Manual Between Baudelaire and Mallarmé : voice, conversation and music

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  1. Dobrodošli | Mentes
  2. Stéphane Mallarmé
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  4. Between Baudelaire and Mallarmé: Voice, Conversation and Music

Of particular importance is the ostensoir , the last word of the poem. It occurrs only once, while the more common encensoir and reposoir are repeated. The poet tries to conquer his fear and hate of darkness and death with the memory of the beloved and compares the light of this memory with that of a monstrance.

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For the Catholic believer, of course, this monstrance brings to his mind ideas such as union, communion, strength, love, faith, and conquest of fear and death. This is made possible thanks to the particular form of the poem, without which the distinction between words that are repeated and words that only appear once, which guide the reader in his understanding of the relative importance of elements in the poem, would not be possible.

Both held the opinion that naming an object—or expressing things too literally—removed half of the pleasure of the experience. Baudelaire therefore well understood that his poem was only truly complete upon conjuring multiple artistic media to bring it to life. And that is why Baudelaire chooses to convey the meaning through evocation, rather than deliver it to the reader on a plateau, as both Mallarme and Debussy argued for.

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The poem Harmonie du Soir therefore has a very strong musicality, which is reinforced by the constraints of the Pantoum form of the poem. The most evident source of musicality is the repetition of the second and fourth lines of each stanza into the next stanza. This is particularly clear with the verse about the melancholy waltz.

This poem is distinctive for its suggesting of a vague mood and for its lack of sharply described situation, or precise logical development, as well as its lack of story or apparent purpose. None of the lines is a simple statement, and all of the lines at least involve one image. The unity lies in the rhythm, the rhyme scheme, the tonalities S, v, t, r, a, i , and oi are the dominant sounds in the poem and the recurring images and it can be said that it has a unity of emotional and intellectual development.

It often seems as though Baudelaire is discovering his own emotions through his poems: he does not explicitly state and does not symbolize, but rather c reates his meaning through his poems, by using particular associations of sounds and images and rhythms and smells which all point in a particular direction, which reveal the poet to himself and the world to the readers.

Through his poems, he gives readers a glimpse of the privileged status and vision that inhabits the poet and one might be tempted to say that, beyond the metaphysical journey, and beyond memories, and beyond musicality, smell, and touch, the real alternate spirituality is poetry itself.

It is what sets men apart. Abbott, Helen.

Stéphane Mallarmé

Farnham, England: Ashgate, Feuerlicht, Ignace. The French Review, Oct.

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    Claude Debussy - 5 Poèmes de Baudelaire [w/ score]

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    Home About Course Blog Syllabus. Research : Abbott, Helen. Sartre, Jean-Paul. Paris: Gallimard, Share this: Twitter Facebook Email. Like this: Like Loading Leave a comment Filed under Final Projects. Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:. Email required Address never made public. Hb Her pertinent discussion of nineteenth-century prosodic and rhetorical rules sets the scene for an interesting rehabilitation of actio which privileges voice and immediacy of effect and memoria memory and longevity of effect — ancient rhetorical tropes that she fruitfully applies to Baudelaire's and Mallarme's works to assess the many vocal and musical resonances therein.

    There then follows a subtle account of the implications of conversational exchange, especially with regard to both poets' productive reappropriation of the 'foreign' voice. A trenchant final section on music convincingly argues that 'instrumental music' is the perfect metaphor for their poetry because it frees this genre from the dual bonds of semantics and subjectivity. No doubt mindful of the lessons of post-structuralism and obviously anxious to stay clear of excessive authorial intentionality and overprescriptive theories, Abbot, unfortunately, at times shifts the balance of power too far from the poets themselves towards a largely unspecified reader.

    Between Baudelaire and Mallarmé: Voice, Conversation and Music

    True, both poets were prepared — indeed were willing — to concede significant interpretative autonomy to their readers, but not to the extent of relinquishing that essential degree of authorial control that their uncompromising and rigorously conceived aesthetic agendas demanded. Abbott's claims that 'it is not a question of any great import' p. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

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