Stéphane Mallarmé's legacy in the realm of poetry is one of profound influence and innovation, bridging the gap between the structured forms of Romanticism and the emerging avant-garde. His works draw heavily from the imagery-rich poetry of Charles Baudelaire, yet they evolve into something uniquely introspective and symbolically complex. Mallarmé's poetry reveals an intricate tapestry of imagery, symbolism, and syntax, challenging readers to seek deeper meanings beyond the surface.

Mallarmé's Inspirations and Influences

Stéphane Mallarmé was a pivotal figure in the Parisian literary scene, profoundly shaped by the works of Charles Baudelaire. Baudelaire's collection, Les Fleurs du mal (Flowers of Evil), first published in 1857, left a lasting impression on Mallarmé. Its vivid imagery and the use of contrasting positive and negative symbols greatly influenced Mallarmé's early work. Baudelaire's journey around Africa during 1841-1842 offered him lush memories of tropical landscapes, which he juxtaposed with the harsher, colder environs of Paris.

Mallarmé adopted Baudelaire's technique of repeating images to build nuances, as evident in "Brise marine" ("Sea Breeze"), where ocean imagery serves as a metaphor for departure from everyday life. His usage of drunken birds over unknown seas reflects Baudelaire's repeated metaphor for transcendence, illustrating a duality between intoxication and escapism.

Exploring Themes of Creative Struggle

The struggle with creative expression is a recurring theme in Mallarmé's poetry. In "Sea Breeze," the notion of "ennui," a concept that Baudelaire identified as a monstrous cause of human suffering, is woven into the narrative. This poem introduces Mallarmé's unique image of the empty white page, symbolizing his fear of not being able to create, a struggle that leads to metaphorical flight and disaster akin to a shipwreck.

Another notable work, "Hérodiade" (1869), draws on the biblical tale of Salome, focusing on Herodias's daughter's dance and the beheading of John the Baptist. Mallarmé relies on nature imagery and the dramatic voices of Hérodiade, her nurse, and John the Baptist to convey emotions and action, with the story's progression hinted at through shifting light and shadow rather than explicit narration.

Syntax and Symbolism in Mallarmé's Poetry

Mallarmé's later works, such as the sonnet "Le Vierge, le vivace et le bel aujourd hui" ("The virgin, vivacious and beautiful today . . ."), exhibit his inclination towards complex syntax and symbolic imagery. The poem presents a swan trapped in the ice, a powerful metaphor for poetic sterility and the unfulfilled dream of creative liberation, an image that parallels the poet's struggle with writing.

Central to Mallarmé's oeuvre is his ambition to create a Great Work that could encapsulate his poetic vision. This aspiration is embodied in Un Coup de dés jamais n’abolira le hasard ("A Dice-Throw"), a composition that challenges conventional structure by scattering words across pages to form constellations of meaning. It suggests that artistic creation, much like a dice throw, can never abolish chance or fate.

Interplay of Music and Poetry

Mallarmé's "The Afternoon of a Faun," inspired a famous musical composition by Claude Debussy. The poem itself is a sensuous monologue of a faun who awakens to the sight of nymphs, embodying a struggle between reality and illusion. The faun grapples with whether the nymphs are a figment of his dream or a tangible reality, a dichotomy that invites readers to sift through Mallarmé's layered imagery.

Symbolic elements such as ripe fruit and the faun's heavy body replace the ethereal beauty of the nymphs by the poem's end, indicating a shift from sensual desire to a return to slumber.

Collected Poetry and Literary Reflections

Mallarmé's poetic journey is encapsulated in Les Poésies de Stéphane Mallarmé , a collection that showcases his...