Hearing Debussy Reading Mallarmk

Code, D.J.
(2001) Hearing Debussy reading Mallarmé: music "après

Wagner" in the "Prélude à l'après-midi d'un faune". Journal of the
American Musicological Society, 54 (3). pp. 493-554. ISSN 0003-0139
http://eprints.gla.ac.uk/49460
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Hearing Debussy Reading Mallarmk:
Music apr2s Wagner in the Prklude a
l'apr2s-midi d'un faune
DAVID J. CODE
iven that Mallarme's poetry and Debussy's music, both famously elu-
G sive in their own right, have also by now become thoroughly en-
tangled in critical tropes, any attempt at an appropriately allusive
presentation will hely only obscure my principal argument. It will thus be
best if I begin by stating bluntly that I am not just offering one more reading
of Debussy's Prtlude a 1'aprJs-midi d'un faune as a piece whose musical lan-
guage is vaguely indebted to the h p s t i c flavor of Mallarmt's L'Aprks-midi
d'un faune or to the general tendencies of literary symbolism. In this article,
I show for the first time that Debussy reads Mdarmt closely and in detail,
achieving a sophisticated compositional equivalent of the aesthetic principles
pursued by the poet and his lyric protagonist, the faun.
For various reasons, the claim is likely to seem absurd. Most problemati-
cally, perhaps, the composer himself seems (in an oft-quoted letter) to have
disclaimed any close reading of Mallarmt in his piece. But while Debussy may
not have been as blatantly mendacious as Stravinsky, he was notoriously flip-
pant and sarcastic. His airy disavowal about his P~tludehas only been taken
as sincere because it has been borne out by the difficulty encountered in every
attempt to illuminate his compositional response to Mallarmt. I will, in my
discussion, revisit the famous denial to suggest how it might read differently if
the primary authority is located in Debussy's music rather than his words.
Still, while distrust of the composer's own statements must be recognized
as healthy, I imagine a more objectionable arrogance could be seen in my
claim to have discovered some truth about this music that has been over-
looked for more than a century. Perhaps it will help if I make clear that I have
This article originated as a paper presented to the Sixty-fourthAnnual Meeting of the American
Musicological Society, Boston, November 1998.I would like to thank Katherine Bergeron for her
inspired advice throughout the development of the main ideas, Tamara Fvitz for her carell
reading of earlier drafts, and my anonymous readers for their many valuable suggestions. The ar-
ticle was completed with the support of a MeUon Postdoctoral Fellowship at Stanford University:
my thanks to the MeUon Foundation for this support, and to the members of the Stanford music
faculty for their hospitality.
[ Jouml of tbc Amnican Musicologial Sociery 2001, vol. 54, no. 31

O 2001 by the American MusicologicalSociety. All rights reserved. 0003-0139/01/5403-0002$2200
494 Journalof the American Musicological Society
no interest in arguing, foolishly, that all previous writers, in missing some cen-
tral facts about the piece, have contributed nothing to its interpretation. But
the fact is that most critics, taking Debussy at his word, have not even at-
tempted to relate Mallarmt's text closely to the details of the P~klude.For ex-
ample, W&am Austin, whose Norton Critical Score-the essential reference
work on the piece-still richly rewards rereading, largely treats the poem and
the P~kludeseparately, saving his few, general comments on their possible
relationship until the last paragraph of his analysis.' For another example,
Laurence Berman, in an article of considerable literary insight, ultimately con-
cludes that Debussy's compositional style in the P~kludefalls short of the true
Mallarmean complexity reahzed only years later in the ballet J e ~ xMany .~
other writers, in suggesting general aesthetic affinities between the two works,
have indicated a few musical fragments (such as the famous opening flute
solo) as responses to the faun's words, but have steered clear of any proposals
of close correspondence over large spans.3
In the one si&cant exception to this rule, Arthur Wenk has tried to show
a closer correspondence between poem and P~kludebased on the congru-
ences he sees between their sectional structures. While Wenk does suggest a
few detaded h k s , he acknowledges the looseness of his parallel: "In asserting a
structural similarity between poem and P~Lludewe are mainly concerned with
relationships within the two works, not between them."4 In my view, Wenk's
willingness to overlook the clearest sectional articulations in Mallarmt's text
(which are marked throughout by blank spaces after strong points of gram-
1. W&am Austin, ed., Claude Debzrssy: Prelude to '%e Afemoon of a Faun,"Norton Critical
Score (New York: Norton, 1970). See pages 95-96 for some possible relationships between poem
and tone poem.
2. "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," 19th-Century
Music 3 (1980):225-38.
3. For the other major prior discussions of the piece, some with more poetic suggestions than
others, see Jean-PierreBarricelli, Melopoiesist Approaches to the Study of Literature and Mwic (New
York: New York University Press, 1988),235-48; Leonard Bernstein, 7he Unanswered eestion
(Cambridge: Harvard University Press, 19761,238-59; Matthew Brown, "Tonality and Form in
Debussy's Prblude a l'apris-midi d'un faune," Music 7heory Spectrum 15 (1993): 127-43; David
Cox, Debwsy's Orchestral Music (London: BBC, 1974), 9-18; John Crony, "Symbolist Influences
in Debussy's 'Prelude to the Afternoon of a Faun,' " In 7heory Only 6, no. 2 (1982): 17-30;
Christian Goubault, Claude Debuq (Paris: Champion, 1986), 136-40; Peter Giilke, "Musik aus
dem Bannkreis einer literarischen hthetik: Debussys 'Prtlude a I'Aprts-Midi d'un Faune,' "
Jahbuch Peters 7 (1978): 1 0 3 4 6 ; David Michael Hertz, 7he Tunin8 of the Word: The Musico-
Literary Poetics of the Symbolin Mwement (Carbondale and Edwardsville: Southern Illinois Uni-
versity Press, 1987), 56-84; Roy Howat, Debuq in Proportion: A Musical Analysis (Cambridge:
Cambridge University Press, 1983), 149-53; Albert Jakobik, Claude Debuq oder der lautlose
Rmolution in der Musik (Wiirzburg: Konrad Triltsch, 1977), 30-44; and Richard Parks, 7he
Muszc of Claude Debussy (New York: Schirmer, 19791, esp. 36-38, 224-25, 240-43, and
263-67. In "Tonality and Form," Brown lists several more brief discussions of the piece in the
context of more general music-theoretical works.
4. Claude Debuq and the Poets (Berkeley and Los Angeles: University of California Press,
1976), 148-70, at 167.
Hearing Debussy Reading Mallarm6 495
matical closure) undermines even the loose formal parallels he suggests. But
even in raising this single objection to h s interpretation, I touch on a h d a -
mental problem. Poetic interpretation has always been highly subjective. And
any claim of greater accuracy in any one reading will seem hopelessly naive in
the light of the literary theory of recent decades, with its endless elaborations
on the radical indeterminacy of all texts.
The naivett may appear all the more striking when the poetry in question is
by Mallarmt, a central model for twentieth-century French literary theory
from Valtry, Poulet, and Blanchot through Barthes, Kristeva, de Man, and
Derrida. Indeed, Derrida, for one, stands directly in the path of my own argu-
ment. I find, through formal analysis, that the faun poem enacts a focused
assault on the dichotomy between speech and writing. Derrida's celebrated de-
construction of this very dichotomy in La Dzssdminatzon was, in sigmficant
part, elaborated through a reading of Mallarmt.5 Not only will any claim to
have discovered some neglected facts about the faun poem fly in the face of
all assertions (Derridean or otherwise) about the uncontrollable diffusion of
meaning in Mallarmt's writing, but the principal terms of my analysis will
surely seem outdated given the pressure to which they have long since been
subjected by deconstructive theory.
Without pretending that such literary-critical objections can be dismissed
out of hand, I think it is pertinent to note that Derrida, who drew his theo-
retical generahties prirnanly from Mallarmt's critical prose, can be said to ex-
emplify a tendency characterized succinctly by Mallarmt scholar Bertrand
Marchal some years ago: "It is too ofien forgotten that Mallarmtan theory
was developed through a poetic pra~tice."~ The formal energies of Mallarmt's
pratique podtique have, in my view, gone underappreciated under every critical
rubric, from the common style-hstorical discussions of symbolist poetry's
essential "mystery" to Derrida's more extravagant 14%on the "logic of the
supplement." Of course no reading of the faun poem for form can secure it
against "dissemination." But it can raise to view the traces of the poetic effort
through which Mallarmt sought to bring focus, "word by word," to the
inevitable promiscuity of language.7 Arguably, to expose such formal
5. See in particular the final t y o sections, "La Double Seance" and "La Didmination," in
Derrida's La Disrimination (Paris: Editions du Seuil, 1972), 199407.
6. "On oublie alors trop souvent que la thtorie mallarmeeme s'est faite au travers d'une pra-
tique poetique" (Lcmre de Mallarmi [Paris: Librairie Jose Corti, 1985],7). (All translations are
my own unless otherwise noted.) In "La Double Seance," Derrida starts i?om the critical essay
"Mirnique" and touches on many of the other important essays as well as the sketches for "Le
Livre"; he eventually refers to some of the poems, but I think in a position of attendance on the
criticism rather than vice versa. "La Dissemination," more concerned with Sollers than with
Mallarme, refers briefly to Un Coup de d h n'abolira le hasard, but more often to "Le Livre."
7. Mallarmt once described the practice of reading as "chance vanquished word by word"
("le hasard vaincu mot part mot"), which I take to reflect back onto the compositional process as
well. See Le Mystre dans fes lettres, in the first Pltiade edition of Mallarme, Oeuvres compktes, ed.
Henri Mondor and G. Jean-Aubry (Paris: Gallimard, 1961), 382-87, at 387. (Hereafter cited as
OC.)
496 Journal of the American Musicological Society
efforts promises more precise historical understanding than to celebrate again

the polysemous richness of his art. As Barthes once put it, "A little formalism
turns one away from History, but . . . a lot brings one back to it."$ Saving a
thorough consideration of formalism and indeterminacy in Mallarmt's poetry
for another time, I can give one irrehtable reason why a deliberately naive
attempt to read hlm before the whole array of twentieth-century literary-
theoretical tropes accumulated around his work is necessary for my present
purposes. Quite simply, that is the only way Debussy could have read him.
For Mallarmt and Debussy, speech, writing, form, expression, and the
tradtional "figures" of literature had not yet been dissolved into the all-
embracing, relativist semiotics that would eventually be developed out of the
work of their contemporary, Saussure? It is only by attuning ourselves again
to the simpler powers once credited to poetic expression that it becomes pos-
sible to reread L'Aprks-midi d'un faune for its formed enactment of a moment
on the cusp of the dissolution of these very powers. Temporarily postponing
the generalizing ambitions of theory, such a reading might aim to discover a
clearer sense of the poem's "modernity" in the "pragmatic" sense de Man
once gave to this elusive term: "the problematical possibility of all literature's
. . . being considered, or read, from a point of view that claims to share with it
its own sense of a temporal present."lO To seek Mallarmt's modernity in this
sense can lead to a more precise understanding of his modernism than is pos-
sible within any anachronistic appropriation of him as an avatar of poststruc-
turalism. Similarly, Debussy's reading of Mallarmt to write what Pierre Boulez
famously celebrated as the "awakening of modern music" can only be under-
stood through an attempt to recover his articulation of a musical present that
preceded the 111 ascendancy of the habits of analysis that were to characterize
the institutionalized study of music for much of the twentieth century."
Although the tradition has never been monolithic, it is safe to say that most
reputable twentieth-century analpcal methods have shared a relatively clear
set of biases, most obviously toward a quasi-scientific treatment of pitch as
the primary-$ not the sole-basis of musical coherence. Most analyses of
the Prdlude, exemplifying this bias, have parsed the piece for its scales or
modes, referential harmonic sonorities, interrelated themes, or some combina-
8. "Myth Today," in Barthes's Mythologes (1957, ed. and hms. Annette Lavers (New York:
W and Wang, 1972), 112. Beyond Barthes's rather flippant claim, my approach is in keeping
with the recent reevaluation of formalism as seen, for one obvious example, in the March 2000
special issue of Modern Language @arterly, "Reading for Form."
9. Saussure's Cours de linguim'quege'nkrafewas published posthumously in 1916; his "dCbutn
as a systematic linguist, the Me'moire sur le 4st2me primitif des voyelles dans les langues indo-
europknnes, appeared around the same time as the faun poem, in 1878.
10. "Lyric and Modernity," in his Blindnea and Inn;qht: h a y s in the Rhetoric of Contempo-
rary Criticism, 2d rev. ed. (Minneapolis: University of Minnesota Press, 1983), 166.
11. Boulez included this famous claim in a 1958 encyclopedia article on Debussy: "La
Musique modeme s'beille A L'Ap2s-midi d'un faune" (reprinted in Boulez, R e b e s d'apprenti,
ed. Jean-Jacques Namez and Sophie Galaise [Paris: Editions du Seuil, 19951,203-21, here 211;
Austin includes a translation of the last paragraph in his Norton Critical Score, 160-61).
tion of all of these. Needless to say, such an approach has occasionally proven
fivitll and will continue to offer important insights. But the possibility that
Debussy's response to Mallarmt's textual forms might be articulated most
strongly in a different musical dimension has never been carellly explored.
And it is only by shifting analytical attention to Debussy's formal manipulation
of timbre that we can begin to discern the essential outlines of his reading of
L'Aprds-midi d'un faune. That is, to expose the interplay between the timbral
outlines of the Prdlude and its underlying syntax is to discover in Debussy's
music a finely formed equivalent to Mallarmt's composed conflict between
vocal expression and written artifice. Ultimately, by readmg this formed ten-
sion against contemporaneous considerations of both pitch and timbre, we
begin to restore the piece to its own moment of modernity, on the cusp of
twentieth-century modernism.
The close readings themselves are of primary importance in this pursuit of
a proto-modernist present, so I include considerable detail in my analyses. I
mostly discuss the poetry and music in their own Linear order, but it is worth
bearing in mind that I began fiom the dscovery, through two initially inde-
pendent analyses, of the principal "nodes" of contact, and only later read out-
ward to find h t h e r connections. I think the ancillary suggestions support the
argument; even a skeptical reader might grant that a few unconvincing details
need not undermine the credibility of the whole. Finally, my conviction that
Debussy reads Mallarmt closely does not, of course, imply a totalizing claim
about every note of the Prdlude: even the most clever translation of literary
principles into music is imperfect by definition. I have concentrated on those
sections of the piece that demonstrate the relationship most clearly. Although
many more passages can, indeed, be ahgned on the basis of the same prin-
ciples, a later inquiry could hididly aim to expose, against the basic profile of
the reading, the points of aporia or mimanslation. Even in this more complex
understanding, the interaction of musical and literary principles in this histori-
cally self-conscious orchestral response to poetry should continue to shed
valuable light "fiom behind" (to borrow a metaphor fiom Debussy) on the
abstractions of modern music theory, before which it is apprehensively
poised.12
Setting the Scenes
Speaking and reading Mallarm6

