Evocative, fugitive and experimental, the poetry of Stéphane Mallarmé inspired modernists and avant-garde writers, such as T.S. Eliot, James Joyce, and Paul Valéry; his theories of language, poetry, and self, inspired philosophers such as Maurice Blanchot and Jacques Derrida; and his approach to musicality was highly influential upon musicians and composers, from Claude Debussy to John Cage. During his lifetime, however, he remained largely an obscure figure—both in the sense that his work was well-known only to a relatively small circle of avant-garde artists and writers, and in the sense that his writings were considered by many readers to be deliberately abstruse and difficult. One constant of his career was a sustained engagement with contemporary periodical culture, both as a contributor and as the subject of reviews and the occasional profile. This engagement was, however, rarely ostentatious, and it was only towards the end of his career that his work caught the attention and the imagination of a wider public.

Born in Sens, a small town in the north of central France, Mallarmé led for the most part a quiet existence. His life was, however, marked by loss from early on: his mother died when he was five and a beloved sister, Maria, died when he was fifteen (years later his son, Anatole, would die in 1879, aged only eight). His writings celebrate the joys of language, but also reflect deep anguish at the apparently meaningless nature of the universe in the face of death and grief.

As a young man, Mallarmé rebelled against his family’s expectations, rejecting conventional religion and respectable work as a registry clerk. He proposed an alternative career as an English teacher, hoping that this would leave him time to develop his sense of vocation as a poet. In fact, he spent much of his life wrestling with the French educational system to secure time away from his teaching responsibilities to attend to his writing.

Whilst teaching the English language to French high school students proved a source of frustration to Mallarmé at times, it also cemented deep Anglophone connections that were fundamental to his artistic development. In addition to French writers, such as Charles Baudelaire and Théophile Gautier, the American writer Edgar Allan Poe was a major influence on him. Translation from Poe’s poetry and statements about aesthetics were central to Mallarmé’s self-conception as a writer. Visits to England also proved highly formative. He spent part of 1862 and 1863 in London, and married at the Brompton Oratory in August 1863. His wife Marie, was German by birth and had worked as a nanny. The marriage brought outward stability to the inner turmoil of his artistic career. Some mature writings, such as the prose poems “Plainte d’automne” (“Autumn Lament”) and “Le Phénomène futur” (“The Future Phenomenon”) were first conceived and drafted around this time, although it would be years before they saw publication.

During this period, Mallarmé began to develop his own distinctive aesthetics. In October 1864, he wrote to his friend, the poet Henri Cazalis: “I am terrified because I have to invent a language which will inevitably result from a very new poetics which I could best describe in these words: ‘Paint not the thing itself, but the effect which it produces’” (Millan 106). This approach is reflected in poems such as “L’Azur” (“Blue”) and “Les fenêtres” (“Windows”) which transmute perception and experience into something both resonant and fleeting. His abstracted methods of expression and rejection of representation led to a strong association between Mallarmé and the nascent Symbolist movement in France.

Symbolist aesthetics were also central to his work on a long dramatic poem called Hérodiade which he began around the same time. Originally conceived as a theatrical piece loosely based around the Old Testament story of Salome, this text would become central to Mallarmé’s broader literary ambitions. In the summer of 1866, he wrote to his friend Théodore Aubanel:

I have laid the foundations of a magnificent work. Every man has a secret within him, many die without ever finding it … I am dead and resurrected with the jewelled key of the ultimate treasure chest of my mind. (Millan 141)

Allied to his interest in magic and the occult, this “magnificent work” represented a conception of the growing body of his writings as a coherent whole, that somehow combined self-expression with a mystic “key” to the universe.

Whilst Hérodiade was a lynchpin of this great “work,” in 1865 Mallarmé began working on another major dramatic piece. Initially entitled “Le Faune, intermède héroique” (“The Faun: A Heroic Intermezzo”), this would eventually become one of his most widely acclaimed poems, “L’Après-midi d’un faune” (“Afternoon of a Faun”). Plans for a theatrical production of Mallarmé’s Faune at the Théâtre Français failed early in its conception. His work proved too experimental and abstruse for contemporary theatre directors. Both “L’Après-midi” and Hérodiade retain the vestiges of dramatic form, only to push at the limits of expressivity and explore extreme or attenuated states of subjectivity.

