, Letter from Swinburne (LAS, vol.III, pp.121-122, 1876.
, , p.261
Histoire d'un Faune, op. cit, p.215 ,
Letter to Swinburne, Correspondance, vol.II, p.115, 1876. ,
, Letter from Swinburne (LAS, vol.III, pp.121-122, 1876.
, Histoire d'un Faune, 1876.
, Manet was also a partner in misfortune, poorly understood by the critics of his time
The Afternoon of a Faun ,
Letter to Léo d'Orfer, O.C, vol.I, p.782, 1884. ,
Letter to François Coppée, p.380, 1868. ,
,
Lettres sur la Poésie, Preface, Ibid, p.20 ,
, Definition of Poetry sent to Léo d'Orfer, reproduced by Richard Wagner, Rêverie d'un poète français (Dream of a French poet, Letter to Léo d'Orfer, p.572, 1884.
, , p.342
Letter to Verlaine, p.585 ,
Letter to Cazalis, p.393, 1868. ,
, Each fragment, built in layers, like a column of the Temple, represents as best it can, a small replica of the Universe and this architectural and planned Book which it cannot attain, vol.393, p.335, 1885.
Letter to Verlaine, p.586, 1885. ,
You were given a masterpiece (this is not the translator speaking, believe me); you turned it into rubbish, Mallarmé criticized the staging of Le Corbeau, by Paul Fort, at the Théâtre d'Art, vol.IV, p.500, 1973. ,
Letter to Vittorio Pica, 1886. ,
Letter to François Coppée, p.380, 1871. ,
, exquisite frosted cover", the beautiful and traditional restraint of the last Deman edition on "rough and primitive Holland paper", highlights this potential of the book which Mallarmé aspired to as he declares in Cérémonials (Ceremonies): "A book, in our hand, if it sets out some noble idea, compensates for all the theatres, not by causing them to be forgotten but, on the contrary, masterfully recalling them 160
,
Histoire d'un Faune, op. cit, p.259 ,
La Préparation du roman I et II, Cours et séminaire au Collège de France, 1978. ,
, Texte établi, annoté et présenté par Nathalie Léger, Seuil Imec, pp.240-242, 2003.