Another look at the troubled history of the faun poem can set the stage for an
analysis of its forms. Mallarmt first conceived his faun project in 1865 as a
verse drama on the model of Thtodore de Banville's Diane a u boi6 performed
12. In a 1912 letter, Debussy praised Parsayal for its orchestral color "qui semble eclairee par
derrieren ("which seems lit fkom behind") (Claude Debussy, Cowespondance, 1884-1918, ed.
Franqois Lesure [Paris: Hermann, 1993],3 11).
at the Thtitre de I'OdCon in 1863.13In adapting some details fiom Banville's

scenario, and attempting a similar work of his own, he seemed to have sensed
an irresolvable conflict between his dreams of spoken drama and his poetic
ideals. In a letter to his friend Henri Cazalis, he wrote:
I am rhyming an intermide hiroi'que, which has a faun for a hero. This poem
encloses a very high and beautiful idea, but the verses are terribly difficult to
make, because I am making it absolutely scenic, not possible for the theater, but
demanding the theater. Even so, I want to conserve all of the poetry of my lyric
works, even my verse, which I am adapting to the drama.14
The language oscillates obsessively between what seem like contradictory de-
mands: the verses are "terribly dficult to make" because they must "demand
the theatern-but Mallarmt wants to "conserve . . . even [the] verse" of his
lyric poetry, which (back again) he is "adapting to the drama." The initial at-
tempt to resolve this tension was unsuccessll, for the work was r e h e d by
Banvllle and the actor Constant Coquelin for presentation at the Thtitre
Fran~ais.After putting it aside for much of a decade, Mallarme took it up
again in the early 1870s and revised one of the faun's original monologues
into the Improvisation d'un faune of 1875. When this version was rejected for
publication by Le Parnasse contemporain, he revised the text again before pub-
lishing it independently as L'Apris-midi d'un faune in 1876, in a privately
funded luxury edition.
The changes in the faun text fiom 1865 to 1876 have often served to illus-
trate a breakthrough in Mallarmt's style &om the epigonic works of the 1860s
to a recognizably mature symbolism.15 But such retrospective teleology gves
13. The most important study of the history is Henri Mondor, Histoire d'un faune (Paris:
Gallimard, 1948). Many of the key details are included in the notes to the poem in the OC,
1448-66.
14. "Je rime un intermede heroi'que, dont le heros est un faune. Ce poeme renferme une tres
haute et belle idee. mais les vers sont terriblement difficiles A faire., car ,ie le fais absolument
scknique, non posn'bb au tbtdtve, mais exheant le tbtatve. Et cependant je veux conserver toute la
potsie de mes oeuvres lyriques, mon vers mCme, que j'adapte au drame" (OC, 1449).
15. All three versions have been available to critics since Mondor's pioneering study; all are
printed in the OC. The new edition of the PlCiade Oeuvres compkkes (ed. Bertrand Marchal [Paris:
Gallimard, 1998]), less expansive in the notes, includes a transcription of the first "Intermede" as
well as the subsequent editions of the poem. (This edition is cited hereafter as OC2.) So far, the
earlier versions have largely served to clarify the more confusing language of the last. Valuable pre-
vious readings include Mondor, Hzjtoire d'un faune; Lloyd J. Austin, "L'Apr2s-midi d'un faune
de StCphane Mailarmt: Lexique comparee des trois etats du poeme," in h a i s sur Mallarmi, by
Lloyd Austin, ed. Malcolm Bowie (Manchester: Manchester University Press, 1995), 175-81;
Robert Greer Cohn, Toward the Poem of Mallarmk, rev. ed. (Berkeley and Los Angeles: Univer-
sity of California Press, 1980), 13-32; Gardner Davies, Mallavmt et la "CoucbesuDante d'intelli-
gibiliti" (Paris: Librairie Jose Corti, 1988), 41-137; Wallace Fowlie, Mallarmi (Chicago:
University of Chicago Press, 1953), 148-67; ~rmlieNoulet, L'Oeuvre poitigue de Stipbane
Mallarmt (Paris: Librairie E. Droz, 1940), 220-47; and Roger Pearson, Unfolding Mallarmi:
The Development of a Poetic Art ( O h r d : Clarendon Press, 1996), 108-15. Pearson's account has
Hearing Debussy Reading Mallarmt 499
a slanted account of the long travail de mallarmtisation undergone by this

text.16 The usual emphasis on Mallarmt's progressive "dematerialization" of
the faun's language toward a style that aims to "suggest" rather than "de-
scribe," that is, has made it all but impossible to recognize that his travail re-
sulted not only in an attenuation of the poem's surface processes, but also in a
tightening of its formal precision.17 Through the fine-tuning of symmetries,
propomonal patterns, and interrelated details of language, Mallarmt drew his
text into focus, "word by word," around a crux between the two conflicting
properties of poetry-written verse and spoken drama-that he failed to re-
solve in the 1865 "intermkde." In other words, the final version, more sug-
gestive in local detail, also became more precise in its articulation of the
tension between speech and writing that was to recur throughout Mallarmt's
criticism under the interrelated figures of the theater and the book.18
MallarmC signals the published poem's deliberate cohontation with the-
atrical ambitions by designating a dramatic speaker, LE FAUNE, between the
subtitle ( ~ ~ l ~ ~and
u uthe
e )first verse.19 The divided body of thls "character,"
an obvious symbol of the mind-body duality he experiences in his pursuit of
two elusive nymphs, can suggest more interesting possibilities if it is seen as a
summons to the reader to take the role of the faun and thus to experience-to
enact-the linguistic tension that motivates the poem. The faun's lower body,
symbol of his sexual desire, can also be seen as a metaphor for the motivating
concern of the entire form: the desire for presence in and contact with a world
of spaces and bodies through sensuous, sonorous verbal address. On the other
hand, the faun's human upper body, perhaps most directly symbolic of the
the most in common with my own, though his sense of the form is less precise and his conclusions
are si@cantly different.
16. I borrow this phrase &om Gkrard Genette, Palimpsestes (Paris: h t i o n s du Seuil, 1981),
261.
17. The emphasis on "suggestion" has become a central trope in the literature on symbolism;
it recurs often in Mallarme's criticism. See, for example, the interview with Jules Heret of 1891,
Sur l'holution litthaire: "Les Pamassiens, eux, prennent la chose entitrement et la montrent: par
la ils manquent de mystkre; ils retirent aux esprits cette joie dklicieuse de croire qu'ils creent.
Nommer un object, c'est supprimer les trois quarts de la jouissance du @me qui est h t e de
deviner peu a peu: le s u ~ t r e rvoila
, le rtve" ( OC, 869).
18. Mallarme's central writings on these themes, which recur throughout his criticism, were
gathered in Divagations under the headings Crayonnt au Zhkdlitve and @ant au Livre; see OC,
293-354 and 369-87. Their last confi-ontation can be seen in the notebook sketches edited by
Jacques Schkrer as Ii '2.ivre''de Mallarmk, rev. ed. (Paris: Gallimard, 1977).For a fine treatment
of MallarmC's theoretical obsessions, see Mary Lewis Shaw, Performance in the Texts of Mallarmb:
Zhe Panageporn Art to Ritual (University Park: The Pennsylvania State University Press, 1993).
19. Of course, both the Monolo~ueand the Improoisation are also written as language spoken
by this character. While the Monolo~uebegins by idennfjmg "UN FAUNE," in capitals in the
stage directions, such an explicit "dramatic" presentation is absent &om the Improvisatim. This
indecision, perhaps, gives further evidence of the poet's continuing negotiations between verse
and drama.
mental processes that intervene between desire and its complete, animal satis-
faction, can represent, in the divided experience of reading, the visual and
mental access to language as written text. To follow Mallarme's language
with-as-his dramatic character is to be led to experience, at the crux of the
text, a singular moment of irresolvable conflict between speech and writing.
The double aesthetic implication of the faun's body is literally written into
the text through an aspect of typographical presentation that is new to the
1876 version. Mallarmt prints the majority of the verses in roman type, but
several passages are given in italics and quotation marks. The italicized pas-
sages, often seen as oblique, narrative "tellings" within the more direct dis-
course in roman type, are carehlly deployed to highlight the internal,
symmetrical, and proportional relationships of the entire text.20More subtly,
however, they encode in the printed text itself an acknowledgment of the
illusory promise of vocal presence in written words. For by giving every
"telling" in both itahcs and quotes, Mallarmt has fixed in print a typographical
excess that puts the implied differentiation between "types of speech" beyond
the reach of the voice.2' As dramatic speakers, we can mark a typographlcal
distinction with a change of vocal inflection. But there is no way to register in
vocal sound the fact that in thls poem the distinctions are consistently marked
by a double typographical change, and not a single one (quotation marks
alone) or even a more multiple one (imagine, in addition to quotes and italics,
red mk, a larger font, a distinctive position on the page).22 Through a surfeit of
visual information, Mallarm6 ensures that the encounter with the printed
poem d be shadowed with the knowledge that the speaker cannot speak the
poem's complete written message.
Pastoral pasts
With a further addition to the final version-the subtitle, ~glogue-~allarmt
places his faun poem in the lineage of Virgd's Eclogues, giving a classical pedi-
gree to his struggles with the c o f i c t between verse and drama. The mono-
logues, dialogues, or singing contests of all ten Eclogues were assigned to
named, quasi-dramatic speakers. This "dramatic" textual presentation reflects
Virgd's own adaptation of the Idylls of the Sicilian poet Theocritus, long cele-
20. I derive the word "telling" fiom the faun's imperative "CONTEZ" ("TELL") in capitals
just prior to the first typography change.
21. Shaw, who offers a brief reading of the faun poem, makes the most of any critic out of
the typographlcal distinctions. Noting that the italicized sections are not sigmticantly different in
linguistic character fiom those in roman type, she suggests that the faun has an "inability . . . to
distinguish clearly between . . . dramatic (direct) and narrative (indirect) discourse" (Perfmmance
in the Texts of Mallarm;, 149). This vagueness of linguistic distinction might be said to place the
formal role of the typography changes in stronger relief.
22. Mallarme did use different colors in the Monologue: black ink for the faun's words, red
pencil for the stage directions.
brated as the wellspring of the Western pastoral traditi0n.~3Classical pastoral

offered lyric poems as miniature plays; Mallarmk, replacing the classical shep-
herds with a divided speaker who symbolizes the reader's divided experience
of the text, brings into focus-materiahzes-the confl~ctbetween reading and
speaking that the hybrid presentation of classical pastoral implies.
Most views of the pastoral tradition recognize a shift from prelapsarian
Theocritean utterance in the Idylls to a more studied literary sensibility in
Virgtl. As Sainte-Beuve put it in 1855: Virgtl must be recognized as the first
modern, for whde the beauty of his pastorals may show that he "loves the
countryside," their refined response to a literary model also shows that he
"loves books."24 The Mallarmtan resonances of such a figural history are obvi-
ous, and the attempt to read the faun poem back into its own historical
context-and to r e c o p z e some details of Debussy's readmg-benefits from
the awareness that it composes the loss of prelapsarian voice through a layer-
ing of classical references. But a more farmliar classical convention, the trope of
pastoral piping, is of more embracing interest as regards Mallarmk's lessons for
Debussy. By portraying the faun as a musician, Mallarmt adds to the poem's
hndarnental concerns another of his principal aesthetic obsessions.25 Even a
superficial glance through his critical essays suffices to establish that h s ideas
on music (as on so many matters) are irresolvably contradictory.26 But it
23. For the tradition and conventions of Vighan pastoral, including the deep debt of the
Eclogues to Theocritus, see two studies by Paul Alpersi ?Re Singer of the ~ c l o ~ uA~ sStudy : of
Vigiltan Pastoral (Berkeley and Los Angeles: University of California Press, 1979) and What is
Pastoral? (Chicago: University of Chlcago Press, 1996). The Virghan background to the faun
poem has often been noted in passing; other extensive considerations of its pastoral mode, with
different emphases than mine, can be found in the chapter "L'Heure du Berger: Mallarmt's
Grand Eclogue," in Renato Poggioli, The Oaten Flute: &ays on Pastoral Poetry and the Pastoral
Ideal (Cambridge: Harvard University Press, 1975), 283-311; and Stephen F. Walker,
"Mdarmt's Symbolist Eclogue: The 'Faune' as Pastoral," PMLA93 (1978): 106-17.
24. "En m&metemps que Virgde aime directement la nature et les paysages . . . il aime les
livres; il tient de son tducation premitre une admiration passionnee des anciens auteurs et des
grand5 poetes: trait distinctif de ces poetes cultivks et studieux du second bge" (Charles-Augustin
Sainte-Beuve, ~ t u d seur figile [Paris: Garnier Freres, 18571, 106). Sainte-Beuve's emphasis on
Vigd's "modernity" (often repeated in the ~ t u d ecould ) be one of the first instances of a com-
mon trope: Alpers quotes Reuben Brower to the effect that "only a French critic, unhampered by
Enghsh Romantic prejudices, could have seen in 1857 that Vigil, more than any single writer,
was the inventor of modern literature as distinct &om Greek or the older Roman" (Alpers, The
Singer of the Eclo~ues,248; from Brower, Hero and Saint: Shakespeare and the Graeco-Latin
Tradition [Oxford: Clarendon Press, 19711: 84). See also "Pastoral Convention," in Alpers,
What is Pastoral?79-1 34.
25. The topic of music recurs throughout Mdarmt's criticism; for the most important single
treatment of the subject, see La Musigue et leslettres, OC, 6 3 5 4 0 .
26. Shaw thoroughly demonstrates the contradictions; see her Performance in the Texts of
Mallarmt!, esp. 29-49. Suzanne Bernard's Mallarmt et la mun'que (Paris: Librairie Nizet, 1959)
is also still of some value, but largely takes a somewhat one-sided view of Mallarme's idealization
of music.
remains possible to be more precise about the role assigned to music in the
singular, structured environment of any given poem.
Music could be said to play three distinct roles in L'Aprds-midi d'un fame,
all of whlch serve the primary confi-ontation with the conflict between voice
and writing. First, the simplest meaning of poetic "music," the sounds of vow-
els and consonants as composed for the mouth and ear, is, of course, impor-
tant throughout h s text, as it is in the whole oeuvre. But more specifically,
sonorous music plays a central role in conveying this poem's focus on the lyric
W e the form-defining moments of lyric utterance are marked most
clearly in the faun's speech by hallowed grammatical signs-the "I/You" ad-
dress; the "0"of apostrophe-this grammatical level of lyric voice is served,
intensified, and even fimdarnentally facilitated by the poem's "orchestration"
of spoken sound.
The explicit references in the text to the faun's flute present a second level
of "music," thematic rather than substantive. As often noted, this portrayal of
the faun as a desirous musician draws on Ovid's myth of Pan and Syrinx: Pan
chased the nymph Syrinx to the river's edge, where the water nymphs helped
her to "escape" by turning her into a stand of reeds, which Pan then cut to
make the pipes on which he played to compensate for his thwarted desire.
This mythological background easily blends with the Virgilian aspects of
Mallarmt's ~ ~ h ~for u Virgd's
e , shepherds often take up their pipes in com-
pensation for lost love, and they also often invoke Pan. But the faun poem dif-
fers significantly &om both classical prototypes. After explicitly identtfylng
hlrnself as a pastoral piper three times in the first half of the poem (all in pas-
sages that admit to his inability to secure sensuous contact with the nymphs),
in a fourth and final reference to the flute-the only time that he names it as
"Syrinx"-the faun launches the second half of the poem by castin8 it aside.
Thus, he begins as a pastoral performer, only to reject music's supposed
compensations for thwarted desire, along with the Virghan trope by which
pastoral music-making-"tuning woodland musings on a delicate reed"-
becomes metaphorical for the art of poetry.28As he makes clear after rejecting
the flute-"Me, proud of my noise, I am going to speak" [line 54; my
emphasis]-he does not want to pipe on a "Synnx" in memory of hls loves, he
wants to contact them dxectly with the lyric voice.
27. The notion of "lyric" has, of course, been subject to endless debate. For some sense of
recent trends, see Mark Jefieys, "Ideologies of Lyric: A Problem of Genre in Contemporary
Anglophone Poetics," PMLA 110 (1995): 196205. Also, see again de Man, "Lyric and Mod-
ernity"; and W. R Johnson, The Idea of Lyric: Lyric Modes in Ancient and Modern Poetry
(Berkeley and Los Angeles: University of Cahfornia Press, 1982).
28. The First Eclogue begins with the words of Meliboeus: "You, Tityrus, under the spread-
ing,sheltering beech, / Tune woodland musings on a delicate reed; / We flee our country's bor-
ders, our sweet fields, /Abandon home; you, lazing in the shade, / make woods resound with
lovely Amaryllis" (trans. Alpers, from The Singer of the Eclogues, 11). The reading of such flute
playing as Virghan self-representation is a commonplace (as in the title of Poggioli's book, irKe
Oaten Flute);see the chapter "Representative Shepherds" in Alpers, What is Panoral? 137-84.
In a third "musical" dimension of his text, Mallarmk sigdicantly reinforces

his exposure, at the thematic level, of the false promises of musical perfor-
mance. The faun's recurring expressions of h t r a t i o n with pastoral piping ac-
tually unfold, formally, as an elegant literary adaptation of a fugue. One of
Paul Valkry's few specfic comments on L'Aprks-midi dJunfaune h t s at this
formal conceit with surprising accuracy:
The poem became [through revision] a sort of literary fugue, in which the
themes interweave with prodigious artistry; every resource of poetics is em-
ployed to sustain a triple development of images and ideas. An extreme sensual-
ity, an extreme intellectuality, an extreme musicality, combine, intermingle, or
oppose each other in this extraordinary work.29
Given that Valtry singles out exactly the themes that are most important to
the poem's fugal construction-the two aspects of language symbolized by
the faun's divided body, intellectualitd and sensualitd, and the pastoral musi-
calitd that he rejects in his desire for speech-it is quite possible that he had re-
ceived, during his many conversations with Mallarmk, some secret knowledge
about thls poem's form. But his somewhat oblique description is deceptive in
one important way. The poem includes, as the formal substrate of its treatment
of the theme of music, a "fugue" articulated most clearly by what I wdl call,
somewhat more simply than Valkry, a recurring contrast between seeing and
feeling. But after the faun lscards his "Syrinx," musical form gives way to a
more irreducibly literary form for the climactic progression through the
second half.
By contrast with the first half of the poem, which deploys the typical &gal
proportions of augmentation and diminution, the second proceeds as a series
of nested or interleaved pairs of passages in precise, one-to-one symmetries,
h@ghted by the poem's most extensive use of the contrasting typefaces and
articulated by a careful deployment of blank spaces. Taking the lead from
Mallarmt, who once referred to such blanks as the "intellectual armature" of
a poem, "just as beautdid to compose as the verses themselves," I read this
structure as a cleverly composed virtual foliation, as in a book or pamphlet.30
29. "Le p d m e est devenu une sorte dejiguelitteraire,

