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Stéphane Mallarmé |
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Biography |
Stéphane Mallarmé was born in Paris in 1842 to a family of French civil servants. Best described as a revolutionary in the Symbolist movement, his poetry was the precursor to schools such as Dadaism, Surrealism and Futurism. Mallarmé did poorly in school except for languages, and he made a living by teaching English at several provincial schools before moving to Paris to write, under the influence of the works of Hugo and Baudelaire. He is known for his influence on a large group of writers, termed "les mardists" for their Tuesday salon meetings. The group included Yeats, Rilke, Valéry, and Verlaine. Mallarmé was influenced by two notable bereavements: his sister in his youth, and his 8 year old son in 1879. In later years he devoted his life to putting his literary theories on paper, but he died in 1898 at age 56 before he could finish his "Grand Ouevre." |
Poems |
Les fenetres Las du triste hôpital, et de l'encens fétide Se traîne et va, moins pour chauffer sa pourriture Et la bouche, fiévreuse et d'azur bleu vorace, Ivre, il vit, oubliant l'horreur des saintes huiles, Voit des galères d'or, belles comme des cygnes, Ainsi, pris du dégoût de l'homme à l'âme dure Je fuis et je m'accroche à toutes les croisées Je me mire et me vois ange ! et je meurs, et j'aime Mais hélas ! Ici-bas est maître : sa hantise Est-il moyen, ô Moi qui connais l'amertume, Angoisse Je ne viens pas ce soir vaincre ton corps, ô bête Je demande à ton lit le lourd sommeil sans songes Car le Vice, rongeant ma native noblesse, Par un cour que la dent d'aucun crime ne blesse, |
Themes |
Some scholars of Mallarmé have written about the nature of his work stating that beyond being a poet, he was a transcendental philosopher. Mallarmé is one of the most difficult poets to translate into English because of his suppressed lines and syntactical convolutions, in fact one theme in his poems is the liberation of syntax. Another theme throughout his work is the rejection of mediocrity. Mallarmé believed that poetry alone had permanence and value, and he sought immaculate expression with presence even in absence. In 1866 Mallarmé went through a crisis on existential, artistic, and metaphysical levels. He rejected God, only to find himself in a terrifying void. He came to accept this by imagining and fashioning his own intellectual resurrection. |
Bibliography |
Assad, Maria L. "Time and Uncertainty: A Metaphorical Equation." KronoScope 3.2 (Dec. 2003): 185-197. Bowie, Malcolm. "MALLARMÉ: Serenity and Violence." Angelaki: Journal of the Theoretical Humanities 5.1 (Apr. 2000): 181-187. Chapman, Wayne K. "Symbolisme and its `chief' agent in English: Mallarme vis-a-vis Yeats." Romance Quarterly 37.1 (Feb. 1990): 19. Mehlman, Jeffrey. "Un amour de Hahn: Of literature and life." PMLA: Publications of the Modern Language Association of America 115.3 (May 2000): 330. Olds, Marshall C. "Future Mallarme (present Picasso): Portraiture and..." Romance Quarterly 45.3 (Summer98 1998): 168. Quintana, J. Terrie. "Mallarme's TOUTE L'AME RESUMEE." Explicator 35.3 (Spring77 1977): 24. Schwartz, Stephen Adam. "Was Mallarme' a transcendental philosopher?: The place of literature in the divagations." Romanic Review 89.1 (Jan. 1998): 89. Shaw, Mary. "PARODY AND METAPHYSICS: LE COUP DU 'LIVRE.'" Romanic Review 93.4 (Nov. 2002): 445-456. Wall-Romana, Christopher. "Mallarmé's Cinepoetics: The Poem Uncoiled by the Cinématographe, 1893-98." PMLA: Publications of the Modern Language Association of America 120.1 (Jan. 2005): 128-147. |
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