La carne es triste, ¡ay!, y todo lo he leído. ¡Huir! ¡Huir! Presiento que en lo desconocido de espuma y cielo, ebrios los pájaros se alejan. Nada, ni… - Stéphane Mallarmé

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La carne es triste, ¡ay!, y todo lo he leído.
¡Huir! ¡Huir! Presiento que en lo desconocido
de espuma y cielo, ebrios los pájaros se alejan.
Nada, ni los jardines que los ojos reflejan
sujetará este pecho, náufrago en mar abierta
¡oh, noches!, ni en mi lámpara la claridad desierta
sobre la virgen página que esconde su blancura,
y ni la fresca esposa con el hijo en el seno.
¡He de partir al fin! Zarpe el barco, y sereno
meza en busca de exóticos climas su arboladura.
Un hastío reseco ya de crueles anhelos
aún sueña en el último adiós de los pañuelos.
¡Quién sabe si los mástiles, tempestades buscando,
se doblarán al viento sobre el naufragio, cuando
perdidos floten sin islotes ni derroteros!...
¡Mas oye, oh corazón, cantar los marineros!

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About Stéphane Mallarmé

Stéphane Mallarmé (March 18 1842 – September 9 1898), born Étienne Mallarmé, was a poet and critic. He was a major French symbolist poet, and his work anticipated and inspired several revolutionary artistic schools of the early 20th century, such as Dadaism, Surrealism, and Futurism.

Biography information from Wikiquote

Also Known As

Alternative Names: Stephane Mallarme Steph. Mallarme Etienne Mallarmé Etienne Mallarme Mallarmé Étienne Mallarmé
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The flesh is sad, alas, and I have read all the books.

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The writer must make himself, in the text, the spiritual actor either of his sufferings, those dragons he has nurtured, or of some happiness. Floor, lamp, clouding of cloths and melting of mirrors, real even down to the exaggerated jerking of our gauzy form around the virile stature stopped upon one foot; a Place comes forth, a stage, the public enhancement of the spectacle of Self; there, through the mediation of light, flesh, and laughter, the sacrifice of personality made by the inspirer is complete; or else in some foreign resurrection, he is finished: his word from then on, reverberating and useless, is exhaled by the orchestral chimera.

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