By Stéphane Mallarmé
In the course of his lifetime, Stéphane Mallarmé (1842–1898) was once well-known as one of many maximum dwelling French poets. He wrote widely on topics of truth and his wish to shy away from it, marrying shape and content material in innovative ways in which departed tremendously from the extra tightly managed French culture. regardless of his prestige as one of many first modernists, a lot of Mallarmé’s radicalism has been misplaced in translation. eventually, during this new assortment by means of Blake Bronson-Bartlett and Robert Fernandez, the magic and mastery of shape and diction, so remarkable in Mallarmé’s French verse, involves existence in English. Drawing from Poésies (1899), Un coup de dés (A forged of Dice), and the “Livre” (the “Book”—the overarching conceptual paintings left unfinished on the dying of the poet), this assortment captures Mallarmé’s real linguistic brilliance, bringing the poems into our present historical past whereas preserving the track, playfulness, and tool of the originals.
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Extra info for Azure: Poems and Selections from the "Livre"
62 The loftier idiom of Ugo Foscolo’s Ultime lettere di Jacopo Ortis (Last Letters of Jacopo Ortis ), an epistolary novel of exile that opens with the aftermath of Campoformio, articulates a young Venetian’s disillusionment with republican dogma: “Il sacrificio della nostra patria è consumato; tutto è perduto. . Devastatori de’ popoli, si servono della libertà come i papi si servivano delle crociate” (The sacrifice of our fatherland has been consumed; all is lost. . 63 There was a great deal to lament, though local testimony would be drowned out by choruses from without— not only in the immediate aftermath of the city-state’s defeat, but also into the following generations.
40 Venice remains an unreconstructedly sensual complex into the twenty-first century, undulating out of line with knowledge predicated on visibility and bereft of the architectonic indices and measures of hygiene imposed by modern political capitals. Venice’s singularity does not lie simply in its status as a canal city, reclaimed from marshes. ”41 Amsterdam too became the center of a far-flung mercantile and publishing empire, enabled by control over trade waters once the balance of power shifted from Mediterranean Venice toward Atlantic routes of exchange.
While my subtitle echoes Mann’s Death in Venice, but pointedly displaces “death” with “modernism,” it also suggests that modernism did not really gain a foothold in Venice, despite manifold attempts. Instead, deflected modernist impulses— like so much else in Venice—became part of the assemblage. Mine is not, then, an attempt to make a claim for Venice’s obscured role as a capital of modernity, nor to unearth a “local” or “minor” modernism. ) This book, instead, shows that Venice permits us to explore the aspirations, repressions, critiques, and failures of both modernity as ideology and INTRODUCTION: VENETIAN MODERNITY 31 development and modernism as aesthetic response.