法国 人物列表
杜洛杜斯 杜洛 dos维庸 Francois Villon杜·贝莱 Joachim du Bellay
高乃依 Pierre Corneille维克多·雨果 Victor Hugo夏尔·波德莱尔 Charles Baudelaire
斯特芳·马拉美 Stephane Mallarme魏尔伦 Paul-Marie Veriaine洛特雷阿蒙 Comte de Lautréamont
兰波 Arthur Rimbaud古尔蒙 Remy de Gourmont保尔-让·图莱 Paul-Jean Toulet
弗朗西斯·雅姆 Francis Jammes法尔格 Léon-Paul Fargue克洛岱尔 Paul Claudel
保尔·瓦雷里 Paul Valery夏尔·佩吉 Charles Peguy苏佩维埃尔 Jules Supervielle
布洛东 André Breton艾吕雅 Paul Eluard阿波里奈尔 Guillaume Apollinaire
雅克·普莱维尔 Jacques Prévert阿拉贡 Louis Aragon保尔·福尔 Paul Fort
亨利·米修 Henri Michaux埃雷迪亚 José Maria de Heredia阿尔托 Antonin Artaud
勒韦迪 Pierre Reverdy拜斯 Saint-John Perse普吕多姆 Sully Prudhomme
勒内·夏尔 René Char伊凡·哥尔 Yvan Goll博斯凯 Alain Bosquet
博纳富瓦 Yves Bonnefoy勒内·格鲁塞 Rene Grousset阿兰·佩雷菲特 Alain Peyrefitte
米歇尔·大卫-威尔 Michelle David - Will白晋 Joachim Bouvet卡特琳娜·耐 Katrina resistant
若泽·弗雷什 José Frèches米歇尔-施奈德 Michelle - Schneider尼古拉·萨科齐 Nicolas Sarkozy
阿娜伊斯·宁 Anaïs Nin让·多米尼克·鲍比 Jean-Dominique Bauby米歇尔-安托瓦纳·布尼耶 Michel-Antoine Burnier
米歇尔·孔达 Michel Contat埃莱娜·格里莫 Hélène Grimaud塔丽塔·特里帕亚 Tarita Teriipaia
让·菲利普 To Philip尼玛·扎玛尔 尼玛扎玛尔克洛维一世 Clovis I
克洛泰尔一世 Clothaire Ier希尔德里克三世 Childeric III丕平 Pepin III
查理大帝 Charlemagne路易一世 Louis the Pious查理二世 Charles II (le Chauve)
路易二世 Louis II路易三世 Louis III卡洛曼二世 Carloman II
斯特芳·马拉美 Stephane Mallarme
法国  (1842年1898年)

诗词《诗选 anthology》   

阅读斯特芳·马拉美 Stephane Mallarme在诗海的作品!!!
斯特芳·马拉美
  是法国象征主义诗人和散文家。生于巴黎一个官员家庭。诗人很小的时候,母亲、父亲和姐姐相继离开人世,诗人成了一个孤儿,只是在外祖母的怀中得到一些关怀。中学时代,诗人迷上了诗歌。1862年,诗人开始发表诗歌,同年去英国进修英语。次年诗人回到法国。1866年,诗人的诗歌开始受到诗坛的关注。1876年,诗人的《牧神的午后》在法国诗坛引起轰动。此后,诗人在家中举办的诗歌沙龙成为当时法国文化界最著名的沙龙,一些著名的诗人、音乐家、画家都是他家的常客,如魏尔伦、兰波、德彪西、罗丹夫妇等等。因为沙龙在星期二举行,被称为“马拉美的星期二”。1896年,诗人被选为“诗人之王”,成为法国诗坛现代主义和象征主义诗歌的领袖人物。
  
  著有《诗与散文》、诗集《徜徉集》等。长诗《希罗狄亚德)(1875)、《牧神的午后》 (1876)是他著名的代表作。马拉美的诗歌幽晦而神秘,将世态的坎坷、变故变成了语言的柔韧飘逸的舞姿,将心灵的甘苦演变成天籁般的音韵意趣。在近40年的诗歌生涯中,他天才的火焰,亮了无数颗热爱诗歌的灵魂,尤其是许许多多年轻人的心灵,无不被他语言的幽闭、奢华、孤傲,以及浩美所折服。诗人晚年的诗作《骰子一掷,不会改变偶然》(1897)晦涩难懂,是马拉美最令人困惑的一首诗。这首诗的文字排列非常奇持,它有时呈楼梯式,有时一行只有一个字,有时一页只有一个字或几个字。马拉美企图描画出思维同混乱的宇宙接触的历程,他力图洞穿宇宙的奥秘和法则。这个历程也是诗人将字句写到纸上,寻求能够表现现实的语言结合的过程。这首诗无论在语言、诗句,还是在韵律方面,都大大革新了诗歌创作,直接迈向了20世纪的诗歌。
  
  马拉美的诗歌主要特点表现在:1.追求语言美、句法多变化和音乐性,确立了自由诗的形式;2.诗歌有多种象征含义,导致晦涩难懂;后期诗作尤其如此,需要读者去发现含义,3.具有深奥的哲理。


  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.
  
  French literature
  By category
  French literary history
  Medieval
  16th century · 17th century
  18th century · 19th century
  20th century · Contemporary
  
  French writers
  Chronological list
  Writers by category
  Novelists · Playwrights
  Poets · Essayists
  Short story writers
  
  France portal
  Literature portal
  This box: view • talk • edit
  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)
    

评论 (0)