Hopkin’s (1918) poem ‘The Windhover’:

… My heart in hiding

Stirred for a bird, – the achieve of, the mastery of the thing!

Cited in Short (1996, p. 46)

According to English grammar, the word achieve is a verb, however, in the example above Short (1996) explains how the poet converted the word achieve from a verb into a noun. He elucidates:
Here Hopkins takes the verb achieve and uses it as a noun, in spite of the fact that English already has a noun, ‘achievement’ derived from that verb. It is obvious that the word is a noun here because of (i) the preceding definite article, (ii) the of apparently beginning a post-modifying prepositional phrase, and (iii) the grammatical parallel with mastery. (p. 46)

 Grammatical Deviation

According to Leech (1969) this type of deviation can be drawn amid two levels; morphology and syntax, whereby the former deals with the grammar of the word and the latter deals with the grammar of how words pattern within sentences (p. 44). There are two kinds of grammatical deviations: (i) Morphological deviation is when the poet deliberately deviates from the ordinarily agreed norms of spelling, formation, construction, or application of word. In this respect, Short (1996) provides multiple examples to illustrate morphological deviation whereby he points to an unorthodox addition of affixes to words that do not require any, such as in Cummings’ poem ‘From Spiralling Ecstatically This’: perhaps less mystery of paradise

(as cited in Short, 1996, p. 51)

 Phonological Deviation

When it comes to phonological deviation Leech (1969) believes that most literature is in written form, therefore, there would not be much of a scope for phonological deviation. According to him it is limited since the phonological patterns are even more surface than those of syntactic surface (p. 46). In this respect, Short (1996) agrees with the fact that phonological deviation is limited,

whereby, he asserts that:

Because the sound dimension of language belongs to speech…there is relatively little scope for phonological deviation…. We can think of examples where words are pronounced or stressed oddly, e.g. wind pronounced as /waind/ to conform to a rhyme scheme, but in terms of poetic meaning and effect, these are cases of marginal interest. (p. 54)

 Graphological Deviation

Leech (1969) believes that the deviation at hand deals with the strangeness of the written form, whereby, it deals with irregular use of capitalization, punctuation, spelling, hyphenation, spelling, paragraphing, and italicizing. In this respect, Leech (1969) points to two American poets, namely William Carlos Williams (1883 – 1963) and Edward Estlin Cummings (1894 – 1962) whose works contain graphological deviation. Respectively, Leech (1969) explains Cummings’ graphological deviation in which he asserts that “Cummings is well known for his use of other types of orthographic deviation: discarding of capital letters and punctuation where convention calls for them, jumbling of words, eccentric use of parentheses, etc.” (p. 47).

Semantic Deviation

The deviation at hand, according to Leech (1969), is considered as a characteristic of poetry which is regarded as a kind of inspired nonsense, in which he asserts that ‘It is reasonable to translate ‘semantic deviation’ mentally into ‘nonsense’ or ‘absurdity’, so long as we realize that ‘sense’ is used, in this context, in strictly literal-minded way” (p. 48). Furthermore, Leech (1969) claims that semantic deviation can be divided into three types: (i) Semantic oddity which means sematic peculiarity or strangeness of expression, (ii) Honest deception which per se can be classified into three different tropes: hyperbole, litotes, and irony, (iii) Transference of Meaning refers to figurative language that possesses rule of transference of one meaning from another (Leech, 1969, p. 148). Furthermore, transference of meaning holds four kinds of figurative language, so to speak, SYNECDOCHE which occurs when a “‘part’ of a referent is named and stands for the ‘whole’; or vice versa.” (Wales, 2014, p. 411), METAPHOR which is defined by Simpson (2004) as “a process which employs mapping of two different conceptual domains” (p. 41) and METONYMY which is partially alike synecdoche, yet the only difference is that metonymy utilizes the words linked to the concept in which they are not part of it.

RESEARCH METHODOLOGY

This study examines the role of stylistic analysis as an essential instrument for elucidating the intricate relationship between form and meaning in two of Guillaume Apollinaire’s renowned calligrams, “La Cravate et la Montre” and “Cœur Couronne et Miroir.” These poems present a compelling interaction between visual imagery and textual significance, which poses considerable challenges for interpretation through conventional literary analysis. Consequently, the research methodology emphasizes the application of stylistic analysis to reconcile the aesthetic and linguistic aspects of the calligrams.

