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Igitur and the Photographer
Published online by Cambridge University Press: 23 October 2020
Extract
With “Un coup de dés jamais n'abolira le hasard,” of 1897 (“Dice Thrown Never Will Annul Chance”)—a meditation on how to set up a mental dice game that would visually inscribe the fatal play of human thought shipwrecked against unbeatable chance—Stéphane Mallarmé announced modernism. As his celebrated white sonnet about a swan stuck in the glacier of the blank page (“The new, lively, and lovely today”) had established the image of writing as a near-to-death experience, his equally celebrated understatement about how the ultimate presence of the rose depends on its absence “from any bouquet” had set up symbolism as the art of suggestion. Had any French poet ever had such influence on writers to come? such resonance for readers and artists? With Mallarmé modern poetry begins.
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- Research Article
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- Copyright © Modern Language Association of America, 1999
References
Works Cited
Bonnefoy, Yves. “Igitur et le photographe.” Mallarmé 1842–1898: Un destin d'écriture. Ed. Peyré, Yves. Paris: Gallimard; Réunion des Musées Nationaux, 1998. 59–86.Google Scholar
Caws, Mary Ann, ed. Stéphane Mallarmé: Selected Poetry and Prose. New York: New Directions, 1982.Google Scholar
Marchal, Bertrand, ed. Œuvres completes. By Stéphane Mallarmé. Bibliothèque de la Pléiade 65. Vol. 1. [Paris]: Gallimard, 1998.Google Scholar
Mondor, Henri, and Jean-Aubry, G., eds. Œuvres complètes. By Stéphane Mallarmé. Bibliothèque de la Pléiade 65. [Paris]: Gallimard, 1945.Google Scholar
Roos, Jane Mayo, ed. Stéphane Mallarmé and the Impressionists. New York: Hunter Coll. Art Galleries, 1999.Google Scholar
Work Cited by Translator
Lloyd, Rosemary, trans. Selected Letters of Stéphane Mallarmé. Ed. Lloyd, . Chicago: U of Chicago P, 1988.Google Scholar