He remained long submerged, but with the growth of his school he was
persuaded to reappear. In 1887 one fascicule only of his complete poems
was brought out in an extraordinary form, photolithographed from the
original manuscript. In 1888 followed a translation of the poems of
Edgar Poe. But until 1893 the general reader has had no opportunity,
even in France, of forming an opinion on the prose or verse of M.
Mallarmé. Meanwhile, his name has become one of the most notorious in
contemporary literature. A thousand eccentricities, a thousand acts of
revolt against tradition, have been perpetrated under the banner of
his tacit encouragement. It is high time to try and understand what M.
Mallarmé's teaching really is, and what his practice.
To ridicule the Décadents, or to insist upon their extravagance, is
so easy as to be unworthy of a serious critic. It would be quite
simple for some crusty Christopher to show that the poems of master
and scholars alike are monstrous, unintelligible, ludicrously inept,
and preposterous. M. Mallarmé has had hard words, not merely from the
old classical critics such as M. Brunetière, but from men from whom
the extremity of sympathy might have been looked. Life-long friends
like M. Leconte de Lisle confess that they understood him once, but,
alas! understand him no longer; or, like M. François Coppée, avoid all
discussion of his verses, and obstinately confine themselves to "son
esprit élevé, sa vie si pure, si belle." When such men as these profess
themselves unable to comprehend a writer of their own age and language,
it seems presumptuous for a foreigner to attempt to do so, nor do I
pretend that in the formal and minute sense I am able to comprehend
the poems of M. Mallarmé. He remains, under the most loving scrutiny,
a most difficult writer. But, at all events, I think that sympathy
and study may avail to enable the critic to detect the spirit which
inspires this strange and cryptic figure. Study and sympathy I have
given, and I offer some results of them, not without diffidence.
Public-domain text, read in full here on John Shaqi.
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