This article discusses the poetics of two famous French poets and critics: Stephane Mallarmé (1842-1898) and Guillaume Apollinaire (1880-1918), whose aesthetic experiments have had a tremendous impact on 20th-century experimental poetics since their beginnings in the early 20th century. Concrete Poetry (1952), Visual Poetry (the 1960s), Architectural Poetry, Language Poetry (1973), Sound Poetry, Performance Poetry, Fluxes Poetry (1967), and many more unconventional poetics may have been directly influenced by their work. These two poets have been the first to, particularly and distinctively, enlist experimental concepts of syntax and form into their poetic signatures. But more significantly, they have been the first to offer poetics that challenge conventional confessionalism on radical cultural and aesthetic levels. Traditionally under-layered by an exhibitionist poetic self, confessionalism persisted as a given during both pre-modernist and modernist poetries in one form or another. This paper will discuss the cultural and aesthetic transformation of that poetic self, on the insightful hands of these courageous artists, from a linear two-dimensional voice to a liberated multi-dimensional and more democratic structure offering paradoxical negotiations and critiques of the function of poetry in today's society and the role of language in modern capitalism. This will hopefully enhance the current understanding of the cultural and linguistic mechanisms by which readership participation influences creative processes and redefine aesthetic and cultural value. The work of these poets has been at the forefront of a long line of similar futuristic redefinitions, foreseeing the future of aesthetic experimentation and establishing poetic footholds to anchor that future.