Guillaume Apollinaire
What do we put in it
In the gun hut
Kind of hairy of my heart
Pan pan pan
Wig to wig
Pan pan pan
Wig to cannon
To fight against the vapors
the glasses to protect the eyes
by means of a mask harmful gas
a cloth soaked handkerchief noses
in the sodium bicarbonate solution
the masks will simply be wet tears of laughter of laughter
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Analysis (AI Assisted)
The poem captures the grim absurdity of war, particularly the preparations for chemical warfare, and how the human spirit reacts to such violence and dehumanization. The imagery begins with an oddly detached sense of duty—”What do we put in it / In the gun hut”—which sets a scene of mechanical readiness rather than personal involvement or emotion. This initial question, rather than focusing on the gravity of war, feels almost indifferent, asking what is necessary in the “gun hut” without considering the consequences.
The recurring sound of “Pan pan pan” serves as a rhythmic, almost chant-like refrain that seems to mimic the mechanical, repetitive nature of war. The sound evokes the constant firing of artillery or the relentless repetition of preparation, but it also subtly emphasizes the mind-numbing aspect of it all. The connection between “wig to wig” and “wig to cannon” hints at a comical yet unsettling contrast, reducing the human beings involved to mere pieces in a larger, impersonal machine of war. “Wig” could be a metaphor for the human facade or mask, which contrasts with the deadly purpose of the cannon, suggesting the tension between vulnerability and violence.
The mention of “fight against the vapors” and the detailed reference to protective measures—glasses, masks, and cloths soaked in sodium bicarbonate solution—reminds the reader of the terrifying realities of chemical warfare, where soldiers must literally protect themselves from invisible, poisonous agents. However, the absurdity begins to seep through with the phrase “the masks will simply be wet tears of laughter of laughter,” indicating a complex and possibly sarcastic commentary on the futility or madness of such preparations. It suggests that even in the face of war’s destruction, laughter, either as a coping mechanism or a symptom of the absurdity of the situation, becomes a response to the horror.
In essence, this poem critiques not just the physical preparations for war but also the emotional desensitization and absurdity inherent in these processes. The masks, which are intended to protect, ultimately transform into symbols of the inherent silliness or impotence of human attempts to shield themselves from the ultimate destruction of war. Through a mixture of dark humor, absurd imagery, and unsettling detachment, the poem reveals the dissonance between the horrific realities of war and the strange, almost farcical ways humans try to cope with or prepare for it.