The aim of this study is to illustrate the efficacy of stylistic analysis in unraveling the multifaceted meanings
inherent in the visual and linguistic elements of Apollinaire’s calligrams. In particular, this research will focus on the following inquiries:

1. How do the stylistic deviations in Apollinaire’s La Cravate et la Montre and Cœur Couronne et Miroir enhance or obscure their meaning?
2. What role do visual elements play in reinforcing or complicating the interpretive process?
3. To what extent does stylistic analysis help in reconciling the visual and textual aspects of these poems?

Methodology of the Research

The research adopts a qualitative textual analysis methodology, focusing on an in-depth stylistic examination. The analysis will be conducted across various stylistic dimensions: (i) Graphological analysis (the layout of the text on the page, including its use of space and form). (ii) Phonological analysis (the study of sound patterns, rhyme, rhythm, and other auditory features). (iii) Lexical and semantic analysis (the choice of words, their meanings, and how they function within the poem’s context). (iv) Syntactic analysis (sentence structure and how deviations from traditional syntax affect meaning).

Selection Criteria for the Poems

The poems ‘La Cravate et la Montre’ (1914) and ‘Cœur Couronne et Miroir’ (1914) were chosen for analysis because of their intricate visual composition and their engagement with the integration of visual and textual components, which is emblematic of Apollinaire’s methodology in his Calligrammes. These two poems serve as exemplary instances of the confluence of artistic expression and textual representation, rendering them particularly suitable for a stylistic examination that investigates the impact of form on content.

Figure 1. The Poem ‘La Cravate et la Montre’ by Apollinaire (1914)

Note: Reprinted from Apollinaire (1918/1980, p. 79)
In this poem, Apollinaire engages in a visual exploration of objects, specifically a tie and a watch, positioning them in contrast to the concepts of time and societal conventions. The watch serves as a representation of time, whereas the tie may signify conformity or social identity. The forthcoming stylistic analysis will concentrate on how the poem’s layout, characterized by its graphological features, emulates the physical forms of these objects, and how the linguistic structure, encompassing lexical selections and syntax, complicates the interpretative process. The graphological elements are particularly significant in this analysis, as the poem’s visual composition profoundly shapes the reader’s understanding of time and identity.

On the other hand, the Calligram shown below (Figure 2) employs visual imagery in an abstract manner, symbolizing the heart, crown, and mirror. These motifs encapsulate themes of love, power, and self-reflection, which are pivotal in Apollinaire’s body of work. The forthcoming stylistic analysis will explore the interaction between the graphological arrangement of these symbols and the poem’s linguistic elements, with particular emphasis on the semantic domains established by Apollinaire’s lexical selections. Furthermore, an examination of phonological patterns will be conducted to elucidate how the auditory qualities of the poem enhance its thematic depth, especially regarding the interrelationship among the heart (emotion), the crown (authority), and the mirror (self-reflection).

Figure 2. The Poem ‘Cœur Couronne et Miroir’ by Apollinaire (1914)

Note: Reprinted from Apollinaire (1918/1980, p. 89)

DATA ANALYSIS

Before we delve into the analysis of the poems and provide a stylistic interpretation, it is very essential to provide first a way to illustrate and facilitate the reading process of the poems. In this respect, the poem ‘La Cravate et la Montre’ has its own way in disturbing readers schemata and making them think twice about where to start and what comes next.
The poem serves as a compelling illustration of the application of cryptology within the realm of poetry. In this context, Apollinaire’s approach in the second stanza, which assumes the form of a watch, exemplifies a form of cryptology in which he substitutes the hours with various words and phrases. This method of replacing one word with another word, number, or symbol is referred to as substitution encipherment. After extracting and decrypting some cryptographic peculiarities found in the poem ‘La Cravate et la Montre’ became readable whereby the first stanza (the tie)  is read as follows:

The tie so sorrowful that you wear

And that adorns you oh civilized

take it off if you wish to breathe well

Conversely, the second stanza (the watch) can be read in a clockwise whereby it goes as follows:

WHAT A GOOD TIME WE ARE HAVING

The beauty of life surpasses the sorrow of dying

the hours

My heart

the eyes the child

Agla

The hand Tircis

Week

The infinite righted by a mad philosopher

The Muses at the doors of your body

The handsome stranger

And the Dantean verse shining and corpselike

It’s 5 at last and all will end

As far as the second poem, ‘Cœur Couronne et Miroir’, is concerned, the poet left a clue which indicates the starting point of the poem, viz the bold capital letter M for the pronoun my. According to the rules of capitalization (whether in French or in English) the beginning of a sentence or a title is always capitalized. Therefore, the first stanza is read as follows: MY HEART

LIKE AN INVERTED FLAME.

