fǎ guó  (1842nián～1898nián)

 shīcí： 《shī xuǎn anthology》    yuèdòusī tè fāng · mǎ lā měi Stephane Mallarmezài诗海dezuòpǐn!!!

　　shì fǎ guó xiàng zhēng zhù yì shī rén hé sǎnwén jiā。 shēng yú bā lí yī gè guān yuán jiā tíng。 shī rén hěn xiǎo de shí hòu， mǔ qīn、 fù qīn hé jiě jiě xiāng jì lí kāi rén shì， shī rén chéng liǎo yī gè gū 'ér， zhǐ shì zài wài zǔ mǔ de huái zhōng dé dào yī xiē guān huái。 zhōng xué shí dài， shī rén mí shàng liǎo shī gē。 1862 nián， shī rén kāi shǐ fā biǎo shī gē， tóng nián qù yīng guó jìn xiū yīng yǔ。 cì nián shī rén huí dào fǎ guó。 1866 nián， shī rén de shī gē kāi shǐ shòu dào shī tán de guān zhù。 1876 nián， shī rén de《 mù shén de wǔ hòu》 zài fǎ guó shī tán yǐn qǐ hōng dòng。 cǐ hòu， shī rén zài jiā zhòngjǔ bàn de shī gē shā lóng chéng wéi dāng shí fǎ guó wén huà jiè zuì zhù míng de shā lóng， yī xiē zhù míng de shī rén、 yīnyuè jiā、 huà jiādōu shì tā jiā de cháng kè， rú wèi 'ěr lún、 lán bō、 dé biāo xī、 luó dān fū fù děng děng。 yīn wéi shā lóng zài xīng qī èr jǔ xíng， bèi chēng wéi “ mǎ lā měi de xīng qī èr ”。 1896 nián， shī rén bèi xuǎn wéi“ shī rén zhī wáng”， chéng wéi fǎ guó shī tán xiàn dài zhù yì hé xiàng zhēng zhù yì shī gē de lǐng xiù rén wù。
　　
　　 zhù yòu《 shī yǔ sǎnwén》、 shī jí《 cháng yáng jí》 děng。 cháng shī《 xī luó dí yà dé )(1875)、《 mù shén de wǔ hòu》 (1876) shì tā zhù míng de dài biǎo zuò。 mǎ lā měi de shī gē yōu huì 'ér shén mì， jiāng shì tài de kǎn kě、 biàn gù biàn chéng liǎo yǔ yán de róu rèn piāo yì de wǔ zī， jiāng xīn líng de gān kǔ yǎn biàn chéng tiān lái bān de yīn yùn yì qù。 zài jìn 40 nián de shī gē shēng yá zhōng， tā tiān cái de huǒ yàn， cā liàng liǎo wú shù kē rè 'ài shī gē de líng hún， yóu qí shì xǔ xǔ duō duō nián qīng rén de xīn líng， wú bù bèi tā yǔ yán de yōu bì、 shē huá、 gū 'ào， yǐ jí hào měi suǒ zhé fú。 shī rén wǎn nián de shī zuò《 tóu zǐ yī zhì , bù huì gǎi biàn 'ǒu rán》 (1897) huì sè nán dǒng， shì mǎ lā měi zuì lìng rén kùn huò de yī shǒu shī。 zhè shǒu shī de wén zì pái liè fēi cháng qí chí， tā yòu shí chéng lóu tī shì， yòu shí yīháng zhǐ yòu yī gè zì， yòu shí yī yè zhǐ yòu yī gè zì huò jǐ gè zì。 mǎ lā měi qǐ tú miáo huà chū sī wéi tóng hùn luàn de yǔ zhòu jiē chù de lì chéng， tā lì tú dòng chuān yǔ zhòu de 'ào mì hé fǎ zé。 zhè gè lì chéng yě shì shī rén jiāng zì jù xiě dào zhǐ shàng， xún qiú néng gòu biǎo xiàn xiàn shí de yǔ yán jié hé de guò chéng。 zhè shǒu shī wú lùn zài yǔ yán、 shī jù， hái shì zài yùn lǜ fāng miàn， dōudà dà gé xīn liǎo shī gē chuàng zuò， zhí jiē mài xiàng liǎo 20 shì jì de shī gē。
　　
　　 mǎ lā měi de shī gē zhù yào tè diǎn biǎo xiàn zài :1. zhuī qiú yǔ yán měi、 jù fǎ duō biàn huà hé yīnyuè xìng， què lì liǎo zì yóu shī de xíng shì； 2. shī gē yòu duō zhǒng xiàng zhēng hán yì， dǎo zhì huì sè nán dǒng； hòu qī shī zuò yóu qí rú cǐ， xū yào dú zhě qù fā xiàn hán yì， 3. jù yòu shēn 'ào de zhé lǐ。