Towards the end of the 1860s Mallarmé began to experience some professional success, publishing poems in the first series of La Parnasse contemporaine in 1869. This anthology was organised by Catulle Mendès, in an attempt to bring together like-minded poets whose work shared some of the Aestheticist “art for art’s sake” values associated with Gautier. Unfortunately, whilst Mallarmé’s appearance there brought some acclaim, it also distressed the parents of his pupils and they wrote to the School authorities objecting to his poetic experiments (Millan 144).

In 1871, Mallarmé secured a teaching position at the Lycée Condorcet in Paris and moved his family into a flat on the rue de Moscou. They subsequently moved into a flat on the rue de Rome, where he would become famous for his “mardis”—informal Tuesday evening gatherings of writers and artists. Paris brought a greater sense of connection to the contemporary avant-garde scene. Friendships were important to Mallarmé’s personal and professional development throughout his life, from the encouragement of close acquaintances such as Henri Cazalis and Emmanuel des Essarts during the early stages of his career to the collaborative influence of friendships with figures such as the writer Villiers de l’Isle-Adam, the painter Édouard Manet, and the art critic Philippe Burty (who pioneered Japonisme). These relationships frequently found expression in his correspondence and have been extensively documented by Rosemary Lloyd in Mallarmé: The Poet and his Circle (1999).

As well as continuing to labour at his “magnificent work” during this period, Mallarmé sought to engage with a wider audience by editing a magazine entitled La Dernière mode (“The Latest Fashion”) during 1874 (published in English translation by P.N. Furbank and A.M. Cain as Mallarmé on Fashion in 2004). This short-lived enterprise captures the curious and sometimes contradictory nature of Mallarmé’s relationship with periodical culture. When theorising about art, he was prone to adopt equivocal, even hostile views about mass journalism as the expression of a cultural philistinism alien to his finely-tuned aesthetics. Yet many of his works were first published in periodicals of various kinds, from small scale elite magazines such as La Vogue (1886-1901) to publications with larger circulations, such as the Athenaeum (1828–1921) (see below). Despite misgivings, Mallarmé was acutely aware of the press as a means of generating interest and cultural capital.

His sensitivity to the value of the press was also central to Mallarmé’s reputation and reception in the English-speaking world. In 1875 he travelled to London to work on an edition of Vathek by William Beckford. He met in the British Library the budding writers and critics, Richard Garnett, Edmund Gosse and Arthur O’Shaughnessy, showing them a lavish edition of his translation of Edgar Allan Poe’s “The Raven” with illustrations by Édouard Manet. These new friends helped him forge literary connections and he briefly contributed notes on contemporary French literature to the Athenaeum, supplying snippets of news which were folded into the “Literary Gossip” columns.

These connections explain the modest, but sustained coverage of Mallarmé and his work in the English press. In 1876, a revised version of “L’Après-midi d’un faune” was rejected by the committee for the third volume of La Parnasse contemporain. Although this prompted outraged protest by Catulle Mendès, Villiers de l’Isle-Adam and others, Mallarmé opted to publish his poem privately in a deluxe edition containing engraved illustrations by Manet with a limited run of 195 copies. In its eventual form, Mallarmé’s poem had become a sustained rapturous outpouring, uttered by a Faun after a recent encounter with some nymphs. The poem mixes ethereal sensibilities with more earthly erotic promptings. Claude Debussy’s attempt to capture this complex mixture in a delicately sensuous musical setting of 1894 was also very well received. Despite its limited circulation, “L’Après midi d’un faune” was reviewed in the United Kingdom within The Examiner (1808–1881), where the anonymous reviewer stressed the pamphlet’s properties as an organic artistic whole, drawing attention to the quality of the paper, as well as the delicacies of Mallarmé’s verse (anon 1876, 914).