The second stanza, on the other hand, is more complicated than the previous one as it has a transposition cipher, morphological deconstruction encipherment and spacings. The starting point is indicated with a green arrow, here, readers have to read the stanza in a zig zag direction starting with a vertical reading and ending with a horizontal one.

The last stanza, in contrast to the second one, does not seem too encrypted to read, except for the fact that its visual shape may confuse reader to tell where the stanza starts and where it ends. In this regard, the encryption process shows that the stanza should be read in a clockwise direction starting with IN and ending with REFELECTIONS. Thus, the poem ‘Cœur Couronne et Miroir’ is fully read as follows:

MY HEART LIKE AN INVERTED FLAME

THE KINGS WHO DIE ONE BY ONE ARE REBORN IN POETS’ HEARTS

IN THIS MIRROR I AM ENCLOSED LIVING AND REAL JUST AS YOU IMAGINE

THE ANGLES AND NOT ALL LIKE REFLECTIONS

Stylistic Analysis of Apollinaire’s La Cravate et la Montre

In “La Cravate et la Montre,” Apollinaire integrates visual and textual components to examine themes of societal conformity and the inexorable progression of time. The poem’s visual arrangement emulates the contours of a tie and a watch, compelling readers to interact with both the form and the content concurrently. By employing distinctive stylistic variations in graphology, phonology, lexis, and syntax, Apollinaire constructs multiple layers of meaning that transcend conventional textual interpretation.

 Graphological Analysis

In the original calligram, the arrangement of the text is designed to emulate the form of a tie and a watch. This
visual configuration serves a purpose beyond mere ornamentation; it underscores the poem’s primary themes of societal pressure and the relentless passage of time. For example, in the lines “The tie so sorrowful that you wear / And that adorns you oh civilized / take it off if you wish to breathe well,” the words are shaped to resemble a tie, symbolizing the suffocating nature of societal norms and formal attire. The visual representation of the poem, akin to a necktie, amplifies the metaphor of constriction and societal burden, illustrating how adherence to social expectations can restrict individual freedom. The directive to “take it off” conveys a sense of liberation from societal constraints, both in terms of content and visual form.
In a comparable manner, the watch segment is designed in a circular shape, symbolizing the perpetual nature of time and the unavoidable conclusion of life. For instance, the circular arrangement of the phrase “WHAT A GOOD TIME WE ARE HAVING” illustrates the concept of time as cyclical and inescapable, as the visual configuration of the watch reflects the continuous movement of the clock’s hands.

 Phonological Analysis

While Apollinaire’s poem predominantly underscores visual elements, phonological characteristics also significantly contribute to the construction of its meaning. The incorporation of repetition and rhythmic structures resonates with the mechanical ticking of a clock and the formalities inherent in societal rituals. For instance, in the line “WHAT A GOOD TIME WE ARE HAVING,” the recurrence of the “t” sounds engenders a staccato rhythm that is evocative of a clock’s ticking. This rhythmic reiteration serves to mimic the passage of time, thereby aligning the phonological arrangement with the visual representation of a watch. The irony embedded in this exuberant proclamation, when contrasted with the impending notion of death presented in the subsequent lines, accentuates the tension between the ephemeral joys of life and its unavoidable conclusion. Additionally, in the section concerning the tie, the softer phonetic elements in the phrase “The tie so sorrowful” encapsulate the constraining influence of societal expectations. The repeated “s” sounds evoke a sense of melancholy and suppressed emotion, thereby amplifying the tie’s symbolism of suffocation.

