![]() ![]() Thrusts the dark shock of her booted legs To her belly she twins two fortunate titsĪnd, so high that no hand knows how to seize her, This glutton’s ready to try a trick or two: Would taste a girl-child saddened by strange fruitsįorbidden ones too under the ragged dress, Princess, name me the shepherd of your smiles. Paints me there, lulling the fold, flute in hand, Name me…you whose laughters strawberry-crammedĪre mingling with a flock of docile lambsĮverywhere grazing vows bleating joy the while, I spend my fires with the slender rank of prelateĪnd won’t even figure naked on Sèvres dishes.Īnd know your shuttered glance at me too well,īlonde whose hairdressers have goldsmiths’ names! Rising over this cup at your lips’ kisses, ‘The Siren clothed in barbs, emerged from the waves’ The impression is therefore given of a gleaming fin-de-siècle void, the gleam indeed strongly related to the world of Impressionist painting, the void partly a consequence of the earlier poetry of Baudelaire and Rimbaud with its analysis of the emptiness and frustrations of modern life, and partly derived from his own experience and thought. Philosophically he is associated with ideas of absence and emptiness, but also of a quasi-Platonic realm of forms inherent in that emptiness, though paradoxically his verse, which often attempts to realise the ideal essence of the perceived external reality, through its images, symbols, and metaphors, appeals strongly to the senses. Part of the charm of his poetry is his ability to create a rich and detailed edifice from the simplest of ideas, objects, or occasions. His use of complex syntax, and subtle turns of phrase, often makes his verse seem more abstruse than its content indicates, revealing as it does a relatively narrow though sophisticated world, predominantly literary and philosophical in nature. These translations of Mallarmé’s major poetry reflect his position as a leading Symbolist poet of the nineteenth century. Sonnet: ‘Pour votre chère morte, son ami…’. ![]() Sonnet: ‘Victorieusement fui le suicide…’.This work may be freely reproduced, stored and transmitted, electronically or otherwise, for any non-commercial purpose. Kline © Copyright 2004-2009 All Rights Reserved The translation into French was supervised by Xavier Galmiche and revised by Aurélia Rouget-Garma the epilogue was written by Xavier Galmiche.With illustrations by Odilon Redon (France, 1840 - 1916) Its enigmatic atmosphere foreshadowed the balladic fiction of the 1930s. In this novella, which reflects the classical tendencies in his later work, Dyk took advantage of an old model to create a paramount work of fiction on the conflict of illusion and reality. The piper, a hero who was shaped by his lot in life, a lonely and restless dreamer representing the world of rebels, is juxtaposed with fisher Sepp Jörgen, who accepts the reality and by saving an infant gives the city a new hope. The story is based on the famous medieval Saxon legend in which the Pied Piper cleansed the city of Hameln of rats, and when disillusioned by the town councilors’ cowardice and betrayed in love, he used his pipe to lead the entire city to its destruction. This novella, written by poet, fiction writer, playwright and journalist Viktor Dyk, was first published as serial in a magazine in 1911–1912 and later released in its entirety as a book in 1915. ![]()
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