His skill at forging literary friendships further contributed to the rise of Mallarmé’s public reputation as a poet during the 1880s: the poet Paul Verlaine included Mallarmé in his collection of biographical and critical essays, Les Poètes maudits (1884), and solicited biographical information from him for an article in Les Hommes d’aujourd’hui (1887). At around the same time, the novelist J.K. Huysmans added Mallarmé’s work to the panoply of contemporary decadent writings admired by Jean Floressas des Esseintes, the protagonist of his novel A rebours (1884). Although such admiration brought wider attention to Mallarmé’s work, it also led to his association with decadence as a movement, a connection he did not always relish. Mallarmé and his work were picked up in the 1880s by a younger generation of admiring writers, including Paul Valéry and Edouard Dujardin, who began attending his Tuesday salons to pay homage.

Another important friendship that burgeoned in the 1880s was Mallarmé’s relationship with the American painter, writer, and controversialist James McNeill Whistler. The two men warmed to each other personally, swapping visits and writing frequently. This also led to professional collaborations: Mallarmé helped with the French translation of Whistler’s Ten O’Clock Lectures (1885) and they worked together on the illustration and design of Mallarmé’s Vers et prose (1893). Through Whistler’s connections with the Scottish journalist and editor, W.E. Henley, Mallarmé contributed a series of articles in French to the National Observer (1888–1897) in the 1890s; and it was Whistler who encouraged Mallarmé to publish the poems he used to address letters to friends and acquaintance. Although attempts to secure a publisher in London for these short quatrains failed, a selection of them appeared in the American little magazine, the Chap-Book (1894–1898), as “Les Loisirs de la Poste” (“Postal Recreations”) in 1894.

Mallarmé’s biographer Gordon Millan refers to this period as “the Banquet Years,” reflecting the frequency with which his works were celebrated by his peers, but also the creation of poems such as “Salut,” which was read out at a dinner hosted for the magazine La Plume (1889–1914) on the 9 February 1893. Along with his postal poems, such occasional verses combine intricately wrought puns and rhymes with deeply personal tributes to their dedicatees. Towards the end of the 1880s Mallarmé also began an affair with Méry Laurent, a society lady and the former lover of his friend, Manet (who died in 1883). By the 1890s their relationship may have become platonic, but she became a kind of muse during Mallarmé’s final years, inspiring love poems and close personal tributes, such as “O si chère de loin” (“O so dear far off”). Many of these were noted down alongside drawings, couplets and jokes by her other friends and admirers in Laurent’s commonplace book, which has recently been published as La Guirlande à Méry (“Méry’s Garland,” 2013).

In November 1893, Mallarmé secured early retirement from his teaching post on the grounds of ill health. Spending increasing amounts of his time at a country retreat in Valvins (outside Paris, on the banks of the Seine), Mallarmé hoped to complete his great “work.” In 1894 he travelled to England once again, this time to deliver a lecture on “La Musique et les Lettres” at Oxford and then Cambridge. For part of his visit Mallarmé was hosted by Charles Whibley, who wrote appreciatively about him for Blackwood’s Magazine (1817–1980).

Such international and inter-linguistic connections proved important to the publication of one of his final works: Un coup de dés jamais n’abolira le hasard (“A Throw of the Dice Will Never Abolish Chance”). This experimental poem sought to engage all the resources of typography and mise-en-page in its exploration of art and contingency. It was first published in Cosmopolis (1896–1898) in May 1897 through the ministrations of André Lichtenberger. Edited by Felix Ortmans, this multilingual journal was published simultaneously in France, Germany, and Britain and, as Julia Reid explains, “sought to transcend national cultures, promoting cultural and particularly linguistic and literary, exchange” (Reid 267). Mallarmé’s deployment of different sizes of type and creation of visual patterning in the spacing and lineation of his text, however, stretched the resources of the magazine’s compositors and editorial team. Nevertheless, the publication of this challenging text in Cosmopolis helped to cement his international reputation amongst later generations of avant-garde writers and artists.

“Un coup de dés” would not appear in book form until after Mallarmé’s death. Aware of the passage of time, he sought to escalate his previously tepid trickle of publications in the 1890s. Vers et prose (1893) was followed by Divagations (1898), a collection of his prose poems alongside theoretical statements of his aesthetic positions. Assembled from writings previously published in the National Observer, Revue Indépendante (1841-) and La Revue Blanche (1889–1903), essays such as “Crise de vers” (“Crisis in Verse”) adopt an abstruse and evasive prose that enacts the kind of assault upon conventional forms of expression that they advocate. At the time of his death in 1898, Mallarmé was also working on a definitive version of his Poésies that would appear the next year.

