Abstract: It is well known that Apollinaire dedicated only a small part of his literary output to music. That said, two of his plays—Le Marchand d’anchois and Casanova—are entirely musical works. In our article, we will show that Apollinaire tried to trace a new path, rejecting self-styled highbrow and bourgeois musical output as well as Wagnerism, all while rehabilitating music and popular musical theater.
