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oxford world’s classics COLLECTED POEMS AND OTHER VERSE Stéphane Mallarmé, the descendant of (in his own words) ‘an uninterrupted succession of civil servants’, was born in Paris in 1842. His life was quiet and outwardly uneventful. He married in 1863 and taught English from that year until 1893, at first in various French provincial schools, and later in Paris. He had two children, Geneviève (1864–1919) and Anatole (1871–9). His verse was collected as Poésies (Poetical Works), first in a de-luxe limited edition (1887) and then, more fully, in 1899; his prose poems appeared in Divagations (Diversions, 1897). The definitive text of Un coup de dés jamais n’abolira le hasard (A Dice Throw At Any Time Never Will Abolish Chance) was not published until 1913. He died at Valvins in 1898, little known to the general public but greatly admired by his literary colleagues, who had elected him Prince of Poets (in succession to Verlaine) in 1896. E. H. and A. M. Blackmore have edited and translated eleven volumes of French literature, including Six French Poets of the Nineteenth Century and The Essential Victor Hugo (both in Oxford World’s Classics). Their work has been awarded the American Literary Translators’ Association Prize and the Modern Language Association Scaglione Prize for Literary Translation. Elizabeth McCombie is a Junior Research Fellow in French at St John’s College, University of Oxford. She is the author of Mallarmé and Debussy: Unheard Music, Unseen Text (Oxford, 2003). She lives in London with her husband and daughter. oxford world’s classics For over 100 years Oxford World’s Classic have brought readers closer to the world’s great literature. Now with over 700 titles––from the 4,000-year-old myths of Mesopotamia to the twentieth century’s greatest novels––the series makes available lesser-known as well as celebrated writing. The pocket-sized hardbacks of the early years contained introductions by Virginia Woolf, T.S. Eliot, Graham Greene, and other literary figures which enriched the experience of reading. Today the series is recognized for its fine scholarship and reliability in texts that span world literature, drama and poetry, religion, philosophy and politics. Each edition includes perceptive commentary and essential background information to meet the changing needs of readers. OXFORD WORLD’ S CLASSICS STÉPHANE MALLARMÉ Collected Poems and Other Verse Translated with Notes by E. H. and A. M. BLACKMORE With an Introduction by ELIZABETH McCOMBIE 1 3 Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York Introduction © Elizabeth McCombie 2006 Translations and all other editorial matter © E. H. and A. M. Blackmore 2006 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as an Oxford World’s Classics paperback 2006 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset in Ehrhardt by RefineCatch Limited, Bungay, Suffolk Printed in Great Britain by Clays Ltd., St. Ives plc ISBN 0–19–280362–X 978–0–19–280362–7 1 CONTENTS Introduction ix Note on the Text and Translation xxviii Select Bibliography xxxii A Chronology of Stéphane Mallarmé xxxiv COLLECTED POEMS AND OTHER VERSE Poésies/Poetical Works Salut 2 Le Guignon 2 Apparition 6 Placet futile 8 Le Pitre châtié 10 Les Fenêtres 10 Les Fleurs 14 Renouveau 14 Angoisse 16 [«Las de l’amer repos . . . »] 16 Le Sonneur 18 Tristesse d’été 20 L’Azur 20 Brise marine 24 Soupir 24 Aumône 24 Don du poème 26 Hérodiade: Scène 28 L’Après-midi d’un faune 38 [«La chevelure vol . . . »] 46 Sainte 46 Toast funèbre 48 Prose (pour des Esseintes) 52 Éventail (de Madame Mallarmé) 56 Autre éventail (de Mademoiselle Mallarmé) 56 Feuillet d’album 58 Remémoration d’amis belges 58 Chansons bas 60 Toast 3 Ill Fortune 3 Apparition 7 Futile Petition 9 A Punishment for the Clown 11 The Windows 11 The Flowers 15 Renewal 15 Anguish 17 [‘Weary of bitter rest . . .’] 17 The Bell-Ringer 19 Summer Sadness 21 The Blue 21 Sea Breeze 25 Sigh 25 Alms 25 Gift of the Poem 27 Herodias: Scene 29 A Faun in the Afternoon 39 [‘The hair flight of a flame . . .’] 47 Saint 47 Funerary Toast 49 Prose (for des Esseintes) 53 Fan (Belonging to Mme Mallarmé) 57 Another Fan (Belonging to Mlle Mallarmé) 57 Album Leaf 59 Remembering Belgian Friends 59 Cheap Songs 61 Anecdotes ou Poèmes/Anecdotes or Poems I (Le Savetier) 60 II (La Marchande d’herbes aromatiques) 62 Billet 62 Petit Air I 64 Petit Air II 64 Plusieurs Sonnets [ « Quand l’ombre menaça . . . »] 66 [ «Le vierge, le vivace . . . »] 66 [«Victorieusement fui . . . »] 68 [«Ses purs ongles très haut . . . »] 68 Le Tombeau d’Edgar Poe 70 Le Tombeau de Charles Baudelaire 70 Hommage [« Le silence déjà funèbre . . .»] 