. - oh des themes s'entrecroisent avec un
art prodigie&; toutes les ressources de la pdtique s'emploient h soutenir un mple dkvkloppement
- et d'idees. Une extreme sensualitk. une extreme intellectualitt. une extreme musicalite.
d'images
se combinent, s'entremelent ou s'opposent dans cet ouvrage extraordinairen (Valkry, ~ c r i t ds iaers
sur Stbphane Mallarmt [Paris: Gallimard, 1950],86). I came across ValCry's remarks after discem-
ing fugal form in the poem; in considering why such a construction has not been perceived be-
fore, we might take as exemplary Bernard's outright rejection of Valkry's suggestion based on the
a priori assumption that the formal precision implied by a "fugue" would be foreign to
MallarmC's poetic ideals (Bernard, Mallarmi et la musique, 113).
30. In the draft of a letter found among the sketches for "Le Livre," Mallarme writes:
"L'armature intellectuelle du p d m e se dissimule et dent-a lieu-dam I'espace qui isole les stro-
phes et parmi le blanc du papier; significatif silence qu'il n'est pas moins beau de composer que les
vers" (OC2,623).
Its gathering of virtual bifolios centers on the faun's strongest burst of lyric ut-
terance: his most h e c t address and h s most sensuous verbal "music." But the
literary form that gives focus and intensity to the illusion of lyric address at its
crux simultaneously undercuts any belief that such language can provide
union with its objects. In other words, the very typographical distinctions that
draw the symmetrical passages around the climactic speech signal, through
their unreadable excess, the illusory nature of the utterance itself. Having
rejected musical (&gal) form for literary (foliated) form, the faun, and the
reader, must ultimately recognize the writerly artdice that underlies the fleet-
ing claim to voice, and see the pages of this virtual book closing on the unsus-
tainable dreams of vocal presence in printed poetry.
Enter Debussy
It should not be supposed that this poem enfolds a "point of no return" in
Mallarmt's developing modernism, for the devices of Romantic lyricism
would reappear, problematically, throughout his later oeuvre. Moreover, the
faun text itself was to haunt him for the rest of hls Me, through several h t h e r
stages of revision. In 1891, for example, he announced a new edition of the
poem, "revised and corrected by the author," in terms that tesnfy that his
dreams of drama were never relinquished: the edition was to be "pour la lec-
ture et pour la sckne."31 Such an edition "for reading and for the stage" never
appeared in print. Around the same time, Mallarmk came across an ambitious
set of mLlodies, Debussy's Cinq Po2mes de Baudelaire, whch seems to have in-
spired him to consider yet another attempt to dramatize the faun p0em.3~He
invited the composer to participate in a music-dramatic collaboration, whch
was announced as forthcoming as late as 1893 under the title PrLlude, inter-
ludes et paraphrase jnale pour "L'Apr2s-midi d'un faune," but never took the
stage.33 Debussy thus took part, nearly thlrty years after the first rejection of
Mallarmt's "intermkde," in a h t h e r fdure of the poem as theater.
If it seems surprising that Mallarme, after composing a refined refutation of
music's metaphorical promises, should later turn to a composer to aid h s dra-
matic ambitions, it is easy to suppose that one reason had to do with the mete-
oric ascendancy of Wagner. Mallarme had plenty of opportunity to encounter
Wagner's theories after Baudelaire's Tannhauseressay of 1861." In the 1880s
31. OC, 1463.

32. For the story of Mallarme's encounter with Debussy, see Jean-Michel Nectoux, "Debussy
et Mallarme," Cahiers Deb.ttssy 12-13 (198849):54-66; and Franlois Lesure, Claude DeInruy:
Biographie critique (Paris: Klincksieck, 1994), 115-16.
33. The announcement appeared in the original edition of La Damoiselle tlue.
34. Wagner's name appears once in Mallarmk's early essay Hhdsies artin'ques:L'Artpour tow
of 1862, but hardly at all in the correspondencebefore the early 1870s, even though the poet was
close friends with several ardent wagntrzstes, inclulng Catulle Mendks and Judith Gautier.
Beyond what could be gleaned &om Baudelaire, a summary of the Wagnerian aesthetics could
he repeatedly expressed his own ambivalence about the Wagnerian "wedding"

of music and poetry, in several essays and in the famous, refractory 1885 prose
poem "Richard Wagner, Rkverie d'un p d t e franqai~."~~ In light of this oft-
expressed doubt, the attempt to collaborate with Debussy a few years later
seems all the more bizarre. Perhaps their shared failure offered Mallarmt some
confirmation of his inconclusive objections. And perhaps his criticisms of
Wagner's dense orchestration and "arbitrary" leitmotivic system helped
Debussy clanfL his own objections, later stated in similar terms after the pre-
miere of Pelldas.36 But for Debussy, far more important than such rhetorical
posturing about Wagnerian technique were the lessons offered by the poet's
obsession with the material underpinnings of hls craft, and by the historical
self-consciousnesswith which he brought these materials into literary form.
Debussy was well prepared to receive such lessons, for he had previously
composed-r tried to compose-works that brought two of Mallarmk's
most important precursors, Baudelaire and Banville, together with aspects of
Wagner's musical style.37 Much hke Mallarmt, he was unsuccessful in his early
attempt, in 1885, to draw dramatic inspiration from Bandle's Diane a u bois.38
Turning to Baudelaire as a more appropriate literary basis for the attempt to
"make use" of Wagner, he seems, through the two years' work on the Cinq
have been found in the "Lettre sur la musique" (later republished as "Music of the Future") that
appeared in 1860 as the foreword to the prose translations of The Flying Dutchman, Tannhauser,
Lohengin, and Tristan; later, Wagner's "L'Optra et le drame," "Sur la musique demand," "Sur
I'ouverture," and "De la direction de I'orchesue" appeared whole or in extensive excerpts in Guy
de Charnact's anti-Wagneriandiatribe Mwtque et mwtciens (Paris:Pomer de Laloine, 1873).
35. S i d c a n t references to Wagner occur, for example, in "Parenthese" (OC, 322-24)
and "Solennite" (OC, 330-36), both written between December 1886 and May 1887. The
"@verien appeared in the Revue wagnhienne 1, no. 7 (8 August 1885); see OC, 541-48. Shaw
gives a summary sense of the ambivalence in the "Rherie" (Performancein the Txts ofMalhrm6
87-96); see also the more detailed ueatment in Robert Greer Cohn, Mallarmt'r Divagations: A
Guide and Commentary (New York: Peter Lang, 1990), 103-18.
36. For Debussy's famous sniff at Wagner's leitmotivic practice as "une methode un peu
grossitre" and his complaint that Wagner's "developpement syrnphonique" does not suit the ex-
pression of "le conflit moral oh sont engagts les personnages," see "Critique des critiques: Pelkias
et Mklisande," from LL Fharo, 16 May 1902, in Claude Debussy, Monsieur Croche et auwes tcrits,
ed. Franlois Lesure, rev. ed. (Paris: Gallirnard, 1987), 275-77, at 277.
37. In a prose Symphonie littiraire of 1865, Mallarm6 had singled out these two figures,
along with Thtophile Gautier, as his most daundng and inspiring precursors (OC,261-65). For
some suggestions about the possible relationship between L'Aprhs-midi d'un faune and this prose
"symphony," see my dissertation, "A Song Not Purely His Own: Modernism and the Pastoral
Mode in Mallarmt, Debussy and Matisse" (University of California, Berkeley, 1999).
38. In an 1885 letter about his noubles with Diane au boil, Debussy wrote, "Wagner pour-
rait me servir, mais je n'ai pas besoin de vous dire combien il serait ridicule mtme d'essayer, je
ne prendrais que son parti-pris dans I'enchainement des sdnes, puis je voudrais aniver A ce que
I'accent reste lyrique sans 2ue absorbe par I'orchesne" (Debussy, Cowespondance, 38). See James
R Briscoe, " 'To Invent New Forms': Debussy's Diane au bois," Mwical Barterly 74 (1990):
131-69; and Eileen SoufEt-Le Breton, "Debussy lecteur de Banville," Revue de musicologie 46
(1960): 200-222.
Podmes, to have achieved something like a successll exorcism. In 1887, he

could describe Tristan, heard at the Concerts Larnoureux, as "the most beau-
tiful h g I know, &om the point of view of the profundity of the emotion."39
But by 1889, afier hearing T h a n in Bayreuth and completing the Cinq
Poimes, such ardor had cooled: he wrote to his composition teacher, Ernest
Guiraud, of his "chagrin" at his "growing sense of detachment &om [Wag-
ner's music]."*O He was to find in the faun poem a matchless exemplar for the
next step, which was to capture this "detachment" in artistic form.
A note Debussy wrote for the Optra-Comique in 1902, "Pourquoi j'ai
tcrit Pelldas," cleverly encapsulated the challenge he had felt in the early
1890s, as he began his opera: "One could say that [Wagner] had put the final
period after the music of his time, rather as Victor Hugo summed up all the
poetry that had gone before. It was thus necessary to try and be apr2s Wagner
[after Wagner] rather than d'aprds Wagner [an emulator of Wagner]."41
Debussy's choice of a literary parallel, in comparing the Wagnerian "final pe-
riod" with the Hugolian poetic "summation," gives a pointed reminder that
the first labors on Pelkas, ii-om 1893 to 1895, overlapped with the last stage of
work on the faun prelude, his most challenging act of compositional "read-
ing" to that time. A reading of Mallarmt's post-Hugolian ~ j l o ~ uwase an es-
sential step in the development from Debussy d'aprds Wagner in the
Baudelaire songs to Debussy aprds Wagner in Pelkas.
Debussy and Wagner

The debate about the relationship between Debussy's mature musical lan-
guage and that of Wagner's late music dramas has continued since the begin-
ning of his career. Mallarmt's model of a composed tension between lyric
expression and written artifice can suggest a new evaluation, richer than any
fi-uitless weighmg of "derivative" and "origmal" elements or any tired invoca-
tion of "anxiety of influence." In fact, the Mallarmtan dichotomy can already
be glunpsed within the debate about Debussy's Wagnerism.
On the one hand, many critics who argue for an essential continuity be-
tween Wagner and Debussy characteristically base their arguments on an
appeal to heaving. Laurence Berman, for example, hears in the Prilude's "re-
markable consistency and flow" a "formal principle" that remains "genuinely
39. "Premitre acte de Trtjan et Iseut [sic]:c'est dkcidement la plus belle chose que je con-
naisse, au point de vue de la profondeur de I'emotion, cela vous etreint c o m e une caresse, vous
fdit so&; pour tout dire: on passe par les mCmes sensations que Tristan, et cela sans violenter
son esprit ni son coeur" (Debussy, Compondance, 56).
40. "C'est un chagrin pour moi de sentir que je m'en dktache." Quoted in Lesure, Debussy:
Biographie critique, 106.
41. "On peut dire qu'il avait mis le point h a 1 i la musique de son temps i peu prh c o m e
Victor Hugo engloba toute la pdsie anterieure. II fdait donc chercher ap2s Wwner et non
pas d'apis Wagner" ("Pourquoi j'ai kcrit PeUas," in Debussy, Monsieur Croche et autres kcrits,
62-64,63).
Wagnerian in spirit." Thus, he finds the piece "closer to the nineteenth cen-
tury" than the poem, whose formal "shards and fragments" seem to him
"closer to the twentieth."42 John Daverio seconds both Berman's conclusion
and his aural emphasis in a review of David Michael Hertz's book B e Tuning
of the Word. He characterizes the Prilude as a "remarkable takeoff on the con-
tinuities ofWagner7s'Art of Transition,' " and asserts that Hertz's attempts to
differentiate the work from Wagnerian style do not "concord very well with
what we actually hear."43 The danger of relying on "what we actually hear" is
perhaps most clearly exemplified by Robin Holloway, who claims in h s book
Debuy and Wagner that "the loss of specific Wagnerian usage in a general
Wagnerian suffusion that was first noticed in La mort des amants has in
L'aprds-midi gone so much h t h e r that there is nothing analytical to be said
about it."44 But as Carolyn Abbate has noted, the extraordinary number of
"quotations" Holloway indicates might well tesafy to the "sensitivity of his
ear," but he offers no distinction between pointed references and the "coinci-
dental and vague affinities" inevitable to works that partially share a harmonic
vocabulary.45
By contrast, Abbate, in her article " Tristan in the Composition of Pellbas,"
significantly furthers the argument about Debussy's wagnirisme by posing
against such unreflective appeals to hearing a more knowing act of reading.
Pointing out that Debussy responds "with suspicious consistency" to words
like "triste" in the Pelldas libretto with "punning" references to the "Tristan
chord," she shows that such puns even occur in response to aspects of the silent
textual apparatus-in an extreme case, to a performance indication ("triste-
ment") that fell away in the process of revision. Abbate rejects the argument
that these secret marks of verbal preciosity can be ignored as irrelevant to
the finished work. For it is only through attention to these verbal-musical
"games," she maintains, that it is possible to discover the main subtext of the
opera, which identifies Debussy as a "Wagnerian commentator" of distinction.
The debate about the wagnirisme of the Prilude can only h d a resolution
through a reevaluation of its references to T ~ s t a anlong similar lines. Like the
verbal-musical puns in the Pellias drafts, the words of L'Aprds-midi d'un
faune, which preceded and fell away from the Prdlude, remain as the hidden
background to the piece's "commentary" on composition after Wagner. But
to argue that a reading for such secret clues is necessary to understand the
historical stance of the Prdlude is not merely to reject outright the more imme-
diate, aural experience of the piece. On the contrary, to recognize that both
42. "Debussy'sSummer Rites," 228-29,232.