Obituary notices for Mallarmé appeared in a variety of British periodicals. This confirms his steady, but not prominent presence within Anglophone literary culture, noted previously. As he garnered reputation and acclaim in France, so he attracted increasing attention across the Channel in his last decade. English-speaking visitors began to attend the Tuesday gatherings at Mallarmé’s flat in Paris of young avant-garde writers seeking to benefit from his wisdom. These included the Irish writer George Moore, who wrote about Mallarmé for The Court and Society Review (1885–1888) in 1887. Another early advocate for Mallarmé in English was Edmund Gosse, who wrote a profile of the French writer for the Academy in 1893, republishing it in his collection Questions at Issues later the same year. Also in 1893, Arthur Symons gave prominent space to Mallarmé in his manifesto essay “The Decadent Movement in Literature,” published in Harper’s New Monthly (1850–) on both sides of the Atlantic. As Mallarmé’s literary reputation grew, a profile by the novelist Frederic Carrel appeared in Fortnightly Review (1865–1954) in March 1895 and the anonymous author of “Notes from Paris” devoted extensive space to his work in the Bookman during March 1896.

Symons’ article illustrates how the sensation in the British press caused by the decadent movement in literary and artistic circles played a significant role in Mallarmé’s anglophone reception (despite his own resistance to that label). It was as one of “Les Décadents” that Moore discussed Mallarmé in Court and Society and an anonymous reviewer in the Athenaeum would describe his “refuge world” as “apt to be touched with decadence” in June 1899 (anon 1899, 747). In this regard, he became closely associated with his colleague Verlaine in the British imagination. Mallarmé also features in the posthumous tributes to Verlaine in the second issue of The Savoy. Symons’s translation of Verlaine’s account of visiting London in 1893, alludes to his friendship with Mallarmé; and Gosse’s contribution to the same tribute refers to his own personal connection with Mallarmé. This link was further emphasised by Symons’s note in a subsequent issue of the Savoy identifying Mallarmé’s leading role in organising a monument to Verlaine.

Curiously, only a few years later Symons would revise his periodical writings on Mallarmé within the collection, The Symbolist Movement in Literature (1899), switching the terms of his original literary identification of the poet with decadence without comment. It was as the epitome of French symbolist aesthetics that the Irish poet W.B. Yeats referred to Mallarmé alongside Villiers de l’Isle-Adam in his extended essay on William Blake for the third issue of the Savoy in July 1896. More generally, Mallarmé seems to have served as a sympathetic touchstone amongst Anglophone critics seeking to engage with the French avant-garde, as a passing reference by Osman Edwards shows, within a piece on Émile Verhaeren for the seventh issue of the Savoy. Mallarmé’s work offered access to an experimental prosody and an evocative poetic vocabulary tinged with mysticism without the seedy reputation attached to his friend, Verlaine, who was associated with social and sexual transgression.

Mallarmé’s work as a writer was inseparable from translation, whether through his own efforts in rendering Edgar Allan Poe or the role played by translation in the transmission of his poetry. Arthur O’Shaughnessy has some claim to be the first English translator of Mallarmé, since he turned the critical “notes” supplied by Mallarmé in French into the English versions that appeared in the Athenaeum during the 1870s. English translations of his creative writings were, however, slower to appear. Moore led the way here, including a translation of Mallarmé’s prose poem, “Plainte d’automne” (as “Autumn Lament”) within his piece for Court and Society, then incorporating it into the book edition of his semi-autobiographical novel, Confessions of a Young Man (1888). Moore also published a translation of ““Le Phénomène futur” as “The Future Phenomenon” in The Savoy during July 1896. In 1890 the American writer Stuart Merrill offered translations of “Plainte d’automne” and “Frisson d’hiver” as “In Autumn” and “In Winter” within his collection of French prose poems in translation, Pastels in Prose (this was reviewed two years later by William Sharp for The Pagan Review). John Gray included a translation of Mallarmé’s “Fleurs” alongside his English versions of works by Charles Baudelaire, Arthur Rimbaud, and Paul Verlaine in Silverpoints (1893). In December of 1896, Symons published sections of “Hérodiade” in translation within The Savoy and he also seems to have worked on a translation of “L’Après-midi d’une faune” that remained in manuscript until long after his death (Morris 113-15). On the other side of the Atlantic, the American poet and translator, Richard Hovey published a version of “Hérodiade” in the Chap-Book in 1899; his versions of shorter poems by Mallarmé were gathered for a posthumous collection of his work, On the Trail (1908).

