If we were to use these same tools to categorize Mallarme’s poetry, I
would argue that his style does not necessarily produce the same type of
nonsense poetry we have previously looked at. His writing style is very different
through the use of blank space and structure, making language more about
fluidity and the meaning behind what the reader sees and hears. Mallarme makes
it difficult to categorize his poetry as nonsense because there is an
overarching, and identifiable theme to his poetry. When analyzing Mallarme’s
poem, nonsense may be exemplified through his unconventional style of writing.
Instead of poetry being written continuously, from left-to-right, top to
bottom, Mallarme uses run-ons and changes the way the reader looks at the blank
space. Overall, using the same tools we have previously used to analyze
nonsensical writing, I do not think that A
Dice Throw could be considered nonsense. Because there is meaning and a
general theme, readers are able to make sense of his writing, despite the
nonconventional structure.
Language is also something that is examined when interpreting whether or not something is nonsensical. In Mallarme’s writing, his language is formed through various factors containing wording, font style and size, and his usage of the blank of the page. His nontraditional way of writing with a lot of spaces and black space in between words allows the reader to make sense of how both the words and the white space are in relationship with one another. For example, when Mallarme uses the word “empty,” or “one,” he always makes sure to place the word in an area of the page that does not have surrounding words near it. His meaning of the word is defined in both the context of the poem and the physicality of the word placement. Font style and size are also varied in the text, giving greater importance of emphasis to certain phrases. The phrase, “It would be no worse neither more nor less but as much indifferently as chance…” does not provide as much sensitivity to the words when writing it normally, but Mallarme uses changes in font to give more significance to the meaning of chance (176-177).
His overall theme is manifested through the structure, made up of his spacing, font and fluidity of his phrases. By fluidity, I mean the way in which words and meaning can be placed very high up on the page, run down to the very bottom of the page, or are continuous throughout. Mallarme’s overall meaning of the poem describes the ocean, it’s abyss, and the master. His words were almost passing, by like the waves of the ocean or dropping sharply into an abyss. By placing words diagonally below each other, he created an emphasis in certain types of descriptions. For example, “whitish fulltide frenzied down a declivity desperately glides” are all very close to each other, sending a message of togetherness and compact movement (164). This is later followed by “on a wing,” and “its own,” which slightly adjust the feeling the reader gets from the solidarity of the wing (164). This sense of movement is also created when Mallarme describes the falling of the quill. Visually, the reader sees the how the message is burying itself and getting closer to the abyss. Overall, Mallarme’s sense of direction through his movement, font selection and spacing of phrasing all together generate a meaning to his poetry, which is not necessarily the nonsense categories we had made previously.
Language is also something that is examined when interpreting whether or not something is nonsensical. In Mallarme’s writing, his language is formed through various factors containing wording, font style and size, and his usage of the blank of the page. His nontraditional way of writing with a lot of spaces and black space in between words allows the reader to make sense of how both the words and the white space are in relationship with one another. For example, when Mallarme uses the word “empty,” or “one,” he always makes sure to place the word in an area of the page that does not have surrounding words near it. His meaning of the word is defined in both the context of the poem and the physicality of the word placement. Font style and size are also varied in the text, giving greater importance of emphasis to certain phrases. The phrase, “It would be no worse neither more nor less but as much indifferently as chance…” does not provide as much sensitivity to the words when writing it normally, but Mallarme uses changes in font to give more significance to the meaning of chance (176-177).
His overall theme is manifested through the structure, made up of his spacing, font and fluidity of his phrases. By fluidity, I mean the way in which words and meaning can be placed very high up on the page, run down to the very bottom of the page, or are continuous throughout. Mallarme’s overall meaning of the poem describes the ocean, it’s abyss, and the master. His words were almost passing, by like the waves of the ocean or dropping sharply into an abyss. By placing words diagonally below each other, he created an emphasis in certain types of descriptions. For example, “whitish fulltide frenzied down a declivity desperately glides” are all very close to each other, sending a message of togetherness and compact movement (164). This is later followed by “on a wing,” and “its own,” which slightly adjust the feeling the reader gets from the solidarity of the wing (164). This sense of movement is also created when Mallarme describes the falling of the quill. Visually, the reader sees the how the message is burying itself and getting closer to the abyss. Overall, Mallarme’s sense of direction through his movement, font selection and spacing of phrasing all together generate a meaning to his poetry, which is not necessarily the nonsense categories we had made previously.
Melissa, I agree with your interpretation of Mallarme’s poetry in that it is unlike any of the other literary nonsense that we have read before. The most nontraditional aspect that stood out to me was in the way that it is to be read across two pages. There is also a great emphasis on the blank space around the words just as the words themselves. You mention that the physical layout of the words is reflective of the meaning of those specific words. I would just like to expand a little this by providing an example that caught my eye. Mallarme writes “THE MASTER” at the very top of the page, in all caps and, in a larger font than the rest of the words on that page to reflect the superiority of that figure; it also echoes the high level of ranking and superiority that a master has over other subjects (166). Mallarme also devotes an entire page to word or phrases that he wants to emphasize. It seems apparent that the larger and bolder that a word or phrase it, the more importance it has in the eyes of Mallarme. For instance, he devotes an entire page to the phrase, “NEVER WILL ABOLISH,” which again, is in large caps letters to draw prominence. Overall, I think that you have captured the style and theme of Mallarme very well.
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