43. In 19th-CenturyMusic 13 (1990):257-61, at 259.
44. Debu.uy and Wagner (London:Eulenberg Books, 1979), 222. For a valuable review, see
W&am Austin, "Viewpoint:Debussy, Wagner, and Some Others," 1%-Cenntry Music 6 (1982):
82-91.
45. " Tristanin the Composition of Pelkm," 1%-Century Mwic 5 (1981):139; the points in
the next paragraph are drawn from 138-41.
sides of this methodological split are equally crucial to interpretation is to open

the deepest relationship between the Prdlude and L'Apis-midi d'un fauneP6
In Debussy's translation of Mallarmt, the hun, symbol of the challenge the
poem poses to the reader, becomes a symbol of the Prilude's challenge to
Debussy's audience conceived both as unreflective listeners and as knowing
readers. The Prilude articulates a conflict between its seductive, seemingly
immediate sonorous pleasures and the esoteric syntax that, in securing those
pleasures, demands analytical scrutiny to be M y understood. By composing
the irresolvable tension between these two dunensions of musical experience
into the Prdlude, Debussy offers his poignant answer to the challenge of
writing music ap2s Wa~ner.
Rereading Debussy's "denial"

The h o u s letter to the critic "Willy" in which Debussy denied any close mu-
sical reading of L'Apr2s-midi d'un faune actually contains, in its deceptively
cavalier wording, several hints about this composed division of musical
experience:
The Prblude a l'apris-midi d'un faune? Dear sir, might it be what has remained
of the dream at the tip of the faun's flute? More precisely, it is the general im-
pression of the poem, because in following it more closely, music would run
out of breath as if a dray horse were competing for the Grand Prix with a thor-
oughbred. I t is also the disdain for that "science of eager-beavers" which
weighs down our proudest brains; And then! It is without respect for the tonal-
ity! Rather in a mode that tries to contain every nuance, which is very logically
demonstrable.
All the same, it follows the rising motion of the poem, and it is the dkcor
that is described so marvelously in the text, with in addition the humanity con-
tributed by thirty-two violinists who have got up too early! The ending is the
last line prolonged:
Couple adieu,je vais voir l'ombre gue tu devins.47
46. In considering Debussy's scoring as one determinant of his pointed references to Wagner,
Abbate gives some weight to hearing as well as reading. My sense of a composed cMlfict between
the two in the Prklude could suggest a fiuther point of inquiry into Pelkas.
47. "Le Prdlude a l'aprks-midi d'unfaune? cher Monsieur, c'est peut-kue ce qui est restt de
r&veau fond de la flfite de faune? Plus prtcidment, c'est I'impression gtntrale du @me, cat ? lei
suivre de plus pr&s,la musique s'essoufflerait ainsi qu'un cheval de fiacre concourant pour le
Grand prix avec un pur-sang. C'est aussi le dtdain de cette 'science de castors' qui alourdit nos
plus fiers cervaux; puis! C'est sans respect pour le ton! Et plut6t dans un mode qiessaye de con-
tenir toutes les nuances, ce qui est u t s logiquement dtmontrable.
"Maintenant cela suit tout de mkme le mouvement ascendant du pokme, et c'est le dtcor
merveilleusement dkcrit au texte, avec en plus I'humanitt q'apportent uente-deux violonistes
lev& de uop borne heure! La fin,c'est le dernier vers prolong&:
"Coupleadieu;je vais voir l'ombve que tu devins" (Debussy, Cmspondance,113-14).
Oscar Thompson, who describes the letter as "banter and irony" and a "characteristic bit of
mockery," is one of the few to hold these remarks at the proper distance. See his Debuy: Man
and Am'st (New York: Dodd Mead, 1937), 113.
Hearing Debussy Reading Mallarme 509
Debussy's claim that hls piece gives only a "general impression" of the poem is
really nothing but a truism: music cannot keep exact pace with poetry, because
the syntactical processes of the two art forms are fundamentally different. He
sigdcantly qualifies his disavowal by giving suggestive hints about the "rising
motion" and the prolongation of the last h e . But whatever we might eventu-
ally make of these specific clues, the letter also slyly suggests how the PrLLude,
at the deepest level of its musical means, responds to the motivating tension of
L'Aprks-midi d'un faune. By claiming that the "mode that tries to contain
every nuance" is "logically demonstrable," that is, Debussy pointedly places
explanationsin terms of pitch systems under the purview of a rational, intellec-
tual mode of scrutiny like that suggested by the upper body of the faun. Two
other references to music h e the nod to "logical" syntax: the "dream" that
remains "at the tip of the faun's flute"; the "humanity" of "thirty-two vioh-
ists who have got up too early." The more immediate sensuality that confl~cts
with analytical reading, Debussy implies, can be heard by attendmg to the
PrLlude's manipulation of orchestral sound.
With few exceptions, the oft-celebrated orchestration of the Prklude has
been treated as n o h g more than the decoration of a musical process that
can be adequately described in terms of pitch alone.@The two references to
instruments in Debussy's letter suggest how the piece's instrumentation
might be heard more precisely. The "dream" of the flute stands opposed to
the "humanity" of the violins: a cerebral solo wind instrument, let us say, con-
trasts with a more sensuous string section. The first step toward an illurnha-
tion of this musical reading is to note the close parallel between the succession
of pointed timbral contrasts between winds and strings in the &LLude and the
form-defining contrasts between seeing and feeling in L'Aprks-midi d'un
faune. But this is, indeed, only a first step. A contrast between two timbres
occurs on one level of musical experience: a flute may sound dreamy and the
violin section more human (more Illy embodied), but both are accessible to
hearing. Debussy's translation of Mallarmt's dichotomy between lower- and
upper-body experience depends not only on his articulation of the expressive
implications in instrumental sound, but on the way these sounds drect analyt-
ical scrutiny into the coded esotericism of his syntax. And ultimately, after
following the sonorous signals into the chordal wordplay beneath, we must
recognize that the historical self-consciousness of Debussy's harmonic
"games" reflects back, outward, onto the timbral materials themselves-
marking their posteriority, too, to the acme of Romantic orchestral expression
attained in Wagner's music dramas.
Mallarmt, in so many ways the best imaginable collaborator for Debussy at
h s moment, was a particularly appropriate interlocutor in a compositional
negotiation with post-Wagnerian orchestration. His own characteristically am-
biguous pronouncements on music-and specifically on Wagnerian music
48. The most notable exception is Austin, who suggests in the Norton Score of the P~Llude
some important ways in whlch orchestral sound plays a form-definingrole. See esp. 85-91.
drama-repeatedly revolve around invocations of orchestral timbre.49 One of

Valtry's somewhat simplistic comments can serve to highhght, in a prelimi-
nary fashion, the aptness of this aspect of Mallarmt's musical obsessions as a
model for Debussy's exploration of post-Romantic orchestral expression in
the PrLlude:
When he conceived a poem and executed it Mdarme had beneath his eyes the
image of the orchestra with the positions occupied by the different instru-
ments, that of the woodwinds, that of the brass, etc. He wished that an analo-
gous sonorous space could pass into his poem.50
"Reorchestrating" Mallarmt's faun poem, so to speak, Debussy composes a
commentary on the potential of real instrumental timbre to recover, aprhs
Wagner, a quasi-dramatic sonorous space for lyrical expression in his own ar-
chetypically lyrical art form. The tone and conclusion of that commentary can
only be characterized, now, by hearing and reading the Prklude after we first
read and speak the poem with the faun.
Analyses
A "literary fugue"
As printed in 1876, L'Aprds-midi d'un faune begins with a section seven lines
long separated fiom the following verses by the poem's first structural blank
space. The poem also ends with a seven-line section (lines 104-10) separated
fiom the previous section by a blank.51 These two outer sections enfold the in-
ternal structure within a symmetrical fiame--or indeed, within an outermost
virtual "bifolio." In order to begin reading the "literary fugue" that begins at
line 8, it is helpfd to know that the opening section ends with a pained recog-
nition of the treachery of poetic metaphor. In h e 7, that is, the faun woellly
acknowledges-"htlas!"-that in his claim, in the first line of the poem, to see
an intoxicating vision of nymphs, he was really only offering himself, "alone"
in his fantasy, "la faute idtale de roses"-say, "the lack, or shortfall (as an
49. The ''zverie" contains several references to orchesmtion, as do many of his other writ-
ings on music, including La Muiqtte et les lettres. As usual, these references are neither clear nor
consistent.
50. "Quand il concevait un potme et I'extcutait, Mallarmk avait sous ses yeux I'image de
I'orchestre avec la place occupee par les diffkrents instruments, celle des bois, celle des cuivres,
etc. . . . I1 voulait que pass%tdans son p d m e un analogue espace sonore." Quoted in a note to the
Mallarmk Covespondance, vol. 1, 1862-71, ed. Henri Mondor and Jean-Pierre Richard (Paris:
Gallimard, 1959), 309 n. 2.
51. The OC2 prints the "~ditionde 1876" without the blank between lines 103 and 104,
which is a possible reading of an ambiguous situation: given that the last seven lines occupy a folio
of their own, it is unclear whether a blank is intended after the previous folio. A blank is given here
in the printed "edition dkfinitive" published in 1887, but neither this one nor the one between
lines 7 and 8 is found in all other editions. Perhaps Mallarmk never decided how clear-how
recoverable-the poem's "intellectual armature" should be.
Hearing Debussy Reading MallarmC 51 1
ideal), of roses." Perhaps, in other words, his initial vision of rosy flesh "vault-
ing into the air" was only a deceitll symbol, like a bunch of flowers-a hoary
metaphor for amorous passion-whose color and scent, however captivating,
cannot offer satisfyrng substitutes for desired bodes. On this note of h t r a -
tion, he begins the literary "hgue" that gives form to his confi-ontation with
the difKerent metaphorical possibilities in the sounds of hls flute.52
Example 1 shows the whole "literary fugue," lines 8-51. The typography,
the line breaks, and the blank spaces appear as in the 1876 edition.53With
pairs of boxes in solid lines, I indicate the three occurrences of the contrast be-
tween seeing and feehg that most clearly mark the "fUgalVthematic process
of the whole section. The words in three distinct fonts to the right of the
example also iden*, in addtion to contrast) two more recurring themes: the
faun's music, and the disappearance of the desired objects that follows upon
(or is caused by) the music in all three cases. (The larger box around the verses
in italics clarifies the relationshp between the smallest instance of the thematic
pattern and the larger one into whch it is inserted.) I have underlined some
important verbal markers, but the "themes" are best understood as continu-
ing through several lines.
The three patterns of themes indicated by the words at right show how
precisely Mallarme has adapted &gal process to literary form? After a state-
ment of the basic pattern (contrast-music-disappearance) in fifteen lines, the
next statement of the same pattern is almost precisely doubled in length, to
make a section of twenty-nine lines. This larger section enfolds within it
another instance of the pattern, almost precisely halved to seven lines. In other
words, afier the "subject" is given in its normative length, an augmentation
follows, within which is nested a b u t i ~ n . ~ ~
52. In reading the first seven lines as a single "folio," I distinguish between "internal" and
"structural" spaces based primarily on my sense of a clear hierarchy in the text, which is reinforced
both by the symmetrical relationships between sections and by a careful, highly limited use of the
line-ending fhtl stop. The argument can also be made with respect to the size of the spaces in the
original edition: internal ones tend to be two lines in width, structural ones three. For a facsimile,
see Jean-Michel Nectoux, ed., Nijinsky: fiilude a l'apris-midi d'un faune (Paris: ~ditionsAdam
BUO,1989), 14-17.
53. In the interests of space, the structural blanks are shown as two lines in width instead of
three. The blank after "%fl6chissons . . ." is also three lines wide in Mallarme; the break in line
32, by contrast, is one line.
54. I have indicated an extra thematic relationship at the beginning of two out of three
passages: the location by the shores is clear in both the augmentation (lines 23-51) and the
diminution (lines 26-32)-the "bords" in line 23; the "ici" and "hollow reeds" in line 26-but
no element in the opening of the subject ( h e s 8-22) is as clear as to location. This idea, in
strengthening the relationship of the two later sections, does not cloud the patterning of the
"fugue" as a whole.
55. Recalcitrant skeptics might object to my "almost" precise fugal proportions of 7-15-29
instead of 7-14-28. But in a poem in rhyming couplets, arithmetical relationships that are consis-
tently precise to n +/- 1 reflect the interplay of two independent formal priorities: propomon
and rhyme scheme.
Example 1 Mallarme's "literary fugue": L'Apris-midi d'un faune, lines 8-51 (S = subject, A =
augmentation, D = diminution)
I 9
ou si les femmes dont tu gloses
Figurent un souhait de tes sens fabuleux!
- 10 Faune, I'illusion s'echappe des yeux bleus
11 Et froids, cornme une source en pleurs, de la plus chaste:
12 Mais, I'autre tout soupirs, dis-tu qu'eUe contraste CONTRAST
Comme brise du jour chaude dans ta toison?

Que non! par I'immobile et lasse p h o i s o n
~uffoquan;de chaleurs le matin Bais s'il lutte,
Ne murmure point d'eau que ne verse ma flhte MUSIC
Au bosquet arrose d'accords; et le seul vent

Hors des deux tuyaux prompt a s'exhaler avant
Qu'il dis~ersele son dans une pluie aride, DISAPPEARANCE
C'est, a l'horizon pas remue d'une ride,

Le visible et serein soume artificiel
De l'inspiration, qui regagne le ciel.
( 23 0 bords siciliens d'un calme marecage SHORES

