Background
Stéphane Mallarmé was born on March 18, 1842, in Paris, France.
( An immensely moving poetic work addressing inconsolable...)
An immensely moving poetic work addressing inconsolable sorrow: a father's pain over the death of his child. Bilingual. "One of the most moving accounts of a man trying to come to grips with modern death that is to say, death without God, death without hope of salvation and it reveals the secret meaning of Mallarme's whole aesthetic: the elevation of art to the stature of religion." Paul Auster, from the Introduction The great French Symbolist poet Stephane Mallarme (1842-1898), who changed the course of modern French literature (and influenced writers from James Joyce to T.S. Eliot to Wallace Stevens), suffered many tragedies. His mother died when he was just five years old, but in 1879 the cruelest blow of all struck when his beloved son Anatole died at the age of eight. A Tomb for Anatole presents the 202 fragments of Mallarme's projected long poem in four parts. By far the poet's most personal work, he could never bring himself to complete it. To speak publicly of his immense sorrow, Mallarme concluded, "for me, it's not possible." Unpublished in France until 1961, these works are very far from the oblique, cool "pure poetry" Mallarme is famous for, poetry that sought to capturepainstakingly"l'absente de tous bouquets" (the ideal flower absent from all bouquets). Paul Auster, who first published A Tomb for Anatole with the North Point Press in 1983 (a volume long out of print), notes in his excellent introduction that facing "the ultimate horror of every parent," these fragments "have a startling unmediated quality." As Mallarme writes, it is "a vision / endlessly purified / by my tears."
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(Un coup de des jamais n'abolira le hasard / Stephane Mall...)
Un coup de des jamais n'abolira le hasard / Stephane Mallarme Date de l'edition originale: 1914 Ce livre est la reproduction fidele d'une oeuvre publiee avant 1920 et fait partie d'une collection de livres reimprimes a la demande editee par Hachette Livre, dans le cadre d'un partenariat avec la Bibliotheque nationale de France, offrant l'opportunite d'acceder a des ouvrages anciens et souvent rares issus des fonds patrimoniaux de la BnF. Les oeuvres faisant partie de cette collection ont ete numerisees par la BnF et sont presentes sur Gallica, sa bibliotheque numerique. En entreprenant de redonner vie a ces ouvrages au travers d'une collection de livres reimprimes a la demande, nous leur donnons la possibilite de rencontrer un public elargi et participons a la transmission de connaissances et de savoirs parfois difficilement accessibles. Nous avons cherche a concilier la reproduction fidele d'un livre ancien a partir de sa version numerisee avec le souci d'un confort de lecture optimal. Nous esperons que les ouvrages de cette nouvelle collection vous apporteront entiere satisfaction. Pour plus d'informations, rendez-vous sur www.hachettebnf.fr
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Stéphane Mallarmé was born on March 18, 1842, in Paris, France.
He studied English in England and taught from 1863 to 1892, first in Tournon, then in the South of France, and finally in Paris.
He discovered the works of Charles Baudelaire at an early age, and the first poems he contributed to Le Parnasse contemporain, a publication devoted to poetry which first appeared in 1866, are filled with reminiscences of Les Fleurs du mal.
In 1872 Mallarmé went to Paris and remained unknown until 1884, when Joris Karl Huysmans, in À rebours, and Paul Verlaine, in Les Poètes maudits, presented him to the public. When he arrived in Paris, he had among his unpublished papers L'Aprèsmidid'un faune, which he published in 1876, and in revised form in 1887, a work which Paul Valéry called "unquestionably the most skillful poem" in French.
In 1894 Claude Debussy wrote his Prélude à l'après-midiii d'un faune as a musical overture to the recital of the poem.
Mallarmé's work consists of Poésies (1887; second edition, 1899; third edition, 1913), to which Poèmes de circonstances was added in 1920; Album de vers et de prose (1887 - 1888); Vers et prose (1893), containing some poems already published and also articles on poetry; Divagations (1897), which contains articles on myths, on music (Wagner), the theater, and some prose poems. Un Coup de désdes ("A Cast of the Die"), published in Cosmopolis in 1897 and reprinted in 1914, is perhaps the most important of his attempts at innovation. The prose poem Igitur, ou la folie d'Elbehnon (1925) is a counterpart of his Hérodiade.
His translation of Poe's poems is noteworthy. The most famous European writers and artists of his time gathered around him at the "Tuesdays of the rue de Rome, " where they listened to him reverently. He went to the very extreme of the ideal of the Parnasse, saying, "It is not with ideas that poems are made but with words. " He also said, "Everything in the world exists to be consummated in the book. "
Noting the failure of such artists as Wagner to write all the forms of art, he dreamed of finding their perfect and common essence. Unity, the sign of perfection, he sought in the preconceived forms, such as the sonnet, then in the line which, with several vocables, creates a single word, finally in the unity of the page and its typography.
In his work there is a repetition of the theme that the poet is a creator of myths, but that the modern myth, which is also the myth of the creation of the world, must be abstract. He maintains that the modern myth is not precisely a mathematical formula, but something as exact as one, though, at the same time, Chance has its role in it; the whiteness of the paper on which the poet can conjure up the materials of his creation is similar to the infinite emptiness out of which God conjured up the world.
Though these ideas form the subject of most of Mallarmé's poems, each of his several endeavors to reveal this myth (Don du poème, Tombeau d'Edgar Poe) left him unsatisfied.
Though his influence on 20th-century poetry has been great, his own body of work is small and uneven, though occasionally of great brilliance. He exerted his influence in great part through his theories, his attitudes, and the forceful integrity of his personality.
(Un coup de des jamais n'abolira le hasard / Stephane Mall...)
( An immensely moving poetic work addressing inconsolable...)
(Book by Mallarmé, Stéphane, Oleh Zujewskyj)
On 10 August 1863, he married Maria Christina Gerhard. Their daughter, Geneviève Mallarmé, was born on 19 November 1864.