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" "It seems to me that there should be only allusions. The contemplation of objects, the volatile image of the dreams they evoke, these make the song: the Parnassians [the classicist movement of Leconte de Lisle, Heredia, etc.] who make a complete demonstration of the object thereby lack mystery; they deprive the [reader's] mind of that delicious joy of imagining that it creates. To name the thing means forsaking three quarters of a poem's enjoyment-which is derived from unraveling it gradually, by happy guesswork: to suggest the thing creates the dream. Symbols are formed when this secret is used to perfection: to evoke little by little, the image of an object in order to demonstrate a mood; or, conversely, to choose an object and to extract from it a mood, by a series of decipherings.)
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
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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.