24 Qu'i l'envi de soleils ma vanit6 sacsage,
25 Tacites sous les fleurs d'C-tincelles, CONTEZ
..............................................................................
i 26 "Queje coupais ici les creux roseaux domptks SHORES i
1
i 27 "Par le talent; guand, sur l'orglaugue de laintaines
i 28 'Terduresdidiant leu? v$ne a desfontaines,
D 29 "Ondoie u n e w m 1 a u repos: CONTRAST i
i 30 ('Etgu'au prilude Lent od naissent lespipeaux. MUSIC I
i 31 '(Cevol de cygnes, non! de naiitdesse sauve DISAPPEARANCE j
32 "OuDlonae . . .
ib---.--.-..-.-.?-------.----------------------.----.--.s-.----.--.-.--.--.-.-.
Inerte, tout b d e dans l'heure fauve
33 Sans marquer par quel art ensemble dttala
34 Trop d'hymen souhait6 de qui cherche le la:
35 Alors m'eveillerai-je a la ferveur premiere,
36 Droit et seul, sous un flot antique de lumiere, (visual staging in light)
37 Lvs! et I'un de vous tous pour inaenuite.
CONTRAST
38 Autre que ce dowt rien par leur & ebruitk,
39 Le h, qui tout bas des perfides assure,
40 Mon sein, vierge de preuve, atteste une morsure (oral/tacriJe contact)
) 41 Mysterieuse, due a quelque auguste dent:
42 Mais bast! arcane tel elut pour confident
Le ionc vaste et iumeau dont sous I'azur on joue: MUSIC
Qui, detournant a soi le trouble de la joue,
RCve, dans ,- que nous amusions
La beaut6 d'alentour par des confusions
Fausses entre elle-mCme et notre chant credule;
Et de faire aussi haut que I'amour se module
~vanouirdu songe ordinaire de dos DISAPPEARANCE
Ou de flanc pur suivis avec mes regards clos,
51 Une sonore, vaine et monotone ligne
4
Hearing Debussy Reading Mallarrnt 5 13
Example 1 continued
Let us reflect . . . or if the women that you are glossing / Figure a wish of your fabulous senses!
/ Faun, the illusion escapes of the eyes, blue / and cold, like a weeping spring, of the more
chaste one: / But, the other all sighs, would you say that she contrasts / Like a hot breeze of
the day into your fleece? / Ah no! out of the immobile and weary swoon / Suffocating with
warmth the cold morning if it struggles, / Murmurs no water save what my flute pours / Into
the h c k e t sprinkled with chords, and the only wind / Except for the two pipes quick to exhale
before / It dsperses the sound into a dry rain, / It is, at the horizon not stirred by a ripple, /
The visible and serene artificial breath / Of inspiration, which regains the sky. // 0 Sicilian
shores of a calm marsh /Which, emulating sunbeams, my vanity ransacks, / Implied beneath
flowers of sparks, TELL / m a t I was here cum'ng hollow reeds tamed / By talent; when, on the
glaucousgold of the distant / Greenery dedicating its vines tofountains, / Undulates an animal
whiteness at rest: / A n d that at the slow prelude in which the pipes begin, / Thisjlbht of swans, no!
of naiads escapes / Ou plunges . . . Inert, everytlung burns in the wild hour / Without marking
by which art together has fled / Too much union desired by he who searches for the A: /
Therefore I will awaken to the first fervor, / Erect and alone, beneath an antique wave of light,
/ Lilies! and one of all of you for innocence. // Other than this sweet nothing by their lip
sounded out, / The kiss, that softly the perfidious ones assures, / My breast, virgin ofproof, at-
tests a mysterious / bite, due to some august tooth: / But enough! such a secret chose for con-
fidant / The vast twin reed which beneath the azure one plays: / Which, turning back on itself
the trouble of the cheek, / Dreams, in a long solo, that we amuse / The surrounding beauty
with false confusions / between itself and our credulous song; / And [dreams] to make just as
high as love modulates / To vanish from the ordinary dream of back / Or of pure flank pur-
sued by my blind looks, / A sonorous, empty, monotonous line.
Closer reading clarifies the formal precision of the "hgue." The "subject"
begins with a collective verb, "let us reflect," as the faun turns &om his w o e l l
opening soliloquy into a dialogue with himself. IdentlfyLng himself with the
second-person pronoun "tu" (line 8), he wonders ifthe women he is "gloss-
ing" might be just a "wish of his fabulous senses." He proceeds to deepen the
inqujr with an attempt to describe the two nymphs that clearly contrasts see-
ing and feeling, in four lines punctuated as two plus two. Characterizing the
more "chaste" one as an escaping illusion of blue and cold eyes (10-ll), he
leaves no doubt about the poverty of vision as a means of sensuous gratifica-
tion. Then, by asking himself whether the other ("all sighs") might be like a
"hot breeze" into his "fleece," he poses heat against coldness; an intimate ap-
proach against an escape to distance; lower-body-animal-sensation against
seen illusions.56If the cold nymph is both seer and seen--eyes and object of
the eyes-the faun's (imagined) relationship to the hot one is sensually richer:
it is her mouth, of course, that might breathe sighs into hls fleece. In this first
conjunction of oral and tactile experience, we readers are given a brief fore-
taste (or fore-sense) of the breathy passion that might lie in store with the 111
56. The Improvisation had the much more precious "l'autre au tikde aveu" ("the other of the
warm [or soft] avowaln)for "I'autre tout soupirs," and "brise du jour vaineninstead of "chaude."
Far fiom blurring his h a l text, Mallarme has in this instance both clarified the imagery and
strengthened the thematic contrast.
attainment of spoken "music," for the faun's words actually materialize the
"warm breeze of the day" as a crescendo of three sibilant consonants: "brise
du p u r cbaude," "s-j-ch."
The faun answers his own inquiry with an abrupt denial, "Que non!" And
now, for the first time, he recognizes the metaphorical deceptions of his
own musical performance. Water, wind, sound, sensation-all are merely
"murmurs" "poured forth" by his flute. The finely chosen verb, "verser" ("to
pour"), relates the deceitll music directly to the art of poetry-"versn-itself
And in the description of the thicket as "arrosd d'accords" ("sprinkled with
chords"), the adjective echoes the "rose3' the faun recognized, just prior to the
"fugue," as false substitutes for his opening vision of rosy flesh. Pastoral piping
is identified as just as treacherous, in its proliferation of metaphors, as the po-
etic imagination that ensnares sensuous experience in conventional symbols.
The disappearance that completes the thematic shape of the fugue subject
negates or confuses the idea of breathing in particular. In the last mention
of the flute (line 18), the "deux tuyaux" ("two pipes") are said to "exhale." As
the sound "disperses," the faun's experience of his world becomes visual
again: an "artificial breath of inspiration" becomes visible at the horizon and
"regains the sky" to draw the "subject" to a close (lines 20-22). Some general
rhythms can be discerned through the syntactical haze: "inspiration," which
can also mean inhalation, answers the earlier exhalation of the flute, and
brings this now-disembodied breath under the shadow of the adjective "artifi-
cial" (line 21). "Artificial inspiration," it seems to me, sums up the recogni-
tion, across the whole passage, that poetic craft, with all of its metaphors and
musics, offers no more than an insubstantial artifice of experience. With a final
rise of breath and "inspiration" to the sky or heaven ("ciel"), the faun's lan-
guage regains the upper reaches of the imagination &om which the search for
sensuous substances began.
The contrapuntal elaboration begins with an even stronger linguistic ges-
ture than the "subject."57 With an apostrophic invocation ( h e 23), one of
the most powerll devices of lyric utterance, the faun addresses his pastoral
setting: "0Sicilian shores of a calm marsh." This is a typical Vir&an nod to
the founder of pastoral poetry, as in the fourth and sixth Eclo~ues:"Sicilian
muse, let's sing a nobler song"; "My playhl muse first chose Sicilian verse: /
She did not blush to dwell among the woods."58 But rather than invoking a
57. The term contrapuntal may seem problematic given that the thematic patterns cannot be
spoken simultaneouslyas in a musical fugue. But the textual presentation can stiU be said to effect a
literary equivalent of "counterpoint," since the thematic shapes exist simultaneously in the visual
experience of the text-and it is in the "fuguen that Malla&~Cfirst makes use of the poem's two
typographical special effects: the capitals of "CONTEZ" and the italics of the "telling."
(MdarmC's first experimentation with typography in this poem has long been recognized as a
forerunner of the later, much more elaborate visual composition of Un Coup de d b n'abolira le
hasard, which seems more obviously deserving of the label "counterpointn even though it, too,
cannot actually be realized as such in speech.)
58. Translations &om Alpers, Zhe Singer of the Eclogues, 27 and 37.
Hearing Debussy Reading Mallarm6 5 15
Sicilian muse, the faun can only-in his "vanity"-laim to be ransacking

"Sicilian shores" "in emulation of sunbeamsn-and the shores remain
"tacites" ("silent," that is, hidden or implied) beneath "flowers of sparks" (line
25). In the simplest reading, we might say that dazzling reflections on the wa-
ter conceal the shores &om his searching eyes. But we must also expect a
deeper, figural meaning. On this point, Sainte-Beuve, whose ~ t u d sur e Virgile
exemplified the tradition of reading Virgd as the "first modern," can be of
f h h e r help. In hls preface, Sainte-Beuve celebrates literary tradition with a
conventional metaphor: a torch ("flambeau") that has passed &om the Greeks
to the Romans, through the Renaissance, to the modem era. More precisely,
for Saint-Beuve, only a few sparks fi-om this torch have survived the vicissi-
tudes of time and modern literary extravagance; it is the job of the carell clas-
sicist to make sure these "ttincelles" never go
Perhaps the "ttincelles" that blind LE FAUNE to the "Sicilian shores" are
the very sparks of tradition so cherished by classicist critics like Sainte-Beuve.
But in Mallarmt, these "ttincelles" do not guide the faun's eyes into the vistas
of literary history: they actually obscure the "Sicilian shores" &om his "ran-
sacking" vision. The overwritten pages of centuries of modem literature, we
might say, now intervene, blindingly, between this divided pastoral speaker
and the Theocritean muse of his art. At the end of hls classical invocation, the
faun begs the silent shores to "TELL," in a desperate plea for aural recovery,
at least, of the origmary voice whose source has been lost to view.
The change in typography for the diminution suggests that the shores re-
spond to the faun's summons to speak. But the "telling" begins in the first
person rather than the third person of narrative; it starts in a past tense
("coupais") but soon shifts to the present ("ondoie," line 29). The faun can
only pretend to hear the originary Sicilian voice, as he himself revisits the
thematic pattern of the previous section. After marking his location, "here"
("cutting hollow reeds" ["creux roseam"], another echo of "roses" and "ar-
rost"), and giving a few details of the setting (the distant greenery, the foun-
tains), he glmpses an undulating vision (line 29). His description, "blancheur
animale," encapsulates in two words the contrast between seeing and feeling.
"Blancheur" ("whiteness"), a seen color, relates to the earlier vision of the
blue-eyed nymph; through its figurative meaning of purity or innocence, it
59. The preface to the ~ t u d seur Viyihis a "Discours" given by Sainte-Beuve on tus acces-
sion to the chair of Latin poeuy at the College de France in March 1855. See pp. 30-31: "En ce
siecle oh I'on a tant fait de systkmes et de professions de foi; ou tout propos, dans toute matitre,
philosoptuque, sociale, litteraire, on a introduit et prodigue le mot de croyance, je ne veux pas dire
que I'on en ait peu; mais il est aussi une religion plus discrete qui dent a l'amour du beau, du na-
tural, du lin et du dtlicat dans la pdsie. Les Grecs I'eurent; les Romains aprks eux en recuelllirent
et en rassemblerent en foyer plus d'une Ctincelle; ils tinrent 3 leur tour le flambeau. Quelques-unes
de ces ktincelles, duninutes, mais vives encores, ont passt jusqu'i nous: ne les laissons jamais
s'tteindre. Vous me verrez trks-attennf et trks-zelt a les rtunir et i les ranimer sous vos regards."
Sainte-Beuve's particular emphasis on the need to animate these "etincelles" beneath the
"regards" of his audlence meshes well with my reading.
also recalls the chastity of that prior illusion. The adjective "anirnale," on the
other hand, adds a palpable fisson to the vision-as if the whiteness is sud-
denly recognized as desirable flesh-and a link back to the sighmg nymph in
the subject, who seemed to breathe into the fleece of the faun's own animal
half.
As in the subject, the faun's g h p s e of sensuous promise leads immediately
to the theme of music. Now both the type of music, a "slow prelude," and the
instrument, the "pipes," enter the "tehg," dispersing vision and sensation
(lines 30-31). Unable to decide whether he has seen swans or naiads, the faun
is equally coAsed about their manner of escape: either a "flight" ("vol") or a
"plunge" into the waters beyond the shores.
The augmentation that enfolds the diminution resumes with the return to
roman type. In a transition, the faun notes that the burning heat of noon
("l'heure fauve") erases all trace of the desired objects, and identifies himself in
musical terms as "the one who searches for the A" (line 34). The augmented
contrast then begins with three lines (35-37) in which he asserts that he will
awaken to his "first fervor," "erect and alone, beneath an antique wave of
light." It is as if he has claimed the visual stage of the poem, beneath a spot-
light of tradition. Such boldness, it seems, inspires a sudden lurch to
metaphor. Exclaiming the name of a white flower-"Lys!"-and relating it to
his own "ingtnuitt" or innocence, the faun underlines its symbolic link,
through the "blancheur" in the "telling," back to the chaste nymph of the
hgue subject.
After a blank, the second half of the contrast appears in four lines (3841),
shown in the second large box. The faun resumes, obscurely, in mid-thought:
"other than this sweet nothing by their lip sounded out." Perhaps the line
refers back to the "tehg," in oblique acknowledgment that the "lip" of the
shores actually said nothing. But rather than seeking a clear anecdote in these
lines, it is best to read the tangled syntax as the result of a multilayered chias-
mus pivoting around the hun's reference to his own breast ("Mon sein"). On
one side, we read of the "lip" and the "kiss"; on the other, of the "bite" and
the "tooth." Deepening the chiasmus, the d t y overtones of "perfides" on
one side contrast with the purity of "vierge" on the other; even more clearly,
"basn-low-n the side of the lip opposes "auguste"-august, or high--on
the side of the tooth. Altogether, two more "animal" types of oral contact, the
kiss of a (lower?)lip and the bite of an (upper?)tooth, here intensfi the sensu-
ality of the oral/tactile conjunction initially given in sighs.
The tactile counterpart to the orality has risen fiom the "fleece" that re-
ceived the "breeze" to the faun's "breast" or heart. Perhaps the claims to a
spotlit visual presence and a centered oral/tactile experience show, dimly,
some progress in the attempt to open a dramatic space and claim a sensuous
presence. Initially, the themes of seeing and feehg arose fiom a description of
the nymphs; now they have congealed more closely around the faun himself.
But he is still trapped in his conventional role of musician. With an abrupt
ejaculation-"Mais bast!"-in the same formal position as the denial-"Que

non!"-in the fugue "subject," he turns, again, to pastoral piping (line 43).
As in the diminution, the theme of music in the augmentation refers both to
the instrument, the "vast twin reed," and to what it plays, "a long solo" (lines
43-45). The faun amibutes to the reed a "dreamn-that "we amuse / the
surrounding beauty with Mse corhsions / between itself and our credulous
songn-which blends music and setting much in the way the flute that mur-
mured into the chord-sprinkled thicket dld. And as before, his syntax now be-
comes particularly baroque. The reed, it seems, also "dreams . . . to make as
high as love modulates / to vanish from the ordinary dream of back / or of
pure flank pursued by my blind looks / a sonorous, vain and monotonous
line" (lines 45-51). Reading through the verbal tangles, we can recognize in
this disappearance ("to vanish") both the "rising motion" ("aussi haut") hinted
at in Debussy's letter to "Willy," and a last return to vision ("regards"). Perhaps
the odd ascription of this vision to "blind" or "closed" eyes ("regards clos,"
line 50) adds a note of confusion similar to the "visible breath" in the subject
and the indistinct whiteness in the diminution. With a negative turn much like
the "artificial breath of inspiration" that closed the subject, the fugue ends with
an acknowledgment that artistic "modulations" of sensuous desires into repre-
sentational or musical lines can only be "vain" and "monotonous."
Debussy's reading of the "literary fugue"

Some of the general implications of this section of the poem have long been
recognized; its concern with the artifice of poetic creation, for example, is hard
to miss. But to expose the "literary fugue" is to discover the formal armature
of Debussy's musical readmg. Needless to say, there is nothing remotely fugal
about the music of the Prilude, but Mallarmt's contrapuntally articulated suc-
cession of themes provides a clear template for musical composition. As with
the poem, some summary comments on the opening of the piece-with its
famous flute solo, harp sweeps, and horn calls-an help to set up the reading
of the fugue.
Debussy's opening flute solo, perhaps the obvious timbre to represent the
faun's initial solitude in his world, is answered by harp arpeggiations of a half-
diminished seventh chord up and down through four octaves-a clear
sonorous equivalent to the opening vision of "rosy flesh" that "vaults into the
air." This first chord, as many have noted, unmistakably nods to the famous
opening half-diminished seventh of Tristan und Isolde, although neither the
harp arpeggios of a root position (A#-C#-E-G#) nor the accompanying first
inversion precisely echo Wagner's distinctive voicing. We could well imagine
that Debussy might draw on the symbolic implications of Wagner's chord in
this oblique manner as an equivalent to the faun's first vague vision of desired
flesh. By the time of the Prilude's composition, after all, such symbolism had
hardened into the convention of leitmotivic labeling: in French leitmotivic
5 18 Journal o f the American Musicological Society
guides the leitmotif containing the original "Tristan chord" was designated
"le Dtsir." Debussy's reading of the "literary fugue" will give more precise
support to the suspicion that he is using the Wagnerian leitmotivic associations
of the half-diminished seventh to effect esoteric links to Mallarmt's poem.
Example 2 shows the beginning of Debussy's reading of the fugue, begin-
ning a few bars after the second iteration of the opening solo at measure 11.
Prior to the example, the final A# of the flute solo was transferred to the oboe.
In order to locate this as a moment in the "readmg," we must recognize that
Debussy does not, in the BLlude, read Mallarmt's structure-defining blank
spaces with silences (the only bar of silence, measure 6, is best understood as a
response to a blank within the poem's opening section). The smoother elision
of the music, by contrast with the poem, makes even delicate timbral shifts
all the more sigdcant. This transfer of the leading line fkom flute to oboe, I
suggest, captures in sound the grammatical pivot, "Rkflechissons" ("let us re-
flect"), that starts the "literary hgue" with a turn fiom soliloquy to virtual dia-
logue (in which the faun addresses hunself as "tun).For after the oboe rises
through an octave, we reach the P~dlude'stranslation of the contrast between
the seen andfelt nymphs in Mallarme's fugue "subject."
As we might now expect fkom his letter, Debussy paints the contrast be-
tween the two nymphs with a contrast between winds and strings (mm.
17-18). In this first instance, the solo oboe, joined by another oboe and two
clarinets, states a siigle bar of melody that is immediately echoed by the high,
octave-doubled first violins. Thls shift from winds to violins, whose exact
melodic repetition makes it redundant to pitch-based analyses, is Debussy's
equivalent to Mallarmt's first contrast between seeing and feeling. The first vi-
olins have only appeared once before in the piece, in a low pianissimo chord
(m. 7). Now, they irrupt with a sensuality that is striking even at a piano
dynamic. As the dynamic level rises across the repetitions of the three-note
surges, the wind scoring gradually thins--one oboe drops out, followed by
one and then both clarinets-while the violins continue to repeat their
crescendos in unabated forte. Like the seen, chaste nymph, the wind sounds
recede; like the warm breath into the fleece, the v i o h sound becomes more
intimate to the ear.60
This first timbral contrast hinges on a reference to Wagner that could
hardly be more duect. The first G# of every three-note gesture in measure 19
is set to the "Tristan chord" at pitch, with one enharmonic change:
60. In many recordings, the strings are reduced to background coloration in all but the cen-
tral climax. My recognition of the form-articulating dialogue between winds and strings sprang
kom a hearing of Pierre Boulez's 1968 recording for CBS with the New Philharmonia Orchestra,
rereleased in 1989 on the CBS Masterworks collection Debuuy: Orchestral Music (MB2K45620).
While Boulez's recordmgs of Debussy have occasionally been criticized as coldly clinical, in this
case his text-faithful timbral balance invaluably (if fortuitously)makes audible the crucial "nodes"
of the musical reading of Mallarme.
Example 2 Debussy's orchesnal reading of the thematic contrast in Mallarmt's fugue subject:
PrLlude a l'aprk-midi d'un faune, mm. 16-20
(winds) (strings)
* * * * *
"T chords":
"Le DCsir" voicing
E#[F]-B-D#-G#. Such a direct reference is appropriate for the first physical