Immediately after his death, Mallarmé’s literary legacy lay in the hands of the Mardistes – the young men who had flocked to Mallarmé’s flat in Paris every Tuesday to hear him speak. In the early decades of the twentieth century, however, his work was picked up by Guillaume Apollinaire and the Surrealists, for whom his experimental methods and his attempts to push the limits of subjectivity in verse were highly inspirational. For English-speaking writers, Symons’s advocacy for Mallarmé in The Symbolist Movement served as a crucial channel, inciting modernists such as Joyce and Eliot to explore his work within their own writings (Creasy ix–x; xxvii–xxix). As Jennifer Higgins records, several writers took a strong interest in Mallarmé during the 1920s. Under Eliot’s editorship, the English art critic and painter Roger Fry published a translation of “Hérodiade” in the Criterion during 1922, although a fuller collection of his translations from Mallarmé would not appear until 1936, two years after Fry’s death. Thomas Sturge Moore translated various works, rendering the poem “Le vierge, le vivace et le bel” as “Variation on Mallarmé, The Swan” in Poems (1932) (Higgins 90–93; 127–131). The earliest complete collection of Mallarmé’s poems in English translation seems to have been that of Arthur Ellis in 1927, prefaced by an extensive account of the French poet’s life, works and aesthetic values by the academic Gladys Turquet-Milnes. After the second world war, he would become an important figure to avant-garde literary movements in France such as OULIPO and his theories of language proved congenial to the poststructuralism of Jacques Derrida and Julia Kristeva. Despite this intellectual ubiquity, a plain prose translation of his work by Anthony Hartley only appeared in the “Penguin Poets” series in 1965. Nevertheless, Mallarmé’s work still provides a source of inspiration to contemporary avant-garde writers. The Glasgow experimental poet Peter Mansun’s recent translations of Mallarmé have been widely acclaimed and the critic and poet Philip Terry has produced thought-provoking translations of Mallarmé’s occasional poetry, turning them into innovative creative dialogue.

© 2023, Matthew Creasy, Senior Lecturer in English Literature, School of Critical Studies, University of Glasgow, Scotland, UK.

Major Works by Mallarmé

• L’après-midi d’un faune: éclogue. Paris: Alphonse Derennes, 1876.

• Les poèmes d’Edgar Poe. Brussells: Deman, 1888.

• Pages. Brussells: Deman, 1891.

• Les miens. I. Villiers de l’Isle-Adam. Brussels: Lacomblez, 1892.

• Vers et prose. Paris: Perrin, 1893.

• Les Miens. Brussels: Lacomblez, 1893.

• >Oxford, Cambridge. La musique et les lettres. Paris: Perrin, 1895.

• Berthe Morisot. Paris: Durand-Ruel, 1896.

• Poésies. Brussels: Edmond Deman, 1899.

• Divagations. Paris: Bibliothèque-Charpentier, 1897.

• Les poésies de S. Mallarmé. Brussels: Chez Edmond Deman, 1899.

Selected Publications by Mallarmé in Anglophone Publications

• Mallarmé, Stéphane. “The Impressionists and Édouard Manet.” The Art Monthly Review, 30 September 1876, pp. 117-21.

• —. “Dramatic Gossip.” Athenaeum, 23 October 1875, pp. 549-50.

• —. “Literary Gossip.” Athenaeum, 6 November 1875, pp. 610-12.

• —. “Dramatic Gossip.” Athenaeum, 6 November 1875, pp. 618.