72 I («Tout Orgueil fume-t-il du soir . . . ») 72 II («Surgi de la croupe et du bond . . . ») 74 III («Une dentelle s’abolit . . . ») 76 [«Quelle soie aux baumes de temps . . . »] 76 [«M’introduire dans ton histoire . . . »] 78 [«A la nue accablante tu . . . »] 78 [«Mes bouquins refermés . . . »] 80 I (The Cobbler) 61 II (The Seller of Scented Herbs) 63 Note 63 Little Ditty I 65 Little Ditty II 65 A Few Sonnets [‘When the shade threatened . . .’] 67 [‘This virginal long- living . . .’] 67 [‘The fine suicide fled . . .’] 69 [‘With her pure nails . . .’] 69 The Tomb of Edgar Allan Poe 71 The Tomb of Charles Baudelaire 71 Homage [‘Already mourning . . .’] 73 I (‘Does every Pride . . .’) 73 II (‘Arisen from the rump . . .’) 75 III (‘A lace vanishes . . .’) 77 [‘What silk with balm from advancing days . . .’] 77 [‘To introduce myself into your tale . . .’] 79 [‘Stilled beneath the oppressive cloud . . .’] 79 [‘My old tomes closed upon the name Paphos . . .’] 81 Le Phénomène futur 82 Plainte d’automne 84 Frisson d’hiver 86 Le Démon de l’analogie 88 Pauvre Enfant pâle 90 La Pipe 94 Un spectacle interrompu 94 Réminiscence 100 La Déclaration foraine 102 Le Nénuphar blanc 112 L’Ecclésiastique 118 La Gloire 120 Conflit 124 The Future Phenomenon 83 Autumn Lament 85 Winter Shivers 87 The Demon of Analogy 89 Poor Pale Child 91 The Pipe 95 An Interrupted Performance 95 Reminiscence 101 The Announcement at the Fair 103 The White Water Lily 113 The Ecclesiastic 119 Glory 121 Conflict 125 Contentsvi Poème: Un coup de dés jamais n’abolira le hasard 139 Poem: A Dice Throw At Any Time Never Will Abolish Chance 161 appendix 1 Poems Uncollected by Mallarmé Soleil d’hiver 182 L’Enfant prodigue 182 . . . Mysticis umbraculis 184 Sonnet [« Souvent la vision . . . »] 186 Haine du pauvre 186 [«Parce que de la viande . . . »] 188 Le Château de l’espérance 188 [«Une négresse par le démon secouée . . . »] 190 Hérodiade: Ouverture 192 Dans le Jardin 198 Sonnet [«Sur les bois oubliés . . . »] 198 [«Rien, au réveil, que vous n’ayez . . . »] 200 Sonnet [«O si chère de loin . . . »] 200 [«Dame Sans trop d’ardeur . . . »] 202 [«Si tu veux nous nous aimerons . . . »] 202 Types de la rue 204 Le Marchand d’ail et d’oignons 204 Le Cantonnier 204 Le Crieur d’imprimés 204 La Femme du carrier 204 La Marchande d’habits 206 Le Vitrier 206 Éventail (de Méry Laurent) 206 Hommage [« Toute Aurore même gourde . . . »] 208 Petit Air (guerrier) 208 [«Toute l’âme résumée . . . »] 210 Tombeau [« Le noir roc courroucé . . . »] 210 [« Au seul souci de voyager . . . »] 212 Hérodiade: Le Cantique de saint Jean 212 Winter Sun 183 The Prodigal Son 183 . . . In the Mystical Shadows 185 Sonnet [‘Often the Poet . . .’] 187 Hatred of the Poor 187 [‘Because a bit of roast . . .’] 189 The Castle of Hope 189 [‘A negress aroused by the devil . . .’] 191 Herodias: Overture 193 In the Garden 199 Sonnet [‘When sombre winter . . .’] 199 [‘Nothing on waking . . .’] 201 Sonnet [‘O so dear from afar. . .’] 201 [‘Lady Without too much passion . . .’] 203 [‘If you wish we shall make love . . .’] 203 Street Folk 205 The Seller of Garlic and Onions 205 The Roadmender 205 The Newsboy 205 The Quarryman’s Wife 205 The Old Clothes Woman 207 The Glazier 207 Fan (Belonging to Méry Laurent) 207 Homage [‘Every Dawn however numb . . .’] 209 Little Ditty (Warlike) 209 [‘All the soul that we evoke . . .’] 211 Tomb [‘The black rock, cross . . .’] 211 [‘For the sole task of travelling . . .’] 213 Herodias: Canticle of John the Baptist 213 Contents vii appendix 2 Vers de circonstances/Occasional Verses Explanatory Notes 232 Index of Titles and First Lines 277 Les Loisirs de la poste 216 Éventails 224 Offrandes à divers du Faune 226 Invitation à la soirée d’inauguration de la Revue indépendante 228 Toast [« Comme un cherché de sa province . . . »] 230 Postal Recreations 217 Fans 225 Presenting the Faun to Various People 227 Invitation to the Inaugural Soirée of the Revue indépendante 229 Toast [‘As a man sought from his own province . . .’] 