sensation of a desired object that was initially only distantly seen. Indeed, in
this instance Debussy has almost stayed close enough to the Wagnerian model
that a shift to readingfiom hearing is unnecessary to recognize the symbol of
desire. The repeated crescendos of string sound, which i d s e the "desire"
chord with something like its original passion, relate mimetically and materi-
ally to the poem's own "music." In place of MallarmC's crescendo of sibilant
consonants -the "s-j-ch" in "brise du jour chauden-Debussy gives re-
peated three-note ascending crescendos, G#-B-C#. He thus realizes, in the
sensuous "humanity" of the high first violins, the hint in the poem that the
contrast between a seen and a sensed nymph stands for a deeper contrast be-
tween modes of experiencing the text itself.
The collapse to solo clarinet is a collapse back to distance, as in the faun's
self-denial: "Que non!" As we should expect fiom the poetic template, the
first violins now disappear until they are called on to express the "animal" de-
sire in the faun's "tehg." In the poem the faun now recopzes that his own
flute "pours forth" his desirous illusions. To paint this "thematic" music
Debussy brings back the solo flute, which had disappeared fiom his reading of
the pivotal contrast, garlands it with harp figuration (a conventional "pastoral"
scoring), and adds a second flute, to bring his reading of the hgue subject to
a close with an equivalent of the poem's "two pipes" ("deux tuyaux," rnm.
27-30).
Debussy reads the whole of Mallarmk's "augmentation" as a clearly demar-
cated section, measures 31-54. In Example 3, I show only the central passage
(mrn. 36-48), which includes the tirnbral exchanges that mark the two the-
matic contrasts. The begmning of the entire section makes the most extensive
use of the whole-tone scale in the piece (mrn. 32-33 and 35-36: the last bar
of this material starts the example). At this point in the poem, the faun,
blinded by "sparks," cannot see into the classical tradition. In Debussy's read-
ing, the modern whole-tone scale draws a syntactical scrim over the traditions
of tonal practice, as grace notes in the harp flash like the sparks that dazzle the
faun's eyes.
For all its delicacy, the shift fiom the harp-brightened whole-tone "shores"
to the modal oboe solo is as s&g to the ears as the poem's first change of
typography is to the eyes. The musical mode of the solo follows the "modern"
implications of the whole-tone field with an even more specific response to the
poem's invocation of the "Sicilian" pastoral poet, Theocritus. The solo begins
as if it might be pentatonic, but the three accompanying chords in the first bar
state all seven notes of the Dorian mode on F#. In the second bar, two more
pitches, D# and E, are added to the melody, giving the oboe, in all, six of the
seven notes of the Dorian mode (only the A is missing). The Dorian dialect of
Theocritus's Idylls was often celebrated for its rustic immediacy, for example
by Sainte-Beuve:
Example 3 Debussy's orchestral reading of Mallarmt, kom just before the diminution through
the thematic contrast in the augmentation: PriIude, mm. 36-48
0 bords siciliens. . . CONTEZ
I . . .sous les fleurs d'ktincelles,
Melody: [ a
522 Journal o f the American Musicological Society
Example 3 continued
(winds) j (strings)
I se sauve
Example 3 continued
qui cherche le la
hf-2 hf-2 .rmf -

Example 3 continued
(winds) j (strings)
@ bn.
I
I -a
I Mais bast!
d '
f de lumibre I f I I
"T chord": I ~b added-sixth Whole-tone

"La Solitude" voicing chords
One hears, even with a somewhat debased ear, how well this dialecte dorien,
with its open sounds, lends itself to the painting of the broad perspectives of na-
ture. This dialect is grandiose and sonorous; it is replete; it reflects the forest
greenery, the calm, the freshness, the vast expanse, the brilliance of the light.61
Sainte-Beuve makes clear the conventionally Theocritean nature of Mallarmt's
imagery in the "telling"; his idealistic hearing of the dialecte dmien fits well
with the naive modality of Debussy's oboe solo. Not only does Debussy set
the ostensible "telling" of the "Sicilian shores" in the mode dmien, but by jux-
taposing this mode with the whole-tone scale, he finely captures in music
Mallarmt's modern figuration of the broken continuity of classical tradition.
In a rare instance of numerical correspondence, Debussy reads Mallarmt's
"telling" with seven bars for seven lines. As indicated below the example, the
oboe solo begins with two bars of melody (ab); after the two-bar tirnbral
exchange that paints the thematic contrast (cc) these first two bars recur trans-
posed, with the second bar repeated (a'b'b1).62As before, the two-word con-
trast "blancheur animale" is expressed as an alternation, with exact melodic
repetition, of wind and violin, linked to the poem both by direct mimesis and
by a nod to Wagner. Within the rhythcally staid oboe solo, the syncopations
in the two pivotal bars (rnrn. 3 9 4 0 ) undulate ("ondoie," line 29) like the
faun's vision of whiteness. The Wagnerian signal is more abstract: the half-
diminished seventh G#-B-D-F# is simply arpeggiated (with one passing note)
above the E bass. It is appropriate that the distantly seen carnality in the
"tellingn-like the earlier vision of vaulting flesh--should receive a vaguer har-
monic expression than the "desire" chords that set the breeze into the fleece.
By continuing the exchange between high violins and winds to lead out of
the "telling," Debussy responds to the further antinomies that follow on this
instance of the main thematic contrast: the faun's codhsion between "swans"
and "naiads," and between their "escape" or "plunge." By endmg the seven-
bar phrase with a departure fiom whole-bar units (m. 44) that is far less aurally
stnking than the modal shift at its beginning, he finds an equivalent to the el-
lipsis that ends the "tehg." In the poem, at this point, the faun refers to him-
self as "the one who searches for the A." Already, by leaving out this one pitch
fiom the oboe's statement of the Dorian mode, Debussy has secreted a clever
response to h s poetic-musical conceit in his leadmg melody. Now, in measure
44, he marks the moment at which the faun mentions "le la" by emphatically
compensating for the previous omission. Exactly where we would expect, just
61. "On sent, meme avec une oreille i derni p r o h e , combien dans ce dialecte dorien I'ou-
verture des sons se prtte i peindre largement les perspectives de la nature. Ce dialecte est
grandiose et sonore; il est plein; il rtfltchit la verdure, le calme, la fi-aicheur,le vaste de I'ttendue,
I'tclat de la lumikren (Charles-AugustinSainte-Beuve, "Thtocrite" [1846], in Portraits litthaires,
rev. ed. [Paris: Garnier Frkres, 1862],3:10.
62. The formal congruence also exemplifies the proportional flexibility of Debussy's reading:
the pivotal contrast occurs earlier in the seven-bar phrase than in the seven-line "telling."
before the third contrast, the principal flute, in dialogue with all of the winds,
moves twice to a rhythmcally strong A.63
Debussy reads the thrd contrast between seeing and feeling much k e the
previous two. Withm the somewhat complicated texture of measures 46-47,
we find again a one-bar gesture in the winds (cor anglais and clarinet) an-
swered by violins in octaves and linked to Mallarmk's text by a pun on
Tristan.@The winds in this exchange are set to a "minor triad with major
sixth" voicing of the "Tristan chord," at the very pitches-Bb-DL-F-G-
of the chord that begins the introduction to act 3 of Tristan und Isolde (see
Ex. 4). In French leiunotivic analysis, the motive that includes this voicing of
the chord bears the label "La Solitude," which is precisely appropriate for the
faun's identification of himself at thls point as a figure "erect and alone"
("droit et sedn).65If the "desire" voicing of the "breeze into the fleece" re-
tained a trace of Wagner's passion, thls later reference is far more removed
&om the unforgettable pathos of the act 3 introduction. A leitmotivic reading
has become essential to recognize the lingustic basis of Debussy's composi-
tional choices.
Debussy overlays the violin side of ths exchange (m. 47) with a one-bar
call for t w o burns, the only brass instruments in h s orchestra-a fine response
to the "sweet nothing by their lip sounded out." The horns actually "sound
out," at pitch, over the DL-major added-sixth chord that d l initiate the
P~klude'scentral section, the f dlbar of melody that later reappears precisely at
the climactic crux (mm. 67-70). But given that both the violins, piuforte, and
the horns, t~dsen dehors, are crucial to the reading, Debussy's scoring has be-
come almost impossible to hear clearly. Thls timbrally crowded moment can
be seen as a sophisticated response to the chiasmus in the poem, whose formal
density blocks clear linear readmg. And by marking this dense scoring as an
anticipation of the expressive center of the piece, Debussy gives emphasis to
the arcane hint of hture-hected desire in Mallarme's chiasmus. Recall that
63. In a recent article on Debussy's setting of Verlaine's "Mandoline," Abbate comments
that "A is . . . the note shouted loudest of all by Verlaine's poem, as the tonic of the Aeolian mode,
the traditional pastoral mode, hence of ancient lyre-sounds that abandoned mandolins would
make could we ever really hear their speech. This pastoral A appears as well in 'L'aprts-midi d'un
fame,' where Mdarmk's faun tunes his pipes in a search for the same symbolic note, and thus for
a prelapsarian past when breath had not yet gone out of the world" ("Debussy's Phantom
Sounds," Cambridge Opera Journal 10 [1998]: 84). The Prtlude's musical reading of the faun's
"search for the A" actually makes use of a different "uarlltional pastoral mode" than the Aeolian
--one whose Theocritean associations are more precisely appropriate to the figural history in
Mallarme's poem.
64. I I dthe viohs with the words "Mon sein" in the example, but only as the central idea
of the whole passage, not as a direct one-to-one correspondence;hence the parentheses.
65. On the basis of the precision of this Wagnerian pun, we might note retrospectively that
the first half-diminished seventh chord in the Prtlude, which includes a "minor mad plus major
sixth" in the winds, could well be voiced to symbolize the "desirous solitude" of the faun at the
beginmng of the poem (which is marked by the poem's only other use of the adjective "seul" for
the faun himself, line 6).
Example 4 The "solitude" motive and chord, as labeled by Albert Lavignac in his IL Voya~e
artistiqued Bayreuth (Paris:Librairie Charles Delagrave, 1897)
LA SOLITUDE
on either side of the faun's "breast," we have read, on the one hand, of "their
lip,)) in some association with "bas" or "low," and on the other, of an " a u ~ u f i
tooth." In other words, the formed language dimly prefigured the faun's true
goal: the sensuous conjunction of his own lower lip and Npper tooth in passion-
ate speech. Debussy's musical realization makes such prefiguration explicit:
the sensuous violin sound is masked by horns that sound out the very frag-
ment of melody that will eventually be claimed by the violins in their most
compelling musical equivalent to lyric speech.
Whole-tone harmonies (mm. 48-50) efface the diatonic flavors of the
sonorous chiasmus-"Mais bast!"-and a "long solo" in the clarinet (a "jonc"
or reed, in place of the "two pipes" that ended the subject) carries us out
of Debussy's orchestration of the "literary fugue" (mrn. 51-54). With this
upward-wandering solo (a "sonorous and monotonous line") Debussy paints
in sound the "rising motion" that characterizes the disappearance at the end
of the whole "literary fugue" and delivers us to the piece's central effloration.
Orchestral background
Some brief consideration of the details of Debussy's sonorous reading so far
can help prepare a fdlunderstanding of his response to Mallarme's climactic
passage. Most importantly, we should account for his choice of strings, not
winds, as the sound of breathy sensuality in the reading of the fugue. We
might begin by interpreting this configuration as no more than an activation
of Romantic cliche: to be sure, in nineteenth-century writing, violin sound is
often discussed (along with the rest of the string quintet) as an abstract "foun-
dation" of the orchestra, but it is also regularly celebrated as the most sensu-
ous timbre.66Either way, it is rarely given the poetic attributions that often
66. For the former, see for example H~M-Marie-Fran~ois Lavoix, L'Histoire d'instrumenta-
tion depuis le seizidme i k c l e jusqu'd nos jours, where the violins are idenfied as "ces instruments
que forment le fond et c o m e le squelette de nos orchestres" and as "la vtritable base de I'tdifice
instrumental" ([Paris: Librairie Fermin-Didot, 1878],31-32). (The association with sensuality, of
course, is commonplace.)
accrue to the winds. But given the evidence in Debussy's syntax of his sensitiv-
ity to Mallarmt's self-conscious confi-ontation with convention, the scoring of
the Prdlude demands recognition as more than a mere manipulation of clicht.
A look into the most influential of all nineteenth-century works on instrumen-
tation, Berlioz's Grand Traitd, can suggest some ways in which Debussy's
tirnbral choices, like his harmonic puns and his formal processes, are based on
a self-conscious act of readin..
Debussy's three sonorous contrasts make good on the hints in his letter to
Willy in general terms, but not in specifics: the "dreamy" flute is absent fkom
all three contrasts between winds and "human" violins, which feature oboe
with clarinet, oboe solo, and clarinet with Enghsh horn. Berlioz's comments
on the wind instruments suggestively imply just such a differentiation between
the flute and the instruments more appropriate for a contrast between poetic
and sensuous sounds. Regarding the flute, Berlioz writes:
The sonority of this instrument is gentle in the middle range, somewhat pierc-
ing in the upper, very characteristic in the lower. The medium and high tones
have no specific, well-defined expression. They can be used for melodies of di-
verse character.
We might say already that such lack of "well-defined" character could make
the flute apt to encapsulate the fiun's vague position in his world at the open-
ing of his poem, fi-om which he will seek a more defined expression in the lyric
voice. But in Berlioz's continuation a more subtle avenue of inquiry opens:
However, with closer study [en I'btudiant hen] one finds that the flute is en-
dowed with a character peculiarly its own and with a special aptitude for ex-
pressing certain feelings. . . . For instance, if one desires to give an expression of
desolation to a sad melody, combined with a feeling of humility and resigna-
tion, the weak medium tones of the flute, especially in C minor and D minor,
will certainly produce the intended effect.67
Berlioz can only offer his characterization of this instrument with a shift in
attention fkom hearing to "closer study." We g h p s e , in this turn of phrase, a
shadow of intellectual mediation-something like an opposition between
hearing and reading written into the Traitd itself. And if Berlioz's words sug-
67. "La sonoritt de cet insaument est douce dans le mtdium, assez peqante A I'aigu, aks ca-
racttriste au grave. Le timbre du mtdiurn et celui du haut n'ont pas d'expression spkiale, bien
tranchte. On peut les employer pour des melodies ou des accents de caractkres divers. . . . II
semble donc que la flfite soit un insaument A peu prh dtpourvu d'expression, qu'on est libre
d'inaoduire partout et dans tout, A cause de sa facilitt i extcuter les groupes de notes rapides, et i
soutenir les sons elevb. . . . En gtntral cela est wai; pourtant en I'ttudiant bien, on recomait en
elle une expression qui lui est propre, et une aptitude i rendre certain5 sentiments. . . . S'il s'agit
par exemple, de domer i une chant mste un accent dbolt, mais humble et rtsigne en mtme
temps, les sons fiibles de mtdium de la flbte, dans les tons d'Ut mineur et de Rt5 mineur surtout,
produiront certainement la nuance ntcessaire" (Hector Berlioz, Grand Traite' d'irutrumatatim
et d'mchestration modernes[Paris:Schonenberger, 18431,153).
Hearing Debussy Reading Mallarme 529
gest that an effort of study might be necessary to read "humility" into the ill-
defined character of flute sound, his words on the other winds depend much
more overtly on appeals to reading.
For Berlioz the oboe "has a rustic [aflreste]character, Ml of tenderness-
I might even say of shyness."68 Thls direct association of oboe sound with
character markedly contrasts with the hesitation about the flute. The adjective
"agreste," of course, near-synonymouswith "pastoral," identifies the strongest
topical implication of oboe sound, which is cunningly enriched by Debussy's
Dorian mode in measures 37-38.69 The poetic basis of such sonorous charac-
terizations becomes more explicit in these words on the clarinet:
The character of the medium range sounds, imprinted [empreint]with a sort of
pride that tempers a noble tenderness, makes them favorable for the expression
of the most poetic sentiments and ideas. . . . The character of the clarinet is epic
rather than idyllic-like that of the horns, trumpets, and trombones. Its voice is
that of heroic love.70
Claiming to hear a poetic imprint,and invoking the modes of poetry-pic,
idyllic-Berlioz gives his description of this sound a strong literary inflection.
He continues even more explicitly: "I have never been able to hear military
music li-om afir without being profoundly moved by that feminine quality of
tone present in the clarinets; it has always left me with impressions similar to
those received when reading ancient epic poems."7l
Finally, according to Berlioz, the cor anglais sounds "melancholy, dreamy,
noble, somewhat veiled-as ifplayed in the distance." Debussy's third timbral
contrast adds this distanced wind sound to the readerly clarinet sound (m.
46), thus matching the intensified sense of mediation in this moment's
Wagnerian harmonic pun. Berlioz k t h e r suggests that the cor anglais "has no
equal among the instruments for reviving images and sentiments of the past if
the composer intends to touch the hidden chords of tender memories."72 In
the musical reading of MallarmC's "fugue," this third timbral contrast marks
68. "Le hautbois est avant tout un inmument m6Iudique; il a un caractere agreste, plein de
tendresse, je dmi mCrne de timidittn (ibid., 104).
69. The oboe and the cor anglais, not the flute, are the "pastoral" instruments of choice for
both Berlioz and Wagner.
70. "Le caractkre des sons du mLdium empreint d'une sorte de fiert6 que ternp&reune noble
tendresse, les rends hvorables a I'expression des sentiments et des idea les -plus poktiques.
- .
. . . La
clarinette est peu propre I'Idylle c'est un instrument pique c o m e les Cors, les Trornpettes, et
les Trombones. Sa voix est celle de I'htroique amour" (Berlioz, Grand Trait6 d'inmmentation,
138).
71. "Je n'ai jamais pu entendre de loin une rnusique militaire sans ktre vivernent emu par ce
timbre Mminin des Clarinettes, et pr6occupLe d'images de cette nature, c o m e aprks la lecture
des antiques 6po@esn (ibid.).
72. "[Le cor anglais,] c'est une voix mtlancolique, rkveuse, assez noble, dont la sonorit6 a
quelque chose d'effict, de Lointain, que la rend su@rieure i toute autre, quand il s'agit d'trnou-
voir en visant renaitre les images et les sentiments du passt, quand le cornpositeur veut faire vibrer
la corde secrete des tendres souvenirs" (ibid., 122).
the fiun's lonely wish to "awaken to his first fervor beneath an antique wave of
light." Perhaps, by adding to the clarinet an instrument celebrated for its evo-
cation of "memories," Debussy captures the faun's nostalga for a primordial
"fervor" beneath the light of ancient tradition.
The general point, at any rate, is clear: Debussy has chosen the wind instru-
ment of faintest "character" to stand for the ill-defined position of the faun in
most of his text, saving the more clearly poetic instruments for the more pre-
cise task of representing the faun's visual experiences of his world.'3 If it is
entirely understandable that the close collaboration with Mallarmt would
have attuned hun to such invocations of literary mode, of reading, and of char-
acter or imprint, it is also easy to imagine that in reading Berlioz's treatise
d'apt!s Mallarmd he would have been struck by this exceptionally extravagant
instance of the cliche about the violins:
Nothing can equal the stirring sweetness of some twenty E-strings vibrated by
as many skilled bows. Here is the true female voice of the orchestra, a voice at
once passionate and chaste, rending and soft, which weeps and cries and
laments, or sings and prays and dreams, or bursts forth with jubilation-as no
other instrument can. A minute movement of the arm, even a sentiment unno-
ticed by the player, hardly perceptible with a single instrument, produces in a
group the most wonderful shadings and arouses feelings which penetrate to the
depth of the heart.74
Unmediated by appeals to poetic associations, images, or memories, these
words on the violin break forth fiom the context of Berlioz's treatise much as
this sound breaks through the sonorous surface of Debussy's tone poem. The
exceptional primacy that Debussy gives to the wind instruments in the
Prdlude, often celebrated as an end in itself, more importantly serves to fiee
the violin sound utterly fiom its normative, abstract, or foundational role, such
that its sensuality can appear in the soundscape as the exceptional sound, the
sound desired and pursued by the ear of the faunlike listener.
Of course, by the 1890s h t h e r layers of instrumental theory had been
added to Berlioz, and we should expect that some of these might M e r en-
73. The choice may seem obvious, gven the faun's explicit mention of his "flute." But this is
only a single reference in a poem that also refers, more generally, to "tuyaux" and "pipeaux," and
to a "joncn-and that does not feature explicit musical reference in most sections. It is thus best to
understand the solo flute as a sign of the faun in his world rather than a specific equivalent of his
insuument. (This interpretation can account for the fact that the flute returns to lead the prelude
to a close, even though pastoral music is absent from the latter half of the poem.)
74. "Les mtlcdies tendres et lentes, conlites trop souvent aujourd'hui h des insmunents h
vent, ne sont pourtant jamais mieux rendues que par une masse de violons. Rien n'tgale la
douceur p t n t m t e d'une vingtaine de chanterelles mises en vibration par vingt archets bien txer-
cts. C'est l i la vrai voix feminine de I'orchestre, voix passionnte et chaste en m&metemps, dtchi-
rante et douce, qui pleure et crie et se lamente, ou chante et prie et rkve, ou tclate en accents
joyeux, comme n d e autre ne le pourrait faire. Un imperceptible mouvement du bras, un senti-
ment inaperp de celui qui I'tprouve, qui ne produirait rien d'apparent dans I'txtution d'un seul
violon, multiplit par le nombre des unissons, donne des nuances magmtiques, d'irrksistibles tlans,
des accents qui ptnktrent jusqu'au fond du coeur" (Berlioz, Grand Traite'd'instrumentation, 33).
rich a hearing of the Bilude. For example, in various treatises published be-
tween 1860 and 1890, F.-A. Gevaert both quotes Berlioz extensively and ex-
pands his sketchier descriptions. His elaboration of Berlioz's association of
harp timbre with bright light, for example, supports one strong poetic irnpli-
cation of the harp throughout the Prklude. But he has more to offer our hear-
ing of the horn, the last of the "mythic trio"-Pan's flute, Apollo's lyre,
Diana's horn-that b e p s the piece. To the celebrated capacity of the horn to
evoke distance, Berlioz adds only a slightly more precise idea of its "chaste"
tone, presumably based on the association with Diana.75Gevaert can si@-
cantly enrich our hearing of the collision of sounds in Debussy's third
sonorous contrast (mm. 4647):
In the dramatic orchestra, which attempts to translate not only vague aspira-
tions, but determinate states of the soul, the horn, treated as a solo instrument,
controls sentiments and situations in which the imagination intervenes in an ac-
tive way: hope for the future . . . ;recollection of the past, reminiscence of mov-
ing words spoken in a solemn moment. . . ; memory of the loved one . . . ;
appeal to an unknown or mysterious being. . . ; anxious anticipation of the
beloved. . . . In all of these ways, the horn is heard as an ideal voice, which
makes itself heard across time and space.76
The strong temporal powers attributed to the horn by Gevaert find precise ex-
emplification in the horn call that overlays the P~ilude'sthird wind-string ex-
change. With an exact anticipation of the "moving words" to the "beloved"
that will be claimed by the violins at the piece's clunax, Debussy marks his
third tirnbral contrast as an "active . . . hope for the future." If his carell de-
ployment ofwind instruments shows suggestive links to Berlioz's instrumental
poetics, his use of the horn in thls particular instance could mark a sensitive re-
sponse to a subsequent layer of the tradition. The implications of such a sug-
gestion are best pursued after we read further, into the crux of Mallarmk's
lingustic form, to prepare a hearing of Debussy's realization of the hope
sounded out by the horns.
The linguistic crux: reading as the faun