Lexical and Semantic Analysis

Apollinaire’s lexical selections in “La Cravate et la Montre” are intentional and laden with symbolism, enhancing the poem’s overarching critique of societal norms and the inexorable passage of time. For example, in the line “The tie so sorrowful that you wear,” the use of the adjective “sorrowful” serves to personify the tie, implying that societal conventions are not merely constraining but also emotionally burdensome. Traditionally viewed as a symbol of professionalism and social standing, the tie is reinterpreted as an object that induces sadness and distress. The directive to “take it off if you wish to breathe well” establishes a contrast between societal conformity and individual freedom, employing straightforward yet emotionally resonant language to articulate the oppressive nature of societal expectations. Similarly, in the phrase “The beauty of life surpasses the sorrow of dying,” a juxtaposition of life and death is presented, utilizing elevated language that underscores the ephemeral quality of existence. Terms such as “beauty” and “sorrow” resonate with existential themes, while the expression “The Muses at the doors of your body” personifies artistic inspiration, indicating an intricate relationship among time, creativity, and mortality. The imagery of “The handsome stranger” and “The Dantean verse shining and corpselike” further enriches the contemplation of life’s transience and the inevitability of death, employing lexical choices that evoke both classical literary references and personal reflection.

 Syntactic Analysis

Apollinaire’s employment of syntax is characterized by its unconventional and fragmented nature, which introduces pauses and interruptions in the text’s flow, compelling the reader to engage in a deeper contemplation of the poem’s significance. This fragmented syntax serves as a reflection of the disjointed essence of life and time, as well as the individual’s struggle against societal limitations. For example, in the line “The tie so sorrowful that you wear / And that adorns you oh civilized / take it off if you wish to breathe well,” the initial relative clause disrupts the flow, instilling a sense of formality and discomfort. The concluding directive, “take it off if you wish to breathe well,” contrasts sharply with this formality through its direct and imperative tone, implying that true liberation from societal constraints necessitates immediate and decisive action. The disruption in sentence structure parallels the call for a departure from societal conformity. Within the same regard, in the line “It’s 5 at last and all will end,” the abruptness of the syntax reflects the suddenness associated with the conclusion of time. The absence of conjunctions in this construction fosters a sense of finality and inevitability. This straightforward yet powerful statement starkly contrasts with the preceding, more contemplative lines, thereby emphasizing the relentless progression of time.

Stylistic Analysis of Apollinaire’s ‘Cœur Couronne et Miroir’

In “Cœur Couronne et Miroir,” Apollinaire delves into the intricate themes of love, power, and self-reflection, represented by the symbols of the heart (cœur), crown (couronne), and mirror (miroir). Each of these symbols carries complex connotations: the heart serves as a metaphor for emotional experience, the crown signifies authority or legacy, and the mirror represents introspection. The poem’s structural design visually reinforces these themes, encouraging the reader to establish connections between the symbols in both visual and textual dimensions. Furthermore, Apollinaire’s deliberate stylistic choices in graphology, phonology, lexis, and syntax significantly enhance the reader’s engagement with these themes, resulting in a dynamic and multifaceted interpretive experience.

 Graphological Analysis

The visual arrangement of the poem is essential for comprehending its thematic framework. The text is designed to resemble a heart, a crown, and a mirror, thereby amplifying the symbolism and interconnectedness of love, authority, and self-reflection. To illustrate, the opening line, “MY HEART LIKE AN INVERTED FLAME,” visually establishes the foundation of the heart shape, symbolizing a passion that is directed inward. This inverted flame suggests an intense emotional state that is both personal and concealed, indicating that profound feelings are frequently internalized. The visual representation of a heart draws focus to the predominant theme of emotion, while the inverted flame conjures a sense of introspective warmth or inner conflict. The layout underscores the notion that these emotions are encapsulated within the individual, thereby visually reinforcing the symbolic role of the heart.

