By Stéphane Mallarmé
In the course of his lifetime, Stéphane Mallarmé (1842–1898) was once well-known as one of many maximum dwelling French poets. He wrote greatly on topics of truth and his wish to shrink back from it, marrying shape and content material in innovative ways in which departed enormously from the extra tightly managed French culture. regardless of his prestige as one of many first modernists, a lot of Mallarmé’s radicalism has been misplaced in translation. eventually, during this new assortment via Blake Bronson-Bartlett and Robert Fernandez, the magic and mastery of shape and diction, so extraordinary in Mallarmé’s French verse, involves lifestyles in English. Drawing from Poésies (1899), Un coup de dés (A forged of Dice), and the “Livre” (the “Book”—the overarching conceptual paintings left unfinished on the demise of the poet), this assortment captures Mallarmé’s actual linguistic brilliance, bringing the poems into our present background whereas holding the song, playfulness, and gear of the originals.
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Additional info for Azure: Poems and Selections from the "Livre"
FLEMISH LITERATURE - EARLY 20TH CENTURY 25 gium, which was characterized at that time by a remarkable advancement to the level of European thought. Other historians affirm that the twentieth century, that is the modern period in literature, starts only with or after World War I. This view of course finds strong arguments in the fact that modernism by that time had spread throughout Europe: "la belle epoque" was over, we experienced the "roaring twenties" - the famous "Zwanziger Jahre" in Germany - and the explosion of Dada throughout the Western world.
In these reviews and articles he himself has outlined his position as a modernist. He has done it sharply and clearly, with a precise argumentation and with the lucidity and perspicuity of reasoning that will be familiar to those of you who know his prose-grotesques. His logic was rarely wasted upon idle appraisement, but was constantly to serve the expression and propagation of his own ideas. His criticism is creative rather than descriptive. The few poets he valued and praised as well as those who fell victim to his destructive criticism were but a provocation for him to come to terms with the principles of modernism that formed the basis of his own work.
M. Musschoot (Ghent), who helped me a great deal in the elaboration of this paper. 24 A. VAN ELSLANDER lands, could have been of greater importance for a renaissance of language and literature in the Flemish provinces, if it had not been followed by the foundation in 1830 of a new kingdom in which the official language was first exclusively, and later on predominantly, French. But at that time, shortly after 1830, a nationalist movement came into being. 1 It ought to be stressed, however, that French was still used in Flanders by the ruEng classes up to about forty years ago, a circumstance that explains the important contribution to French-speaking literature of Flemish authors such as the Nobel Prize winner Maurice Maeterlinck, who was born in Ghent in 1862.