　　Stéphane Mallarmé (French pronounced [malaʁ'me]) (March 18, 1842 – September 9, 1898), whose real name was Étienne Mallarmé, was a French poet and critic.
　　
　　He was born in Paris. He worked as an English teacher, and spent much of his life in relative poverty; but he was a major French symbolist poet and rightly famed for his salons, occasional gatherings of intellectuals at his house for discussions of poetry, art, philosophy. The group became known as les Mardistes, because they met on Tuesdays (in French, mardi), and through it Mallarmé exerted considerable influence on the work of a generation of writers (see below).
　　
　　
　　Édouard Manet, Portrait of Stéphane Mallarmé, 1876His earlier work owes a great deal to the style established by Charles Baudelaire. His fin-de-siècle style, on the other hand, anticipates many of the fusions between poetry and the other arts that were to blossom in the Dadaist, Surrealist, and Futurist schools, where the tension between the words themselves and the way they were displayed on the page was explored. But whereas most of this latter work was concerned principally with form, Mallarmé's work was more generally concerned with the interplay of style and content. This is particularly evident in the highly innovative Un coup de dés jamais n'abolira le hasard ('A roll of the dice will never abolish chance') of 1897, his last major poem.
　　
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　　Some consider Mallarmé one of the French poets most difficult to translate into English. This is often said to be due to the inherently vague nature of much of his work, but this explanation is really a simplification. On a closer reading of his work in the original French, it is clear that the importance of sound relationships between the words in the poetry equals, or even surpasses, the importance of the standard meanings of the words themselves. This generates new meanings in the spoken text which are not evident on reading the work on the page. It is this aspect of the work that is impossible to render in translation (especially when attempting a more literal fidelity to the words as well), since it arises from ambiguities inextricably bound in the phonology of the spoken French language. It can also be suggested that it is this 'pure sound' aspect of his poetry that has led to its inspiring musical compositions (see below), and to its direct comparison with music.
　　
　　A good example of this play of sound appears in Roger Pearson's book 'Unfolding Mallarmé', in his analysis of the Sonnet en '-yx'. The poem opens with the phrase 'ses purs ongles' ('her pure nails'), whose first syllables when spoken aloud sound very similar to the words 'c'est pur son' ('it's pure sound'). This use of homophony, along with the relationships and layers of meanings it results in, is simply impossible to capture accurately through translation.
　　
　　For many years, the Tuesday night sessions in his apartment on the rue de Rome were considered the heart of Paris intellectual life, with W.B. Yeats, Rainer Maria Rilke, Paul Valéry, Stefan George, Paul Verlaine, and many more in attendance, as Mallarmé held court as judge, jester, and king.
　　
　　He died in Valvins in 1898.
　　
　　
　　Influence
　　Mallarmé's poetry has been the inspiration for several musical pieces, notably Claude Debussy's Prélude à l'après-midi d'un faune (1894), a free interpretation of Mallarmé's poem L'après-midi d'un faune (1876), which creates powerful impressions by the use of striking but isolated phrases. Maurice Ravel set Mallarmé's poetry to music in Trois poèmes de Stéphane Mallarmé (1913). Other composers to use his poetry in song include Darius Milhaud (Chansons bas de Stéphane Mallarmé, 1917) and Pierre Boulez (Pli selon pli, 1957-62).
　　
　　The visual artist Marcel Broodthaers was strongly influenced by Mallarmé, as evidenced by his Un coup de Dés, based on the typographical layout of Mallarmé's, but with the words blacked over by bars.
　　
　　
　　Stéphane Mallarmé as a faun, cover of the literary magazine Les hommes d'aujourd'hui, 1887.The Dadaist artist Man Ray's last film, entitled Les Mystéres du Château du Dé (The Mystery of the Chateau of Dice) (1929), was greatly influenced by Mallarmé's work, prominently featuring the line "A roll of the dice will never abolish chance," from the poem by Mallarmé of the same name.
　　
　　It has been suggested by some that much of Mallarmé's work influenced the conception of hypertext, with his emphasis on the importance of space and placement on the page. This becomes very apparent in his work "Un coup de dés jamais n'abolira le hasard" ('A roll of the dice will never abolish chance'). The placement of the words, the relationship between form and content, and all the different ways, combinations and permutations that one can read the poem are truly groundbreaking.
　　
　　
　　Works
　　In 1875, he translated Edgar Allan Poe's The Raven into French, while Impressionist painter Edouard Manet illustrated it.
　　L'après-midi d'un faune, 1876
　　Les Mots anglais, 1878
　　Les Dieux antiques, 1879
　　Divagations, 1897
　　Un coup de dés jamais n'abolira le hasard, 1897
　　Poésies, 1899 (posthumous)
　　Mallarmé: The Poems (trans. Keith Bosley, 1977)