 Phonological Analysis

While primarily visual in its orientation, the poem also utilizes auditory elements to enhance its thematic expressions. Phonological characteristics, including alliteration and consonance, contribute to a fluid rhythm that reflects both the contemplative essence of the mirror and the cyclical motif associated with the rebirth of kings. For instance, in the line “THE KINGS WHO DIE ONE BY ONE ARE REBORN IN POETS’ HEARTS,” the recurrence of the sounds “r” and “k” establishes a rhythmic quality that emphasizes the cyclical concept of rebirth. The repetition of the terms “reborn” and “hearts” creates an auditory loop, symbolizing the continuity between death and the act of poetic creation. This sound pattern serves as a metaphor for the enduring nature of influence, implying that although kings may perish, their legacies persist through the medium of poetry. Similarly, the line “IN THIS MIRROR I AM ENCLOSED” employs a gentle, flowing rhythm, characterized by the repeated sounds of “m” and “r.” These phonological features reflect the poem’s introspective and somewhat melancholic themes, suggesting that the speaker’s words resonate back, akin to a reflection. This auditory pattern subtly evokes a sense of introspection, aligning with the symbolic role of the mirror within the poem.

 Lexical and Semantic Analysis

Apollinaire’s lexical selections in this poem are imbued with significant symbolic meaning, each element contributing to distinct thematic aspects within the work. The vocabulary employed reflects concepts of introspection, legacy, and the poet’s function in safeguarding the essence of predecessors. For instance, the phrase “THE KINGS WHO DIE ONE BY ONE ARE REBORN IN POETS’ HEARTS” is laden with historical and cultural implications. The term “kings” connotes power and legacy, while “poets’ hearts” implies that artists perpetuate the essence of these rulers, thereby sustaining their spirit through creative expression. By incorporating this notion into the poem, Apollinaire emphasizes the role of poets as custodians of cultural memory, wherein power and influence persist in a reconfigured form. Additionally, in the line “IN THIS MIRROR I AM ENCLOSED LIVING AND REAL JUST AS YOU IMAGINE,” the terms “living” and “real” underscore the poet’s aspiration for genuine self-reflection. The mirror is portrayed as a boundary that both confines and reflects the true self. In this context, Apollinaire’s use of “enclosed” suggests a sense of limitation, while “imagine” invites the reader to engage in the construction of the poet’s identity. These lexical choices reinforce the theme of introspection, depicting the mirror as a multifaceted symbol of both self-awareness and constraint.

 Syntactic Analysis

In “Cœur Couronne et Miroir,” Apollinaire employs a deliberately fragmented syntax that introduces pauses and disruptions, compelling the reader to engage profoundly with each symbol presented. This structural choice not only contributes to the poem’s reflective tone but also creates a sense of isolation among thoughts, while simultaneously highlighting their interconnectedness. For instance, the line “MY HEART LIKE AN INVERTED FLAME” omits a verb, thereby intensifying the immediacy of the comparison between the heart and the flame. This direct juxtaposition draws the reader’s attention to the metaphor, encouraging contemplation of the image of an inverted flame, which may imply concealed passion or introspective energy. The line’s structure underscores the heart as a reservoir of contained emotion, resonating with the poem’s overarching introspective theme. Similarly, the phrase “THE ANGLES AND NOT ALL LIKE REFLECTIONS” employs syntactic ambiguity to convey the notion that not every element within the mirror constitutes a true reflection. By positioning “ANGLES” and “NOT ALL LIKE REFLECTIONS” within an unconventional structure, Apollinaire disrupts traditional syntax, engendering a sense of disorientation that mirrors the distorted nature of self-perception. This fragmented syntax necessitates that the reader interprets each phrase independently, thereby reflecting the mirror’s propensity to present altered or incomplete representations of reality.

RESULTS AND DISCUSSION OF FINDINGS

The analysis of Apollinaire’s (1914) poems, ‘La Cravate et la Montre’ and ‘Cœur Couronne et Miroir’, uncovers the profound significance inherent in both their visual presentation and stylistic selections. The results of this analysis demonstrate how Apollinaire employs stylistic variations to construct intricate interpretations that merge visual aesthetics with linguistic expression, thereby prompting readers to interact with poetry in a manner that transcends the text itself. Each level of stylistic analysis—graphological, phonological, lexical, and syntactic—plays a distinct role in shaping the reader’s experience and comprehension of the underlying themes.

 Graphological Level

In both of Apollinaire’s poems, the incorporation of graphological elements—specifically the visual representations of a tie, a watch, a heart, a crown, and a mirror—serves a purpose that transcends mere decoration. These visual forms are integral to the thematic essence of each poem, thereby transforming the reading experience into a multisensory engagement.