231 Contentsviii INTRODUCTION Stéphane Mallarmé (1842–98) is renowned as a radical innovator of verse and has achieved monumental status in his field due not least to the extraordinary intellectual and artistic influence of his work. His modernity is still striking today, even when put next to avant-garde poets such as Henri Michaux and Paul Eluard. He poses the questions that have become central to twentieth- and twenty-first-century literary criticism. Though an apparent aesthete, he even became for Jean-Paul Sartre a model of the ‘committed’ writer, admirable for the way he defamiliarized language. But probably the best-known feature of Mallarmé’s verse is its exceptional difficulty. Today’s reader might feel sympathy with Paul Valéry’s description in 1933 of his earliest encounter with some of the poems: There were certain sonnets that reduced me to a state of stupor; poems in which I could find a combination of clarity, brightness, movement, the fullest sound, but strange difficulties as well: associations that were impos- sible to solve, a syntax that was sometimes strange, thought itself arrested at each stanza; in a word, the most surprising contrast was evident between what one might call the appearance of these lines, their physical presence, and the resistance they offered to immediate understanding. [. . .] I was confronting the problem of Mallarmé.1 The ‘problem’ that Valéry describes stems from Mallarmé’s extra- ordinary reinvention of poetic expression. The reader has to grapple with great metaphysical questions, existential doubt, strangeness, and uncertainty; with rhythms of fragmentation and silence; dis- located syntax; the rapid formation, transmutation, and evaporation of images; and thoughts that seem to escape being fixed into any one interpretation. Valéry is outlining one of the fundamental tensions that mark out Mallarméan verse: the pull between the structural function of a poem’s form, rhymes, and rich phonetic patterning, which can overwhelmingly suggest that there is or ought to be an 1 Trans. M. Cowley and J. R. Lawler, in Leonardo, Poe, Mallarmé (London: Routledge, 1972), 258. All translations of Mallarmé’s verse in this Introduction are by E. H. and A. M. Blackmore. Unless otherwise noted, all other translations are my own. order of sense, a semantic completion produced from the poem’s whole; and the concurrent, conflicting story of fragmentation and discontinuity, of syntactical and textual interruption, and affronts to semantic coherence. Not all of Mallarmé’s contemporary critics felt as generous about the ‘problem’ of his verse as Valéry. Paul Verlaine’s 1883 study of Mallarmé in his article ‘Damned Poets’ reveals that many of Mallarmé’s reviewers considered him a madman: ‘In Parnassus he furnished verse of a novelty that caused a scandal in the newpapers. [. . .] In the civilized pages, in “the bosom” of the serious Reviews, everywhere or nearly so, it became fashionable to laugh, to recall to the tongue the accomplished writer, to the feelings of the beautiful the sure artist. Among the most influential, fools treated the man as a madman!’2 Others accused him of deliberately mystifying credulous readers, his verse merely a display of linguistic preciosity that con- cealed triviality. In 1896 Marcel Proust attacked Symbolist poets, above all Mallarmé: ‘The poet renounces that irresistible power of waking so many Sleeping Beauties dormant in us, if he speaks a language that we do not know.’3 Mallarmé replied later that year in the essay ‘The Mystery in Letters’: ‘My preferred response to aggression is to retort that some contemporaries do not know how to read––except newspapers, that is.’4 For him, and indeed for many of his Symbolist peers, the vital role of poetry was to purge language of its everyday setting. He expresses contempt for base, ordinary language, such as that used in journalism, which offers no resistance to understanding and forgoes its proper magic by referring simply to fact. He consciously dis- tinguishes two effects of expression, transmitting a fact and evoking an emotion, and sees a clear divide between the latter and ease of comprehension. Verse should conjure up an atmosphere of strange- ness, its function to express ‘the mysterious sense of the aspects of existence’. This attachment to the oblique, suggestive utterance owes a clear debt to Gérard de Nerval’s doubt in the possibility of a 2 ‘Les Poètes maudits’, Œuvres en prose complètes, ed. Jacques Borel, Bibliothèque de la Pléiade (Paris: Gallimard, 1972), 657–8. 3 In a short article, ‘Contre l’obscurité’, La Revue blanche, 15 July 1896 (republished in Chroniques, 1927). 4 ‘Le Mystère dans les lettres’ appeared in La Revue blanche on 1 September 1896. Œuvres complètes, ii, ed. B. Marchal, Bibliothèque de la Pléiade (Paris: Gallimard, 2003), 234 (hereafter OCii). Introductionx coherent poetic voice and to Charles Baudelaire’s aesthetic of ‘evocative sorcery’. Mallarmé depicts the poet as high priest, necessarily set apart from the mundane political process in order to learn and reveal the mysterious truth. In a letter to Edmund Gosse (1893) he writes: ‘Only the Poets have the right to speak.’5 It is as such an isolated figure that J.