a comparative analysis of louis durey and francis poulenc's settings ...

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25 symbolizes the poet’s life moving forward despite setbacks. Bohn notes that the “waves in ‘Le Dauphin’…seem to have been influenced by Japanese block prints.” 52 This indicates Dufy’s insight into the various woodcut techniques he was researching while working on the Bestiaire project.                                                          52 Bohn, “Contemplating Apollinaire’s ‘Bestiaire,’”48.
26 e. L'écrevisse Uncertainty, O my joys, Like crayfish we advance Backwards, backwards. The crayfish is the 22nd creature in Apollinaire’s procession. Scott Bates asserts that crayfish are a noted symbol of inconstancy. 53 There are simple, yet profound implications in “L’Écrevisse.” As Roger Shattuck remarks, “The movement of a crayfish is familiar to most of us, and once the relationship has been pointed out to us between the tentative gestures of human uncertainty and the backward motion of a crayfish, we rejoice in the felicity of the association.” 54 The poet in his hesitance hinders himself from progressing and, like the crayfish, finds himself backtracking. The “we” mentioned in the third line might suggest that the poet is either referring to himself and a lover, or humanity in general. The crayfish woodcut is noticeably different from many of the others in that its background is predominately black, while the others are white. “La Carpe,” the following creature in the procession, shares the same reverse effect. This technique is effective in that it emphasizes the figure of the crayfish in the foreground. The viewer can easily see the crayfish’s intricate details: pincers, eight legs, eyes and tail. It is interesting to note that the crayfish is not in what would be considered its natural environment (the sea, sand, etc.). Rather, it is superimposed among branches and leaves. Bohn observes                                                          53 Scott Bates, Guillaume Apollinaire (New York: Twayne Publishers, 1967), 157. 54 Shattuck, Selected Writings of Guillaume Apollinaire, 34.
Page 1 and 2: A COMPARATIVE ANALYSIS OF LOUIS DUR
Page 3 and 4: Special Thanks To Dr. Thomas Millig
Page 5 and 6: v List of Figures Fig. 1 “Le chè
Page 7 and 8: 2 other composing to the same poem
Page 9 and 10: 4 on the artistic level, Durey and
Page 11 and 12: 6 lyricism. 15 Auric and Poulenc st
Page 13 and 14: 8 III. Biographical Background a. G
Page 15 and 16: 10 b. Louis Durey (1888-1979) Louis
Page 17 and 18: 12 c. Francis Poulenc (1899-1963) F
Page 19 and 20: 14 d. Raoul Dufy (1877-1953) Raoul
Page 21 and 22: 16 IV. Le Bestiaire—The Union of
Page 23 and 24: 18 a. Le chèvre du Thibet For all
Page 25 and 26: 20 b. Le dromadaire With his four d
Page 27 and 28: 22 c. La sauterelle See the fine gr
Page 29: 24 d. Le dauphin Dolphins, you play
Page 33 and 34: 28 f. La carpe Carp, how long you l
Page 35 and 36: 30 called irresistibly for music, o
Page 37 and 38: 32 Le Chèvre du Thibet—Durey In
Page 39 and 40: 34 Le Chèvre du Thibet—Poulenc P
Page 41 and 42: 36 Le Dromadaire—Durey Durey’s
Page 43 and 44: 38 Le Dromadaire--Poulenc Poulenc
Page 45 and 46: 40 La Sauterelle—Durey The tempo
Page 47 and 48: 42 La Sauterelle--Poulenc The short
Page 49 and 50: 44 Le Dauphin—Durey The accompani
Page 51 and 52: 46 “Le Dauphin” has a sing-song
Page 53 and 54: 48 Durey emphasizes backwardness in
Page 55 and 56: 50 signature to 2/4, for only a mea
Page 57 and 58: 52 with A-flat major, in measure 11
Page 59 and 60: 54 The piece is grounded in the qui
Page 61 and 62: 56 even if he had just composed “
Page 63 and 64: 58 Bibliography Apollinaire, Guilla

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