• —. “Literary Gossip.” Athenaeum, 13 November 1875, pp. 642-43.

• —. “Literary Gossip.” Athenaeum, 20 November 1875, pp. 674-76.

• —. “Dramatic Gossip.” Athenaeum, 20 November 1875, pp. 683-84.

• —. “Literary Gossip.” Athenaeum, 27 November 1875, pp. 709-10.

• —. “Literary Gossip.” Athenaeum, 11 December 1875, pp. 790-93.

• —. “Literary Gossip.” Athenaeum, 18 December 1875, pp. 831-33.

• —. “Literary Gossip.” Athenaeum, 15 January 1876, pp. 90-91.

• —. “Literary Gossip.” Athenaeum, 5 February 1876, pp. 201-2.

• —. “Dramatic Gossip.” Athenaeum, 12 February 1876, pp. 241-42.

• —. “Literary Gossip.” Athenaeum, 18 March 1876, pp. 396-97.

• —. “Literary Gossip.” Athenaeum, 25 March 1876, pp. 429-30.

• —. “Literary Gossip.” Athenaeum, 1 April 1876, pp. 465-66.

• —. “Fine-Art Gossip.” Athenaeum, 1 April 1876, pp. 471-72.

• —. “Billet à Whistler.” The Whirlwind, 15 November 1890, p. 104.

• —. “Vers et Musique en France.” National Observer, 26 March 1892, pp. 484-86.

• —. “Solennités.” National Observer, 7 May 1892, pp. 640-41.

• —. “Étalages.” National Observer, 11 June 1892, pp. 89-90.

• —. “Tennyson vu d’ici.” National Observer, 29 October 1892, pp. 611-12.

• —. “Théodore de Banville.” National Observer, 17 December 1892, pp. 110-11.

• —. “Magie.” National Observer, 28 January 1893, pp. 263-64.

• —. “Faits-divers.” National Observer, 25 February 1893, pp. 365-66.

• —. “Considerations sur l’art du ballet.” National Observer, 13 March 1893, pp. 651-52.

• —. “Théâtre.” National Observer, 10 June 1893, pp. 93-94.

• —. “Théâtre (suite),” National Observer, 1 July 1893, pp. 172-74.

• —. “Deuil.” National Observer, 22 July 1893, pp. 247-48.

• —. “Les Loisirs de la Poste.” Chap Book, vol. 2, 15 December 1894, pp. 111-15.

• —. “Une Dentelle s’abolite,” “Surgi de la croupe et du bond.” M’lle New York, vol. 1, 1 November 1895, p. 51.

• —. “Arthur Rimbaud.” Chap Book, vol. 5, 15 May 1896, pp. 8-17.

• —. “Un Coup de dés jamais n’abolira le hasard.” Cosmopolis, vol. 6, May 1897, pp. 417-27.

• —. “La Musique et les lettres.” Studies in European Literature. Oxford, 1900.

• —. “Les Fenêtres, Sonnet.” A Century of French Poets, ed. Francis Eccles, London: Archibald Constable, 1909), pp. 281-84.

• —. “L’Éventail de Mademoiselle Mallarmé.” Lotus, vol. 1, Summer 1910, p. 27.

• Ellis, Arthur. Mallarmé in English Verse. London: Jonathan Cape, 1927.

• Fry, Roger. Some Poems of Mallarmé. London: Chatto & Windus, 1936.

• Gray, John. “Fleurs.” Silverpoints. London: The Bodley Head, 1893, p.19.

• Hovey, Richard. “Apparition,” “Summer Sadness,” “Herodias.” Along the Trail. Boston: Maynard, Small and Co., 1898, pp. 38-46.

• —. “Herodias.” Chap Book, vol. 2, 1 January 1895, pp. 177-79.

• —. “Sigh,” “The Flowers,” “The Windows.” To the End of the Trail. New York: Duffield, 1908, pp. 105-7.

• L.D. “Soupir.” Oxford Magazine, vol. 12, February 1894, p. 225.

• Merrill, Stuart. “In Autumn” and “In Winter.” Pastels in Prose. New York: Harper, 1890, pp. 189-94.

