Stéphane Mallarmé Net Worth

Stéphane Mallarmé was born on March 18, 1842 in Paris, French, is Poet. Étienne Mallarmé, commonly known as Stéphane Mallarmé, was an eminent French poet and critic. He was one of the four major French poets, along with Charles Baudelaire, Paul Verlaine, and Arthur Rimbaud, who belonged to the latter half of the nineteenth century and led the famous Symbolist art movement. Several avant-garde artistic schools of the early twentieth century like Cubism, Futurism, Dadaism, and Surrealism were directly inspired by his symbolist work. Having lost his family members one after the other very early in life, he developed a yearning to escape from the harsh realities of the world that had treated him so unkindly. Although he began his career as a school teacher and continued teaching till 1893, he took up a parallel career in writing poetry to get away from the cruel world of reality and to search for security in an ideal world. Some of his famous works are ‘L’Aprés Midi D’un Faun’, ‘Hérodiade’ and ‘Toast Funèbre’. Although he was a celebrated poet throughout his life, much of his work remained unintelligible because of their complex sentence structure and vague lingo. Nevertheless, he remains one of the best writers of the latter half of the nineteenth century, making it a brilliant phase in French literature.
Stéphane Mallarmé is a member of Writers

Age, Biography and Wiki

Who is it? Poet
Birth Day March 18, 1842
Birth Place Paris, French
Age 177 YEARS OLD
Died On 9 September 1898(1898-09-09) (aged 56)\nVulaines-sur-Seine
Birth Sign Aries
Occupation Poet
Literary movement Parnassianism Symbolism
Spouse Maria Christina Gerhard (m. 1863)
Children 1

💰 Net worth: $200,000

Some Stéphane Mallarmé images

Biography/Timeline

1852

Stéphane Mallarmé was born in Paris. He was a boarder at the Pensionnat des Frères des écoles chrétiennes à Passy between 6 or 9 October 1852 and March 1855. He worked as an English Teacher and spent much of his life in relative poverty but was famed for his salons, occasional gatherings of intellectuals at his house on the rue de Rome for discussions of poetry, art and philosophy. The group became known as les Mardistes, because they met on Tuesdays (in French, mardi), and through it Mallarmé exerted considerable influence on the work of a generation of Writers. For many years, those sessions, where Mallarmé held court as judge, jester, and king, were considered the heart of Paris intellectual life. Regular visitors included W.B. Yeats, Rainer Maria Rilke, Paul Valéry, Stefan George, Paul Verlaine, and many others.

1863

On 10 August 1863, he married Maria Christina Gerhard. Their daughter, (Stéphanie Françoise) Geneviève Mallarmé, was born on 19 November 1864. Mallarmé died in Valvins (present-day Vulaines-sur-Seine) September 9, 1898.

1894

Mallarmé's poetry has been the inspiration for several musical pieces, notably Claude Debussy's Prélude à l'après-midi d'un faune (1894), a free interpretation of Mallarmé's poem L'après-midi d'un faune (1876), which creates powerful impressions by the use of striking but isolated phrases. Maurice Ravel set Mallarmé's poetry to music in Trois poèmes de Mallarmé (1913). Other composers to use his poetry in song include Darius Milhaud (Chansons bas de Stéphane Mallarmé, 1917) and Pierre Boulez (Pli selon pli, 1957–62).

1897

Mallarmé's earlier work owes a great deal to the style of Charles Baudelaire who was recognised as the forerunner of literary Symbolism. Mallarmé's later fin de siècle style, on the other hand, anticipates many of the fusions between poetry and the other arts that were to blossom in the next century. Most of this later work explored the relationship between content and form, between the text and the arrangement of words and spaces on the page. This is particularly evident in his last major poem, Un coup de dés jamais n'abolira le hasard ('A roll of the dice will never abolish chance') of 1897.

1929

Man Ray's last film, entitled Les Mystères du Château de Dé (The Mystery of the Chateau of Dice) (1929), was greatly influenced by Mallarmé's work, prominently featuring the line "A roll of the dice will never abolish chance".

1990

In 1990, Greenhouse Review Press published D. J. Waldie's American translation of Un Coup de Dés in a letterpress edition of 60 copies, its typography and format based on examination of the final (or near final) corrected proofs of the poem in the collection of Harvard's Houghton Library.

1998

On the publishing of "Un Coup de Dés" and its mishaps after the death of Mallarmé, consult the notes and commentary of Bertrand Marchal for his edition of the complete works of Mallarmé, Volume 1, Bibliothèque de la Pléiade, Gallimard 1998. To delve more deeply, consult "Igitur, Divagations, Un Coup de Dés," edited by Bertrand Marchal with a preface by Yves Bonnefoy, nfr Poésie/Gallimard.

2004

Prior to 2004, Un Coup de Dés was never published in the typography and format conceived by Mallarmé. In 2004, 90 copies on vellum of a new edition were published by Michel Pierson et Ptyx. This edition reconstructs the typography originally designed by Mallarmé for the projected Vollard edition in 1897 and which was abandoned after the sudden death of the author in 1898. All the pages are printed in the format (38 cm by 28 cm) and in the typography chosen by the author. The reconstruction has been made from the proofs which are kept in the Bibliothèque Nationale de France, taking into account the written corrections and wishes of Mallarmé and correcting certain errors on the part of the printers Firmin-Didot.

2012

In 2012, the French Philosopher Quentin Meillassoux published The Number and the Siren, a rigorous attempt at 'deciphering' the poem on the basis of a unique interpretation of the phrase 'the unique Number, which cannot be another.'

2015

In 2015, Wave Books published A Roll of the Dice Will Never Abolish Chance, a definitive dual-language edition of the poem, translated by Robert Bononno and Jeff Clark (designer). Readers may also consider Henry Weinfield's translation (in dual-language edition) to merit consideration as "definitive"—or, indeed, each generation will find its own definitive translation.