Poetry of Revolution: Romanticism and National Projects

(Sean Pound) #1

be a defining period both personally and professionally. In 1891 he returned to the Lycée Pétion,


this time as a teacher of history and geography for the next several years, and in that same year


he married Lisebonne Joseph for whom he had written many love poems published as Passions


decades later. Lisebonne was the daughter of François Joseph, minister of the Emperor


Soulouque, and the couple had eleven children. It was also this same six year period that Coicou


began to write and became publicly recognized as an important national statesman. His first


collection of published poetry, Poésies Nationales, appeared in 1892. According to Haitian


professor and researcher Pradel Pompilus, Coicou organized a theatrical presentation of his


“poème dramatique” Oracle in 1893, published as a manuscript years later in Paris. He also


produced two plays in verse, Le Fils de Toussaint and Liberté 1896. Anthologies additionally


make mention of three comedies in prose Faute d’Actrice, L’école mutuelle, and L’art pour l’art


performed during this same period, although no traces of them are found today. In 1896, he was


appointed the President of the Association du centenaire de l’indépendance in preparation for the


1904 celebrations and included this organization in his list of dedications in Poésies Nationales.


In 1897, Coicou became the head of the Cabinet Particulier of President Tirésias Simon Sam,


and over the next few years he contributed to various Haitian journals.


Coicou’s Poésies Nationales was clearly the most defining accomplishment of these early

years. Published in Haiti and in France, it includes a preface by another Haitian poet and former


director of Haiti’s lycée nationale, Charles Williams. Williams was also one of several


professional and personal contacts to whom Coicou dedicated his collection. William’s seven-


page preface begins with a defense of poetry, a reply to anyone in Haiti who would decry


poetry’s relevance, usefulness or even existence in late nineteenth-century Haiti. Poetry,


Williams contends, is eternal because it is connected to God and is universal because it is a

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