In “La Cravate et la Montre,” the visual representations of the tie and the watch underscore themes related to societal pressure and the inexorable passage of time. The shape of the tie, which symbolizes a societal marker of formality and constraint, visually reinforces the poem’s critique of social conformity. Conversely, the watch, arranged in a circular format within the original calligram, signifies the inescapable nature of time. These visual elements collectively enhance the poem’s exploration of identity and mortality, illustrating the constraints imposed on individuals by both societal expectations and the relentless progression of time.

In “Cœur Couronne et Miroir,” the shapes of the heart, crown, and mirror highlight the interconnected themes of love, legacy, and introspection. The heart, positioned at the center of the calligram, symbolizes passion and emotion, while the crown signifies authority or cultural heritage, thereby reinforcing notions of rebirth and influence that extend beyond one’s lifetime. The mirror shape invites self-reflection, prompting the reader to consider the distinctions between internal and external self-perception. The interplay of these symbols within the poem’s structure accentuates Apollinaire’s perspective on the poet’s role in the preservation of cultural identity and the pursuit of introspective self-exploration.

The visual forms in both poems thus support the findings that Apollinaire uses shape as a critical element to communicate thematic nuances, blurring the line between text and image to immerse the reader fully.

 Phonological Level

Apollinaire’s employment of phonological elements, including alliteration, consonance, and rhythmic structures, effectively reflects the thematic concerns present in both poems. The sound patterns establish an auditory environment that complements the visual and lexical components, thereby enriching the overall interpretive experience.

In “La Cravate et la Montre,” the repetition of hard consonants, particularly the “t” sounds in the line “WHAT A GOOD TIME WE ARE HAVING,” emulates the ticking of a watch. This recurring sound pattern evokes the mechanical and inescapable nature of time, thereby reinforcing the theme of temporal limitation. Furthermore, the sibilant “s” sounds in the phrase “The tie so sorrowful” generate a soft, mournful tone that encapsulates the stifling impact of societal expectations. The phonological characteristics underscore the ironic tension between time as a celebratory force and as a countdown to an inevitable conclusion.

In “Cœur Couronne et Miroir,” the presence of soft, flowing sounds such as “m” and “r” in expressions like “MY HEART LIKE AN INVERTED FLAME” and “THE ANGLES AND NOT ALL LIKE REFLECTIONS” creates a rhythmic cadence that enhances the poem’s reflective and cyclical themes. This rhythmic quality mirrors the introspective nature of the mirror and the continuity of legacy implied by the crown. Additionally, the repetition of “r” and “k” in the line “THE KINGS WHO DIE ONE BY ONE ARE REBORN IN POETS’ HEARTS” establishes a ritualistic tone, suggesting the enduring influence that transcends generations.

The phonological analysis confirms that Apollinaire uses sound patterns to subtly underscore the thematic content, adding a layer of meaning that reinforces the poems’ reflections on time, power, and introspection.

 Lexical Level

Apollinaire’s selection of vocabulary is pivotal in establishing the thematic and symbolic structures within both poems. His employment of terms imbued with profound cultural and existential significance allows for an exploration of intricate concepts related to identity, mortality, and self-examination.

In “La Cravate et la Montre,” the descriptor “sorrowful” applied to the tie serves as a critique of societal expectations. This adjective anthropomorphizes the tie, implying that the weight of societal norms is not only constraining but also emotionally burdensome. The phrase “take it off if you wish to breathe well” employs straightforward language to advocate for emancipation from social conformity. In the watch segment, expressions such as “The beauty of life surpasses the sorrow of dying” juxtapose life and death, with “beauty” and “sorrow” symbolizing the ephemeral and bittersweet essence of existence. These lexical selections reflect Apollinaire’s existential musings on life, reinforcing the watch’s function as a reminder of the relentless passage of time.

In “Cœur Couronne et Miroir,” terms such as “inverted flame” and “enclosed” in the line “IN THIS MIRROR I AM ENCLOSED LIVING AND REAL” evoke themes of introspection and confinement. The “inverted flame” symbolizes an internalized passion or reflective energy, while “enclosed” connotes both self-awareness and restriction, emphasizing the dual nature of the mirror’s symbolism. The inclusion of “kings,” “poets’ hearts,” and “reborn” in the phrase “THE KINGS WHO DIE ONE BY ONE ARE REBORN IN POETS’ HEARTS” enriches the discourse on legacy and cultural inheritance, highlighting the poet’s role in the preservation and reimagining of cultural memory.

