…Mysticis umbraculis

Stéphane Mallarmé

She slept: her finger trembled, amethyst-less
And naked, under her nightdress:
After a deep sigh, ceased, cambric raised to her waist. 

And her belly seemed of snow on which might rest,
If a ray of light re-gilded the forest,
A bright goldfinch’s mossy nest.

Sonnet 

(Méry, sans trop d’aurore…)
 

Méry,
Without dawn too grossly now inflaming
The rose, that splendid, natural and weary
Sheds even her heavy veil of perfumes to hear
Beneath the flesh the diamond weeping,
 

Yes, without those dewy crises! And gently,
Unbroken when the sky fills with storm,
Jealous to add who knows what spaces
To simple day the day so true in feeling,
 

Does it not seem, Méry, that each year,
Where spontaneous grace relights your brow,
Suffices, in so many aspects and for me,

Like a lone fan with which a room’s surprised,
To refresh with as little pain as is needed here
All our inborn and unvarying friendship.

Autumn Plaint
 
Since Maria left me to go to another star - which one, Orion, Altair - or you green Venus? - I have always loved solitude. How many long days I have passed alone with my cat. By alone I mean without a material being, and my cat is a mystic companion, a spirit. I can say then that I have passed long days alone with my cat and alone with one of the last authors of the Roman decadence; for since the white creature is no more I have loved, uniquely and strangely, everything summed up in the word: fall. So, in the year, my favourite season is the last slow part of summer that just precedes autumn, and, in the day, the hour when I walk is when the sun hesitates before vanishing, with rays of yellow bronze over the grey walls, and rays of red copper over the tiles. Literature, also, from which my spirit asks voluptuousness, that will be the agonised poetry of Rome’s last moments, so long as it does not breathe a breath of the reinvigorated stance of the Barbarians or stammer in childish Latin like Christian prose. I was reading then one of those dear poems (whose flakes of rouge have more charm for me than young flesh), and dipping a hand into the pure animal fur, when a street organ sounded languishingly and sadly under my window. It was playing in the great alley of poplars whose leaves, even in spring, seem mournful to me since Maria passed by them, on her last journey, lying among candles. The instrument of sadnesses, yes, certainly: the piano flashes, the violin gives off light from its torn fibres, but the street organ in memory’s half-light made me dream despairingly. Now it murmured a delightfully common song that filled the faubourgs with joy, an old, banal tune: why did its words pierce my soul and make me cry, like any romantic ballad? I savoured it slowly and did not throw a coin through the window for fear of troubling my spirit and discovering that not only the instrument was playing.
 

Sea Breeze
 
The flesh is sad, alas! – and I’ve read all the books.
Let’s go! Far off. Let’s go! I sense
That the birds, intoxicated, fly
Deep into unknown spume and sky!
Nothing – not even old gardens mirrored by eyes –
Can restrain this heart that drenches itself in the sea,
O nights, or the abandoned light of my lamp,
On the void of paper, that whiteness defends,
No, not even the young woman feeding her child.
I shall go! Steamer, straining at your ropes
Lift your anchor towards an exotic rawness!
A Boredom, made desolate by cruel hope
Still believes in the last goodbye of handkerchiefs!
And perhaps the masts, inviting lightning,
Are those the gale bends over shipwrecks,
Lost, without masts, without masts, no fertile islands...
But, oh my heart, listen to the sailors’ chant!