• Moore, George. “Les Decadents.” Court and Society, 19 January 1887, pp. 57-58.

• —. “Plainte d’automne,” “Frisson d’hiver.” Confessions of a Young Man. London: Swan Sonnenchein, 1887.

• —. “The Future Phenomenon.” The Savoy, vol. 3, July 1896, pp. 98-99. Savoy Digital Edition, edited by Christopher Keep and Lorraine Janzen Kooistra. Yellow Nineties 2.0, Toronto Metropolitan University Centre for Digital Humanities, 2019, https://1890s.ca/savoyv3-moore-phenomenon/

• Moore, Thomas Sturge. “Variation on Mallarmé: The Swan.” Poems. London: Macmillan, 1932, Vol 2, p. 199.

• Robertson, William John. “The Faun,” “Flowers,” “Sonnet.” A Century of French Verse, London: A.D. Innes, 1895, pp. 272-77.

• Symons, Arthur. “Hérodiade.” The Savoy, vol. 8, December 1896, pp. 67-68. Savoy Digital Edition, https://1890s.ca/savoyv8-symons-herodiade/

• —. “Sigh,” “Sea-Wind,” “Autumn Lament.” Fortnightly Review, 17 December 1898, pp. 766-73.

• —. “Herodiade,” “Sigh,” “Sea-Wind.” Images of Good and Evil. London: Heinemann, 1899.

Works Cited and Selected Publications about Mallarmé

• Anon. “New Books and New Editions,” Examiner 12 August 1876, pp. 914-15

• Anon. “The Turn of the Tide.” The Spectator, 30 April 1892, pp. 579-80.

• Anon. “Questions at Issue.” National Observer, 1 July 1893, pp. 177-78.

• Anon. “Vathek.” National Observer, 21 October 1893, pp. 590-91.

• Anon. “A Tuesday Evening at Stephane Mallarmé’s.” The Art Critic, vol. 1, no. 1, November 1893, pp. 9-11.

• Anon. “News Notes.” Bookman, vol. 6, no. 31, April 1894, p. 5.

• Anon. “French Literature.” The Spectator, 27 February 1897, pp. 307-8.

• Anon. “Necrology.” Athenaeum, No. 3699, 17 September 1898, p. 389.

• Anon. [Charles Whibley]. “Stéphane Mallarmé.” Blackwood’s Magazine, vol. 164, November 1898, pp. 692-97.

• Anon. “Necrology.” The Critic, vol. 33, October 1898, p. 218.

• Anon. “Note on Mallarmé.” Critic, vol. 33, October 1898, p. 341.

• Anon. “Les Poésies de S. Mallarmé.” Athenaeum, 17 June 1899, pp. 747-48.

• Austin, Lloyd James. Poetic Principles and Practice: Occasional Papers on Baudelaire, Mallarmé and Valéry. Cambridge, Cambridge University Press, 1987.

• Bowie, Malcolm. Mallarmé and the Art of Being Difficult. Cambridge: Cambridge University Press, 1978.

• Carrel, Frederic. “Stéphane Mallarmé.” Fortnightly Review, March 1895, pp. 446-55.

• Edwards, Osman. “Emile Verhaeren.” The Savoy, vol. 7, November 1896, pp. 65-76. Savoy Digital Edition,
  https://1890s.ca/savoyv7-edwards-verhaeren/

• Creasy, Matthew. “Introduction.” The Symbolist Movement in Literature, by Arthur Symons, edited by Matthew Creasy, Manchester: Fyfield, 2014, pp. ix-xxix.

• Furbank P.N., and A.M. Cain, trans. Mallarmé on Fashion: A Translation of the Fashion Magazine La Dernière Mode, with Commentary, London: Bloomsbury, 2004.

• Gosse, Edmund. “Symbolism and M. Stéphane Mallarmé.” The Academy, 7 January 1893.

• —. “A First Sight of Verlaine.” The Savoy, vol. 2, April 1896, pp. 113-116. Savoy Digital Edition,
  https://1890s.ca/savoyv2-gosse-verlaine/

• —. “Stéphane Mallarmé.” Saturday Review vol. 86, 17 September 1898, pp. 372-73.