In the schematic representation of the poem's form in Example 5, I show the
whole structure, including the outermost "bifolio," and highhght the symme-
mes of the second half. Afier the "fugue" and prior to the seven-line close,
75. Berlioz writes of "la voix chaste et resemte des cors" (ibid., 184).
76. "Dans I'orchestre drarnatique, qui s'attache a traduire non-seulement de vagues aspira-
tions, mais des ttats dttermints de I ' h e , le cor aaitt en instrument principal a pour domaine les
sentiments et les situations oh I'imagination intervient d'une manitre active: espoir en
I'avenir . . . ; rappel du p d , r6miniscence de paroles tmouvantes prononcb dans un moment
solennel.. . ;souvenir de I'objet aim6 . . . ;appel a un Cae inconnu et mysttriewr . . . ;attente in-
quiete du bien-aim6 . . . Partout ici le cor est c o n p comme une voix toute idtale, qui se fait en-
tendre a travers le temps et I'espace" (Fran~ois-Auguste Gevaert, Nouveau TraitL
d'instrumentation [Paris: H . Lemoine, 18851,211).
Example 5 Schematic diagram of the "foliated" form of L'Apk-midi dJunfaune, emphasizing

the proportional and typographical symmetries of the second half
r: Lines 1-7: 7-line introduction

v: [blank]
Lines 8-51: "literary fugue"
[blank]
r: Lines 52-61: 10 lines in roman type: Tkhe donc, ...
v: [blank]
Line 62: invocation, roman type: 0 nyrnphes, . . .
r: Lines 63-74: 1 2 lines i n italics and quatsD: %ion oeil, .. ."
- = v - r : Lines 75-81: 7 lines in roman type (Ex. 6): Je t'adore, . ..
v: Lines 82-92: 1 1 lines i n italics and quatsD: %ion crime, . .."
r: [blank]
v: Lines 93-103: 11 lines in roman type: Tant pis! ...
r: [blank]
v: Lines 104-1 10: 7-line conclusion
Mallarmt presents a unified array of sections whose one-to-one proportional

relationships are clearly marked by the two different typefaces. As the diagram
on the left of the example shows, by reading each of the main blanks of the
poem's intricate "intellectual armature" as a blank folio, and by taking the
changes in type that are not separated by blanks as immediate turns f?om recto
to verso of a single folio, it becomes possible to interpret the second half as
two interleaved bifolios.77
In providing the first two words of each section, I give only the briefest in-
dication of the many ways the proportional symmetries between the paired
passages are reinforced by linguistic detail.78 The virtual "foliation" gives form
to a dynamic progression in agency of speech leading into the central seven
lines (Ex. 6) and out into retrospection. Without the "extra" line 62, the
seven pivotal lines, 75-81, would fdl at the exact center of the whole syrnmet-
77. As for the "fugue," the "one-to-one" relationships are precise to +/- 1: ten and eleven
lines in roman type,twelve and eleven in italics. It should be clear that the represented foliation is
virtual, that is, an aspect of poetic form that is independent of the actuul foliation of Mallarmt's
original edition, in which the physical pagination is all but entirely independent of the textual
form (i.e., many poetic sections cross fiom one printed folio to the next). Also, I have left out of
the diagram the precise relationship between the "literary fugue" and the rest of the foliated form,
because it does not bear directly on Debussy's reading in the Bklude. For an analysis of the virtual
"bookn that includes the "fugue," see the first chapter of my dissertation, "A Song Not Purely
His Own."
78. Of the four symmetrically paired incipits ("Tkhe donc," "Mon oeil," "Mon crime," and
"Tant pis!"), all but the third are changed for the 1876 version in ways that exempldj Mallarmt's
formal clarification through revision. "Mes yeux" becomes "Mon oeil," which is closer to "Mon
crime"; the exclamation "Tant pis!" replaces "Dtdaignons-lez!" in line 93, which creates the new
section-leadingconsonant pair with "Tkhe donc, insmunent . . ."; this line, too, altered fiom
Example 6 L'Apk-midi d'un faune, lines 75-81: the pivotal passage in the 'tirtual foliationn
of the second half of the poem
(v) 75 Je t'adore, courroux des vierges, B dClice
76 Farouche du sacrk fardeau nu qui se g h e
77 Pour lir ma levre en feu buvant, comme un Cclair
(v-r) 78 TressaiUe! la fiayeur secrite de la chair:

(r) 79 Des pieds de I'inhumaine au coeur de la timide
80 Que dklaisse a la fois une innocence, humide
81 De larmes folles ou de moins mstes vapem.
I adore you, wrath of virgins, 0 fierce / Delight of the sacred naked burden which slides / To flee
my fiery drinking lip, like a lightning bolt / Thrills! the secret terror of the flesh: / From the feet
of the inhuman one to the heart of the shy / Let all at once relinquish an innocence, humid /
With foolish tears or with less mournful vapors.
rical structure (10 + 12 lines before; 11 + 11 after). The interpolated apostro-

phe to the nymphs, in fact, both underlines the main point of the passage and
deepens the dynamic move toward the central crux. Invocation, a summoning
of the world through speech, is precisely the aesthetic motivation of the whole
second half of the poem.
Example 6 shows the climactic attainment of vocality and the pivotal turn
in the foliated form. The simple exclamation of love, "Je t'adore," is the only
time that the faun speaks to the nymphs directly, with the "je-tun address that
is the most potent promise of presence in lyric poetry.79Afier the apostrophe,
"8 dklice," the language of the first three lines dissolves the prosody in a liter-
ally "delicious" rush to the climactic diphthong of ''Tre" and the slide of the
double s into "aille." With the labiodental i3catives in "vierges," "firouche,"
"fardeau," "lir," "lkvre," "feu," and "buvant," the lower lip and upper tooth
of the last thematic contrast meet in the faun's own mouth. Claiming his
sensations for "my lip" in place of "their lip"-the only two instances of this
word in the poem-he celebrates the thrill of materialized speech in its maxi-
mal intimacy.
In the exact center of the central passage, marked by an exclamation mark,
the rush of lyricism halts as the faun admits to a "secret terror." Now the lan-
guage palpably turns a corner. The prosody falls into order again as he sepa-
rates and specifies the two bodies in a p d e l structure that clearly marks the
hemistiches of the alexandrine: "Des pieds de l'inhurnaine / au coeur de la
timide." Unlike the tumbling elisions leading to the central "thrill," the en-
jambment between lines 80 and 8 1 stutters on the blandest vowel: "humide /
"Tkhe, noble instrument. . . ," comes closer to its formal companion in sentence structure (two
words to a point of punctuation) and tone (the hint of coll&uial speech in "donc"). See the
ImpmisatMn in OC2,160-62.
79. Previously, the faun has only spoken the second-person pronoun to himself (lines 8-13;
see Ex.1) and to his flute, when he discards it in lines 52-53.
De larmes." The liquid 1 and the closed-lipped m accumulate, quenching the

breathy hiss, as we read out, through the musically crowded pairing "moins
tristes," to the dissipation of passion and linguistic presence into "vapors."
Reading for verbal music, we share with the faun a sense of vocal presence
that surges across lip and tooth to the central flowering of "Tressaille!" We
share, too, after this pivotal moment, the feeling of retreat: the congealing of
prosodic order, the muting of the poetic music, and the deceleration. As a
composition for mouth and ear, the passage seems, briefly, to consummate the
desire that has motivated the entire text: language has truly materialized as
voice, and the dreams of drama have been recovered in a sonorous space of
poetic timbres. But while we may want to believe, with the faun, that his cli-
mactic lyric music has attained intimate contact with the world, the text d
not, in fact, allow such unreflective naivete. For beyond the word that seems
like the chactic arrival, the rush of breath delivers us to a clause whose affec-
tive cast immediately perturbs any sense of lyric wholeness. The exclamation
mark may insist on the thrilling sounds in "Tressaille," but this word, here, is a
transitive verb: at its sonorous climax, the phrase remains grammatically
incomplete. With the given grammatical completion, we find ourselves
carried ineluctably beyond voiced presence to a darker, more inward realm of
experience.
To speak of a "secret terror" right after a "thrill" of vocal presence under-
cuts such presence with troublesome thought. Slipping ineluctably fkom a
reading of dramatic presence to a mentally mediated reading, we are forced to
acknowledge that the surrender to the music of these lines is only possible
through a wiMd blindness to problematic shadows of meaning. Once we be-
p to scrutinize the text more careuy, we find that it is shot through with
thematic reminiscences that undermine the lyric address. Even in this mo-
ment, for example, the nymphs remain "vierges": the theme of chastity, associ-
ated throughout with the hstrations of seeing, carries over into the attempt
to affirm the carnal promises of speech. And the very sensation of breath and
tooth on the faun's lip, we must now notice, derives its energy fkom the
"flight" of these virginal nymphs fkom vocal contact much in the way that the
illusion of blue eyes and the flight of swans or naiads escaped the faun's sight.
Finally, even the climactic conjunction of "je" and "tu," saved for this mo-
ment, finds only an unindviduated "courroux" of virgins and an unspecified
"fardeau nu." The very attempt to divide and spec& a single "tu" for intimate
linguistic union occurs within-perhaps even causes-the withdrawal of lan-
guage back &om a "sonorous space" into the ordered prosody of a printed
poem.
The crux o f the Pvblztde: listening as the faun