-K. Huysmans paints Mallarmé in the novel Against Nature (1884), where the protagonist des Esseintes reads and admires his work: He loved these lines, as he loved all the works of this poet who, in an age of universal suffrage and a period when money reigned supreme, lived apart from the world of letters, protected by his contempt from the stupidity surrounding him, taking pleasure, far from society, in the revelations of the intellect, in the fantasies of his brain, further refining already specious ideas, grafting on to them thoughts of exaggerated subtlety, perpetuating them in deductions barely hinted at and tenuously linked by an imper- ceptible thread [. . .] The result was a literary distillate, a concentrated essence, a sublimate of art.6 This depiction as one of the period’s strange new decadent writers would push Mallarmé into the literary limelight. Its linkage between retreat from the world and linguistic distillation is corroborated by a line from ‘The Tomb of Edgar Allan Poe’: ‘Bestow purer sense on the phrases of the crowd.’ But in spite of his distance from society, the modern artist’s search to reveal ‘truth’ was in Mallarmé’s eyes not apolitical but, rather, radical and democratic. In an article extolling the modernity of his great friend Édouard Manet’s painting, he writes: ‘At this critical hour for the human race when Nature desires to work for herself, she requires certain lovers of hers––new and impersonal men placed directly in communion with the sentiment of their time––to loose the restraint of education, to let hand and eye do what they will, and thus through them, reveal herself.’7 As with painting, the poet’s task is to free linguistic units from their contingent relations through suggestion and to transpose them into a network of reciprocal relations––the ‘essence’ that 5 Œuvres complètes, i, ed. B. Marchal, Bibliothèque de la Pléiade (Paris: Gallimard, 1998), 807 (hereafter OCi). 6 Against Nature (À Rebours), trans. Margaret Mauldon (Oxford: Oxford University Press, 1998), 160. 7 Trans. G. Millan in Gordon Millan, Mallarmé: A Throw of the Dice (London: Secker & Warburg, 1994), 220. Introduction xi reflects and reveals the ‘Idea’. Mallarmé endows this process with secular religiosity, calling it a ‘divine transposition, for the accomplishment of which man exists, [which] goes from the fact to the ideal’.8 Mallarmé’s mixture of Plato, Hegel, and a post-Romantic yearning for the mystical beyond cannot really be called a philosophy; but the concept of the Idea has a recurrent and strong structural function in his verse. In particular it gives legitimacy to the declared aim of truth-seeking, supporting the concept of the impersonal poet by rejecting the primacy of the personal in Romantic poetry. It also provides a framework for the central theme of Nothingness: non- meaning is not an absence of meaning but a potentiality of meaning that no specific meaning can exhaust. The shadow of the Idea drives Mallarmé constantly to test the limits and stability of knowledge. Mallarmé and Prose Mallarmé was not an unworldly poet. Alongside his relatively small output of verse he wrote much prose, including regular bulletins on the Paris literary and artistic scene for The Athenaeum, and theatrical reviews which he later called ‘critical poems’ and are assembled under the heading ‘Theatre jottings’ in his volume of collected prose, Divagations (Diversions). He translated into French Poe’s The Raven, with Manet providing illustrations, and received several commissions, such as for an English-language textbook, Les Mots anglais (English Words), and a free adaptation of Cox’s mythology, Les Dieux antiques (The Ancient Gods). Perhaps his most intriguing enterprise was the launch of a new magazine, La Dernière Mode (The Latest Fashion). Each number contained a fashion article signed ‘Marguerite de Ponty’, cooking tips, and a review of cultural events in Paris, all written by Mallarmé himself posing under various pseudonyms. This witty and ironic wordsmith of the everyday is a far cry from the reputedly obscure, sterile, and precious poet. The short poems collected under the title ‘Occasional Verses’, presented in this volume in Appendix 2, and sometimes over- shadowed by the canonical poems, are gifts to mark a circumstance. They are displays of poetic dexterity, deftly interweaving proper 8 ‘Théodore de Banville’, OCii 144. Introductionxii names and allusion to their subjects’ characteristics or situation in neat