Brief biography of Stefan Mallarme

The symbolism of Stefan Mallarme: the aesthetic and esoteric model of the neo-romantic movement Stefan Mallarme is a French poet, the most consistent of the large symbolists, the head of the symbolist school of the 10ths. It can be considered as the largest French representative of the esoteric model of the non -romantic movement, but not in the mystical, sacred, but in aesthetic sense, where sacredness itself is given not by the deity, but to poetry, the word, the symbol, which brings Mallarme closer to aesthetics.

Therefore, we define this model as aesthetic and esoteric. Mallarme was born in Paris, in the family of an official, studied in England, then in France, with G. began to be published in G. in G. The most significant work of this period - the Equal Office Rest of the Favn, which formed the same symphonic prelude to Claude Debussy in the years, the transition of Mallarma to the position of symbolism is already outlined.

In this case, the poem should not consist of words, but of intentions. ” The first symbolist experience was the fragments of the dramatic poem “Herodiad” by Mallarme plunged into the revolutionary atmosphere, in the days of the Paris Commune he remains in Paris, and is among the supporters of Kommunars. After the defeat of the commune, “dark” poetry characteristic of Mallarm is, marked by disappointment in reality and a traction to the otherworldly.

Such is the well -known sonnet “The Tomb of Edgar Poe” since G. In the years in the work of Mallarm two conflicting trends coexist: it creates difficult to understand the actual esoteric symbolist verses of the Security Council. The poet expressed this contradiction in the best of the late poems-the Swan Swan: the mighty, virgin swan, in the glory of wriggling lines, the winging of the wing, he will not break the lake of dreams where the patterned raids of the constrained transparent blue ice.

And the swan of previous days, in a fit of proud torment, he knows that he can’t hide, not to sing: when winter comes in the radiance of white boredom. He will shake off the deadly powerless power, which is now a free distance, but not a shame of the earth that has fallen its wings, and hazels in the proud dreams of an unnecessary expulsion, shrouded in arrogant sadness. The translation of M.

Voloshin in the formation of the aesthetics of symbolism, in the understanding of the ideas of the neuromantic movement, the theoretical articles of the Mallarm Sat. In an interview with Mallarm, he argued that there was a transition to a new stage in the development of poetry: “We are currently present in a truly unusual performance, unique in the entire history of poetry: each poet chooses his own corner, from where any arias that he pleased him to play on the flute; For the first time since the beginning of time, poets do not sing in the choir anymore.

Until now, is it not true that the accompaniment was needed, a powerful body was needed, which was the official head of the school. And what! They played too much on it, and he was tired of listening. Dying, the great Hugo, which I have no doubt in any way, was convinced that he buried all the poetry for the whole century; And, however, Paul Verlaine already wrote “wisdom” for Mallarm is characterized by an original view of poetry: “Poems exist in the language everywhere, where there is a rhythm, everywhere, with the exception of the posters and the fourth page of newspapers.

In the genre called prose, poems are found, sometimes delightful, all rhythms. Yes, in truth, there is no prose: there is an alphabet, and then poems, to one degree or another, compressed, to one degree or another stretched. Whenever a desire for a style arises, versioning appears. ” On the contrary, I think that you need to give only a hint. The contemplation of objects, an elusive image, this fruit of the ability to dream of the ability to dream - this is a song: the Parnassians take a whole thing and put it on display; Thus, they expel the secret; They deprive the reader of the delightful joy of independent creativity.

To call an object is to lose three quarters of pleasure with a poetic work, steming from a happy possibility of gradual guessing; To inspire an idea of ​​him is a dream. The deep comprehension of this secret is a symbol: it is not enough to resurrect the object in memory to reveal the state of mind, or, conversely, choose an object and find an expression of the state of mind by multiple decoding in it.

Revealing the question of the relationship of the poet and society, Mallarmme noted: “From my point of view, the poet’s position in this society that does not allow him to live is the situation of a person who was secluded in order to build his own tomb. Lukova is a "secret, the key to which the reader must find." In the program article “Secret in Poetry” and other works, he likens the poetry of music.

The complete separation of poetry from its social tasks is found in the statement of Mallarm, according to which higher poetry is concluded in the complete absence of words, in silence. And at the same time in the article “Conflict” the poet expresses the dream that ordinary people understand him. But it is at that moment that Mallarm departs from symbolism.The largest work of the last, post-and-capacity period of his work is the poem “Luck never abolished the chance” The experiment that will be made in a poem consisting of one phrase without punctuation marks located on the sheet in a special way “Staircase” and the creation of the “score” printed by different fonts, the poet is the following in the “Pre-Development”: “There is no more this here The pinnacle of esotericism of Mallarme is not in a religious meaning, but in aesthetic.

This poem, like the rest of the work of Mallarm, further influences both the modernists of futurists, cubists, surrealists, and representatives of French poetry of the 20th century, close to the realism of Aragon, Eluire and others.