The lexical analysis reveals that Apollinaire’s word choices meticulously construct a semantic landscape that enhances the thematic inquiry of each poem. The selected terms resonate with emotional and philosophical implications, inviting readers to engage with complex notions of identity, time, and legacy.

 Syntactical Level

Apollinaire’s employment of syntax in both poems is characterized by unconventional and often fragmentary constructions, which serve to disrupt traditional reading patterns. This fragmentation mirrors the complexity of the themes presented, prompting the reader to engage with each component in isolation before integrating them
into a unified interpretation.

In “La Cravate et la Montre,” the line “The tie so sorrowful that you wear” is interrupted by the relative clause “that you wear,” thereby breaking the anticipated flow of the sentence. This syntactic deviation reflects the constrictive nature of the tie itself, symbolizing the tension between individual identity and societal conformity. The concluding line, “It’s 5 at last and all will end,” is both abrupt and declarative, echoing the inexorable conclusion of time. Here, the syntax serves to jolt the reader, underscoring the sudden finality of life and the relentless progression of time.

In “Cœur Couronne et Miroir,” phrases such as “MY HEART LIKE AN INVERTED FLAME” are devoid of a verb, resulting in a fragment that intensifies the metaphor by leaving it open to interpretation. The lack of a clear subject-verb structure compels the reader to concentrate on the direct comparison, thereby amplifying the intensity of the symbol. Additionally, the phrase “THE ANGLES AND NOT ALL LIKE REFLECTIONS” introduces ambiguity through its syntax, suggesting that not all that is perceived in the mirror constitutes a true reflection. This syntactic disruption parallels the fragmented nature of self-perception, highlighting the notion that introspection may reveal only partial truths.

In this respect, the syntactic analysis indicates that Apollinaire deliberately fragments the structure of the poems to reflect the disruption and constraints experienced by individuals navigating complex social and existential frameworks. This structural deviation necessitates a careful interpretation of each line, aligning the reading experience with the thematic content.

CONCLUSION

The stylistic analysis of Apollinaire’s calligrams, ‘La Cravate et la Montre’ and ‘Cœur Couronne et Miroir’ illustrates the poet’s adeptness in integrating visual and linguistic components to forge a nuanced interaction between form and meaning. These calligrams compel readers to engage with poetry not solely through textual language but also through visual configurations and spatial organization. Each level of stylistic analysis—encompassing graphology, phonology, lexical selection, and syntax—contributes distinctively to the thematic investigation of societal conventions, the passage of time, introspection, love, and legacy. Apollinaire’s decision to employ such stylistic innovations enriches the text, prompting readers to transcend traditional text-centric poetry and to approach his oeuvre through a multi-faceted perspective.

The graphological representations of the tie, watch, heart, crown, and mirror serve as visual embodiments of the themes of societal expectations, temporal dynamics, emotional depth, authority, and self-examination, respectively. Phonological elements further reinforce these themes audibly, echoing the rhythmic ticking of a clock or the contemplative tempo of introspection. Additionally, the choices in vocabulary and syntax accentuate the philosophical and existential inquiries present in each poem. Collectively, these insights demonstrate that a stylistic analysis facilitates a more profound appreciation of Apollinaire’s poetic vision, enabling readers to engage with the intricate meanings that emerge from the synthesis of form and language.

RECOMMENDATIONS

1. It is essential for researchers and students to adopt a multidisciplinary perspective that incorporates visual, linguistic, and interpretative frameworks in the analysis of visual poetry. The works of Apollinaire serve as a pertinent illustration of how the integration of stylistic analysis with graphological examination can enhance our comprehension of poetic form and significance.
2. The analytical framework established by Apollinaire can be utilized as a reference point for examining the works of other visual and concrete poets. Subsequent research could focus on comparative analyses of how various poets employ analogous stylistic techniques to address distinct thematic concerns.
3. Educators are encouraged to implement stylistic analysis as a pedagogical framework for teaching visual poetry. This approach can assist students in examining the interconnections between form, structure, and meaning, while fostering critical thinking regarding the interplay between language and artistic expression.

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