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This book challenges and replaces the existing view of Mallarmé's mission to 're-possess' music on behalf of poetic language. Professor Heath Lees shows that Mallarmé's early knowledge and experience of music was much greater than commentators have realised, and that the French poet actually began his writing career with the explicit aim of making music's performance-language of 'effect' the ground of his poetic expression. Integral to the argument is Mallarmé's reaction to the work and ideas of Richard Wagner. Using a measure of musically informed commentary, Professor Lees throws new light on many of Mallarmé's best-known texts, hitherto judged 'difficult' by those who have failed to appreciate the extent of the poet's heroic descent through the surface of words in search of 'la Musique'.
Heath Lees, originally from Scotland, is Professor of Music at the University of Auckland, New Zealand. Academic, writer, composer and broadcaster, Heath has published widely on the interface between music and words, especially in the works of Beckett and Joyce. His love of all things French is complemented by a passion for the work of Richard Wagner. He is President of the Wagner Society of New Zealand, which he and his wife founded in 1994, now one of the world's larger Wagner Societies. His fascination for the Symbolists came when he read his first Mallarmé poems and felt, he says, as though he were listening to music.
Contents: Introduction; Divergences and convergences; Music and Mallarmé's generation; Wagner and France; Mallarmé's Wagnériste influences: Baudelaire, Catulle Mendès, Villiers de l'Isle-Adam; The attempt to repossess music: 1860-1865; The attempt to repossess music: 1865-1869; Other musicalized poems of the Hérodiade years; Homage to Wagner and the way ahead; Bibliography; Index.
