Classic and Contemporary Poetry: Explained

Stephane Mallarme's "Saint" is a poem steeped in nuances, where the traditional meets the modern, and the auditory meets the visual. Set against the backdrop of a religious atmosphere, the poem delves into the intricacies of silence, music, and devotion. It revolves around the image of a saint standing at a window, where objects of musical and religious significance are displayed.

The first stanza introduces us to "the ancient sandalwood gold-flaking," associated with the viol. The viol, a predecessor to the modern violin, serves as a symbol of art and beauty. It is an object that has transcended its time, representing both the richness of the past and the fading that accompanies antiquity. Sandalwood is a precious material often associated with the divine and the exotic. This stanza links music with an almost mystical, historical context, implying a ritualistic or devotional role for art.

The second stanza introduces "the ancient missal page unfolding / At the Magnificat outpouring." The missal represents religious liturgy, and the Magnificat is a song of praise from the Bible. This juxtaposition of the musical instrument with the religious text suggests an alignment or equivalence between artistic and spiritual devotion. Just like the viol, the missal is also described as "ancient," reinforcing the theme of timelessness and the enduring power of both art and faith.

The third stanza brings in the celestial element with "that monstrance glazing lightly / Brushed now by a harp the Angel / Fashioned in his evening flight." Monstrance refers to the vessel used in Roman Catholic, Old Catholic, and Anglican liturgies for the more convenient exhibition of some object of piety. Here, it seems to be touched lightly by an angel's harp, bridging the divine and earthly realms. This evokes the ethereal aspect of both music and devotion.

In the final stanza, we find that the saint "lacking the ancient missal / Or ancient sandalwood, she poises / On the instrumental plumage, / Musician of silences." This closing note is especially poignant. It suggests that even without the traditional symbols of art and religion, the saint becomes a "Musician of silences." It is in this silence that the saint finds her own form of devotion and music, as if suggesting that spirituality and art can transcend traditional forms and find expression in the ineffable.

Mallarmé's "Saint" is an intricate tapestry of historical, musical, and religious elements, woven together to explore themes of devotion, art, and the power of silence. It pays tribute to both the traditional and the transcendent, subtly redefining the boundaries of each.

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