Le Bestiaire ou Cortège d’Orphée is a poetic album of 30 short poems by Guillaume Apollinaire with woodcuts by Raoul Dufy, published in 1911.
Though Apollinaire would go on to longer and more ambitious work, his Bestiary reveals key elements of his later poetry, among them surprising images, wit, formal mastery, and wry irony. X. J. Kennedy’s fresh translation follows Apollinaire in casting the poems into rhymed stanzas, suggesting music and sudden closures while remaining faithful to their sense. Kennedy provides the English alongside the original French, inviting readers to compare the two and appreciate the fidelity of the former to the latter. He includes a critical and historical essay that relates the Bestiary to its sources in medieval “creature books,” provides a brief biography and summation of the troubled circumstances surrounding the book’s initial publication, and places the poems in the context of Apollinaire’s work as a poet and as a champion of avant garde art.
Guillaume Apollinaire, was a bibliophile and a specialist in medieval bestiaries. In 1906 Pablo Picasso, a friend of Apollinaire’s had made some experimental woodcuts of animals. Apollinaire published eighteen poems figuring all kinds of semi-mythical animals in 1908 in La phalange, an experimental journal and promised his readers an illustrated edition. Picasso was not willing to cooperate and the poet persuaded Raoul Dufy, an engraver, to provide the woodcuts. Orpheus is present in four of the 30 poems.
Several composers were inspired by these poems to set them to music: Francis Poulenc (1919), Louis Durey (1919), Jean Absil (1944) and others. Francis Poulenc originally selected twelve poems, but only published six. His friend Louis Durey composed a complete cycle (26 short songs; he omitted the poems about Orpheus). Both wrote for baritone solo accompanied by piano.