Willard Bohn’s project in this book is to “read” Guillaume Apollinaire’s 1913 volume Alcools by accounting for a great number of other readers who have published their interpretations in scholarly venues. He has gathered commentaries on seventeen poems from the volume, from sources from the 1950s and 1960s onward (and a few dated even earlier), and as he evaluates them he blends in his own readings and insights. Thus we learn how researchers devoted to Apollinaire have unpacked images such as a shattered wine glass (“Nuit Rh enane”), or the apparently paradoxical “daughters of their daughters” (“Les Colchiques”); or how they have identified sources such as Spartan festivals that may have inspired the schoolchildren’s sudden arrival in “Les Colchiques,” or the book that described the mythical bird that flies upside down in Apollinaire’s poem “Cort ege.” As we read about each poem, Bohn is our guide not only through the poem but also through a thick accumulation of many other critical decodings of this sometimes-hermetic verse. The works covered date from key periods in the poet’s development. The “Rh enanes” (Rhenish poems), covered in chapters one and two, are early works showing the influence of the poet’s year spent in Germany. Bohn quotes LeRoy Breunig: “[H]e discovered a new language and new landscapes, customs, and legends which he made his own”; and Michel D ecaudin: “[I]t is in Germany that Apollinaire [forged] his poetic universe and its expressive modalities.” Bohn reminds us that much of Apollinaire’s experimental work is rooted in this early period: “Nearly half the poems in Alcools, several short stories, and a number of journalistic projects resulted directly from this experience” (21). Two poems absolutely critical in Apollinaire’s self-definition as an experimental poet, “Le Brasier” and “Les Fiançailles,” are covered in chapters five and six. Bohn explains that Apollinaire, in 1907 and 1908, “felt the need to develop a new style, a more difficult style whose complexity reflected the multifaceted nature of reality” (101). Bohn presents other voices who describe the newness of “Les Fiançailles”: it is “ceaselessly unpredictable” (MarieJeanne Durry); it tries to express an “almost mystical experience of life (Anne Hyde Greet). He also reports on “firsts”: “For the first time, Breunig declares, Apollinaire openly reveals his joys and sufferings as a poet. For the first time, as S. I. Lockerbie points out, he uses images of daily life to express his own aspirations” (132). A key passage of “Les Fiançailles” sings the praises of casting off the constraints of established knowledge:

中文翻译：

---

读阿波利奈尔的酒

威拉德·博恩在这本书中的计划是“阅读”纪尧姆·阿波利奈尔 1913 年的《酒精》，其中包括大量其他在学术场所发表过解释的读者。他从 1950 年代和 1960 年代以后（还有一些日期更早）收集了该卷中的 17 首诗的评论，并在评估它们时融入了自己的阅读和见解。因此，我们了解到致力于阿波利奈尔的研究人员如何解开包装图像，例如破碎的酒杯（“Nuit Rh enane”），或看似矛盾的“女儿的女儿”（“Les Colchiques”）；或者他们如何确定可能激发学童突然抵达“Les Colchiques”的斯巴达节日等来源，”或那本书描述了阿波利奈尔的诗“Cort ege”中倒飞的神话鸟。当我们阅读每首诗时，博恩不仅是我们通读这首诗的向导，而且是我们对这首有时神秘的诗句的许多其他批判性解码的厚厚积累的向导。所涵盖的作品可以追溯到诗人发展的关键时期。第一章和第二章涵盖的“Rh enanes”（莱茵诗歌）是早期作品，显示了诗人在德国度过的一年的影响。Bohn 引用 LeRoy Breunig 的话说：“[他]发现了一种新的语言和新的风景、风俗和传说，这些都是他自己创造的”；和 Michel D ecaudin：“[我]阿波利奈尔在德国[锻造]了他的诗意世界及其表现形式。” Bohn 提醒我们，阿波利奈尔的大部分实验作品都植根于这个早期：“Alcools 中近一半的诗，一些短篇小说和一些新闻项目直接源于这种经历”（21）。第五和第六章涵盖了两首对阿波利奈尔自我定义为实验诗人的绝对批判的诗，“Le Brasier”和“Les Fiançailles”。博恩解释说，阿波利奈尔在 1907 年和 1908 年“感到有必要发展一种新的风格，一种更困难的风格，其复杂性反映了现实的多面性”（101）。Bohn 提出了其他声音来描述“Les Fiançailles”的新颖性：它“不断地不可预测”（MarieJeanne Durry）；它试图表达一种“近乎神秘的生活体验（Anne Hyde Greet）”。他还报道了“第一次”：“布鲁尼格第一次宣称，阿波利奈尔公开揭示了他作为诗人的快乐和痛苦。第一次，正如 SI Lockerbie 指出的那样，他用日常生活的形象来表达自己的愿望”（132）。“Les Fiançailles”的关键段落赞美摆脱既定知识的束缚：