• —. Questions at Issue. London: William Heinemann, 1893.

• Grierson, Francis. “Stéphane Mallarmé.” Atlantic Monthly, vol. 92, December 1903, pp. 839-43.

• H.L. “Stéphane Mallarmé.” The Academy, vol. 54, 24 September 1898, pp. 304-5.

• Higgins, Jennifer. English Responses to French Poetry 1880-1940: Translation and Mediation. Oxford: Legenda, 2011.

• Lloyd, Rosemary. Mallarmé: The Poet and his Circle. Ithaca: Cornell University Press, 1999.

• —. “Mallarmé and the Bounds of Translation.” Nottingham French Studies, vol. 40, no. 2, 2001, pp. 14-25.

• —. Selected Letters of Stéphane Mallarmé. Chicago: University of Chicago Press, 1988.

• Manson, Peter. Stéphane Mallarmé: The Poems in Verse. Oxford, OH: Miami University Press, 2012.

• Manston, Augustus. “M. Stéphane Mallarmé.” Temple Bar, vol. 109, October 1896, pp. 242-53.

• Marchal, Bertrand, ed. La Guirlande à Méry. Paris: Les Cinquante SARL / Éditions des Équateurs, 2013.

• Millan, Gordon. Mallarmé: A Throw of the Dice. London: Secker & Warburg, 1996.

• Morris, Bruce. “Elaborate Form: Symons, Yeats and Mallarmé.” Yeats: An Annual of Critical and Textual Studies, vol. 4, 1986, pp. 99-119.

• Peck, Harry Thurston. “Stéphane Mallarmé.” Bookman, vol. 8, November 1898, pp. 227-29.

• Pearson, Roger. Stéphane Mallarmé. London: Reaktion, 2010.

• —. Mallarmé and Circumstance: The Translation of Silence. Oxford: Oxford University Press, 2004.

• —. Unfolding Mallarmé: The Development of a Poetic Art. Oxford: Clarendon Press, 1996.

• Reid, Julia. “The Academy and Cosmopolis: Evolution and Culture in Robert Louis Stevenson’s Periodical Encounters.” Culture and Science in the Nineteenth-Century Media, ed. by Louise Henson et al, Abingdon: Routledge, 2004, pp. 263-74.

• S. [William Sharp]. “Pastels in Prose.” The Pagan Review, vol. 1, August 1892, pp. 54-58. Pagan Review Digital Edition, edited by Dennis Denisoff and Lorraine Janzen Kooistra, 2010. Yellow Nineties 2.0, Toronto Metropolitan University Centre for Digital Humanities, 2021.
  https://1890s.ca/tpr-s-pastels/

• Sherard, Robert. “Notes from Paris.” Bookman, vol. 9, no. 54, March 1896, pp. 178-80.

• Symons, Arthur. “The Decadent Movement in Literature.” Harper’s New Monthly Magazine, vol. 87, November 1893, pp. 858-67.

• —. “Note.” The Savoy, vol. 4, August 1896, p. 94. Savoy Digital Edition,
  https://1890s.ca/savoyv4-note/

• —. “Mallarmé’s Divigations.” Saturday Review, vol. 83, 30 January 1897, pp. 109-10.

• —. “Stéphane Mallarmé.” Fortnightly Review, vol. 79, November 1898, pp. 677-85.

• —. The Symbolist Movement in Literature. London: Heinemann, 1899.

• Terry, Philip. “Mallarmé and the Postman.” Onedit, vol. 7 (n.d.).
  http://www.onedit.net/issue7/philipt/philipt.html [accessed 20 December 2018]

• Thompson, Vance. “Stéphane Mallarmé.” French Portraits. Boston: Richard G. Badger & Co., 1900, pp. 11-23

• Verhaeren, Émile. “French Poetry Today.” Fortnightly Review, vol. 75, 1 April 1901, pp. 723-38.

• Yeats, W.B. “William Blake and His Illustrations to the Divine Comedy.” The Savoy, vol. 3, July 1896, pp. 41-57. Savoy Digital Edition,
  https://1890s.ca/savoyv3-yeats-blake/