Some commentators have regretted the lush lyricism at the heart of the
P~tLudeas a y o u W lapse (Ex. 7). With the vibration of bows against strings
Example 7 Pdlude, mm. 63-78: Debussy's orchesual reading of Mallarme's climactic passage
4 Bars "outer recto"
> > > >
'I crescendo
Evample 7 continued
4 Bars "inner verso"
I
-1 I
~ppoggiatura(="T chord")
Example 7 continued
- -
I . . . comme un Cclair Tressaille! la fraveur secrkte de
I a *
Appoggiatura (="Tchord")
Example 7 continued
4 Bars "inner recto7'
A
A I
I m
y
-

.- -_
P
/
>
I la chair. . . CCdez un Deu
Example 7 continued
4 Bars "outer verso"

0
HAUTB.I
A
=+-u-
n-
sourdines
sourdines
- - I
- -
sourdines
- - - -
I
so savored by Berlioz, the massed violins lead all of the strings in a broad
Romantic melody in Db. The tune has been linked to various composers, from
Chaikovsky to Saint-Saens, Balakirev to Massenet. With William Austin, I take
the most direct reference to be Chopin's Db Nocturne, an iconic evocation of
be1 canto lyricism.80 The wind instruments, shedding their distanced, poetic
role, now reinforce the vocal effusion of the strings with two-note slurs that
match the fricatives of the poem's onrush to "Tressaille!" (rnm.63-70).
After four bars, the scoring thickens as the harps rise to illuminate the re-
turn of the melodic gesture anticipated by the call of two horns (m. 67). No
80. Austin juxtaposes the Chopin and the Debussy in his Norton Critical Score, 73. Debussy
himself wrote a Nocturne in Db in 1889, which anticipates the harmony of the climactic passage
of the Prilude but avoids the Chopinesque candena. What would have been too dose an imita-
tion in a piano nocturne could be framed, later, within the self-consciousweb of historical voices
in the orchestral P~dlude.
longer sounded out distantly by "their lip," the rising-third melody has been
claimed by the viohs it initially masked, becoming the sonorous equivalent of
the faun's own lyric utterance. Debussy harmonizes this clunactic claim to sen-
suous "speech" with root-position Eb-minor and Gb-major chords, as if these
most naive pre-dominant harmonies have been released from beneath
Wagner's verbal-musical tangles. At the peak of the two crescendos (rnrn. 68
and 70), a triplet flourish delivers an appoggiatura C-Bb-a recovery, within
Debussy's loosened harmonic vocabulary, of the single most expressive device
in the history of tonal lyricism.
At measure 71 the piece palpably turns a corner: the light of the harps is ex-
tinguished; the winds cease their impassioned breathing; the descending
strings muse, in decrescendo, on the second bar of the climactic flourish. The
expected tonic arrival is clouded by the flattened seventh as a horn call "speaks
across time," recalling both the chactic utterance and, more distantly, its
own anticipation of the climax. The Db tune returns scored for solo violin, a
sonorous equivalent of the faun's attempt to separate the tangle of flesh into
individuals, which seemed to cause the f d away from vocal presence. As
Berlioz suggests, the physicality of the whole group of violins is "hardly per-
ceptible in a siigle instrument." Over this fragde memory, the winds rise in re-
peated reminiscences of the central flourish, painting the "vapeurs" that end
the fleeting moment of lyric address.
With a hearing that surrenders to the scoring and the sweep of lyricism, this
section captures the impression of a reading of Mallarme's central seven lines
that rides the breath, savoring the verbal music. Debussy's brilliant initial scor-
ing plunges to a moment of breathy intensity, only to slip with lightning
quickness into a retrospective penumbra. But again, even these fleeting
pleasures can only fully be claimed by deliberately ignoring-verlooking-
troubling undercurrents. If we look back, we find that this seduction of the lis-
tener will not withstand the upper-body scrutiny of the reader any more than
the fleeting sense of untroubled lyricism at the heart of Mdarmt's poem.
Debussy has cast his central section as something like a virtual "bifolio" (see
Ex. 8). The phrasal symmetry of the sixteen measures from 63 to 78 is excep-
tional in the Bklude: four bars offer the Db tune, four bars state the climactic
gesture twice, four bars echo the climax in descent, and four bars bring back
the Db tune. Imagine printing measures 63-66 on an outer folio recto (Db
tune); 67-70 on the inner verso of that folio (climactic gesture); 71-74 on the
recto of the next folio (climactic gesture varied); and 75-78 on the outer folio
verso (Db tune). The changes of orchestration every four bars strongly reinforce
-for the eye ifnot the ear-the sense of a hidden literary order. The structure
is articulated around a moment of slippage markedly sirmlar to that at the for-
mal center of the poem's bookhke form: like the verb "Tressaille!" the climac-
tic gestures over pre-dominant harmony are syntactically incomplete. And like
Mallarme, Debussy does complete his syntax, but only with a rhythcally
weak move to the dominant after the climax, as the timbral plenitude of the
central bars falls away.
Example 8 Schematic representation of Debussy's climactic passage, mm. 63-78 (Ex. 7) as a

"wmd foliation": "outer" folios show the two appearances of the Db-major tune; "inner" folios
show the four climactic bars and the four-bar retrospective variant
v: mm. 75-78
r: rnm. 71-74
v: mm. 67-70
Reading back, we must acknowledge that the lyric immediacy sensed in the
Db tune was really no more straightforward than that in the faun's address to
the nymphs. The melody itself may breathe, in its diatonic naivete, a £i-anklyri-
cism equal to the poem's "je-tun address, but only if we deafen ourselves to
the clouding whole-tone harmony that follows the tonic, over the tritone bass
motion Db-G. This interval has defined the flute solo's a m b i p t y in its tonal
world &om the very start. By extension, it has been related to the whole-tone
field that Debussy exposed as a syntax of historical occlusion. Here, the whole-
tone chord over the bass G interposes a harmonic aporia within what seems,
fleetingly, like a stable harmonization of be1 canto melody.
Under even more carell scrutiny, we must also, finally, recognize that the
simple pre-dominants at the very point of clunax bear perturbing shadows
of the same historical self-consciousness that has infbsed the piece's post-
Wagnerian puns. The appoggiatura at the heart of the piece, a seeming
revenant of Romantic lyricism, actually poises plangently between immediacy
and esotericism. The Ch appoggiatura, in this instance, is the added major
sixth that turns the Eb-minor mad into the "Solitude" voicing of the "Tristan
chord." Given the symbolic precision with which this voicing appeared earlier,
we must see its recurrence as similarly studied. The most effusive melodic
flourishes, that is, are faintly shadowed with the analytical writing that has, in
giving literary meanings to Wagnerian harmonies throughout the Prklude, si-
multaneously marked their remove £i-omthe robust expressive context that
once seemed to infuse them with intimacy.
Implications
Reading in history
At the center of the piece, as in the poem, the conventions of Romantic lyri-
cism seem, briefly, to be recovered, only to be recognized as incurably broken
into syntactical and sensuous components. Perhaps we have always known
that the Prklude hovers between nineteenth- and twentieth-century modes of

musical thought. But a precise exposure of how the equipoise is achieved, on
the model of L'Aprds-midi d'un faune, can offer new refinement to the under-
standing of Debussy's poise on the threshold of modernism. In conclusion, it
is possible to suggest some wider implications of Mallarmt's lessons for musi-
cal modernity by glancing briefly into the hstorical contexts for the syntactical
and sonorous means by which Debussy acheves his musical equivalent to the
poetic conflict between speech and writing.
As regards musical syntax, the Wagnerian references in this tone poem at-
tain greater symbolic specificity than the puns on Wagner's title that Abbate
has shown in Pelldas. References to leitmotivic labels, that is, are traces not just
of Wagner's works, but of a way of understanding them. The cfistinction is
crucial for historical understanding, for leitmotivic analysis was a relatively late
addition to the spectrum of French responses to Wagner. The Revue u7adnk-
rzenne, for example, initially featured far more reverential testimonials than
careful analyses.81 During the course of the 1880s and 1890s' the leitmotivic
approach gained ascendancy both in the Revue and in the wider context of
French Wagner reception.82 Debussy's Prklude, written during the latter stages
of this analytical ascendancy, was premiered as the fist flood of !id-length leit-
motivic analyses was published in France. With the verbal-musical puns that
mark his translation of a tension between vocal immediacy and literary artifice,
Debussy encapsulates in music the deepest hstorical implications of the analyt-
ical method. The Prktude marks a moment in history in which the celebrated
intimacy of Wagner's music was being broken, captured, flattened by system-
atic analysis-a moment in which the Wagnerian sensorium, so to speak, was
fading ineluctably into the scriptorium.
Abbate, who suggests that the harmonic puns in Pelldas "illustrate a late
nineteenth-century analysis of one aspect of Wagner's style," actually adum-
brates, for that work, the historical implications I see in the P~klude.83But in
her strongest statements about Debussy's "games" she begs a central ques-
tion. She suggests that once we "clear away" dl "coincidental" Wagnerisms
from the interpretation of Debussy's music we are left with quotations whose
8 1. Baudelaire's 1861 essay on Tannhausevreappeared in the Revue, for example, along with
latter-dayemulations by w a p b h e j such as Catde Mend&; Wagner's own writings appeared in
translation, along with reports !?om pilgrims to Bayreuth.
82. See Pierre Bonnier, "Documents de critique exptrimentale: Le Motif-organe des maitres-
chantem," Revue wa~nbkenne1, no. 2 (March 1885); Charles Bonnier and Pierre Bonnier,
"Documents de critique exptrimentale: Pavsifal," Revue wagnbkenne, 3, nos. 2,3,8-11 (March-
December 1887); Charles Cotard, Tristan et Ireu1t"c Ersai d'anabse du drame et des leitlnottfj
(Paris: Fischbacher, 1895); Maurice KdFkrath, Guide thdmatique et analyse de '"Pistanet Iseult"
(Paris: Fischbacher, 1894); Hans von Jolzogen, 'Trstan e t Iseult": Guide suv la E~ende,lepoeme
e t la mtlsique, trans. Charles Cotard (Paris: Fischbacher, 1894); and Albert Lacignac, I2 Vqaae
artiscique d Bayreuth (Paris: Librairie Charles Delagrave, 1897).
83. Abbate, " T h a n in the Composition of Pelgas," 141.
"purpose . . . may indeed be completely unallied to the exigencies of musical

composition"-in other words, with references which have "no actual musical
function or consequence."84 But just as Mallarmt's poem does not enact a
conflict between the "poetic" and the "nonpoetic," but rather a historically
determined tension between possibilities of poetic expression, it is the very
definition of the "musical" that is centrally at stake for Debussy in the Prdlude.
His Wagnerian puns exempw a shift in the possibility of musical expression,
by whlch such esoteric medations come to be recognized as unavoidable in
the face of a loss of a previous era's claims to immediate communication.
A different, related response to the lessons of Mallarmt can help in the at-
tempt to characterize precisely the tone of Debussy's encapsulation, in the
Prdlude, of this hstorical moment. An approaching loss of musical immediacy
to quasi-literary reception, had, in fact, been hailed in surprisingly positive
terms some years earlier in the pages of the Revue wagntrienne. Teodor de
Wyzewa, a friend of Mallarmt, wrote in 1886:
Already the time is approaching in which musical sounds will no longer be able
to produce emotion, if they are directly heard; their true character as sounds
will prevent the soul from considering them as pure signs of emotion. A new
music will become necessary, written, not played, suggesting emotion without
the mediation of heard sounds--suggesting it better and more intimately. The
music of words, which is poetry, originally needed to be spoken in order to be
moving: today we read poetry: and its sonorities produce emotion in us more
completely, without the mediation of the voice.85
De Wyzewa's invocation of "pure signs of emotion" echoes MallarmC's own
more succinct statements of his vision of modern poetry. Yet before following
de Wyzewa and deciding to hear (and see) in Debussy's Prtlude a similarly tri-
urnphalist enactment of a modernist hstorical teleology, we should recognize
that t h ~ spassage, with its patently Mallarmtan inflection, can be taken to ex-
emp* an all-too-common simplification of Mallarmt's own stance before
modernity. His essay "Crise de vers," for example, completed about the time
he first met with Debussy, contains t h ~ oft-quoted
s paragraph:
The pure work implies the elocutionary disappearance of the poet, who cedes
the initiative to the words, mobilized by the shock of their inequality; they flare
84. Ibid., 139.

85. "Mais deja I'heure approche oh les sons musicaux ne pourront plus produire I'tmotion,
s'ils sont directement entendus; leur caractere propre de sons emptchera I ' h e de les considtrer
come de p m signes d'emotions. Une musique nouvelle deviendra ntcessaire, ecrite, non joute,
suggerant I'kmotion sans l'intermtdiaire de sons entendus. La suggerant meilleure et plus intime.
La musique des mots, qui esr la potsie, avair d'abord le besoin pour Cmouvoir, d'ttre dire: aujour-
d'hui nous la lisons: et ses sonorites nous procurent plus entitrement I'tmotion, sans I'interme-
diare de la voix" ("Notes sur la musique wagnerienne et les oeuvres musicales fran~aisesen
1885-1886," Revue wagnkrienne2, no. 6 [July 18861: 183-93, and 2, no. 8 [September 18861:
259-68,266).
up with reciprocal reflections like a virtual trail of fire on jewels, replacing the
respiration perceptible in the ancient lyric breath or the enthusiastic personal
address of the phrase.86
Often seen as a celebratory assertion of modernist teleology, t h ~ spassage
might better be read, after formal analysis of the faun poem, as exemplary of
the "ironic slant" that Paul de Man locates in many of Mdarmt's more
grandiose critical claims.87 The climactic crux of the poem recovers, briefly but
precisely, both the "respiration perceptible in the ancient lync breath" and the
"enthusiastic personal address of the phrase." Although the work might also
show the "ancient lyric breath" evaporating as illusion-r shattering into
"reciprocal reflections of wordsn-the dichotomy, in this poem, is never re-
solved. Whatever hls criticism might assert, Mallarmt's poetry brings writerly
"purity" into plangent tension with the promises of communication and sen-
suahty it displaces.
Such elegiac poise might be seen as one of the deepest lessons Mallarmt
took fi-om classical pastoral. In his important studies of this tradtion, literary
critic Paul Alpers suggests that Virghan Eclogues are not prirnanly concerned
with rustic bliss or utopian landscapes, as has often been assumed, but rather
with the fiction of poetic "singing" itself. Not only does Alpers's shift of em-
phasis fit well with a formal analysis of Mdarmt's &LuBue that restores the
"lyric voice" to the center of its formal struggles, but the way in whlch the
poem poises, unresolved, before the disappearance of an ideal of lyricism f d s
into line with his clearest statement about pastoral form:
"Suspension" is the word that best conveys how the oppositions and disparities
ofVirg~I~an pastoral are related to each other and held in the mind. As opposed
to words like "resolve," "reconcile," or "transcend," "suspend" implies no per-
manently achieved new relation.88
No "permanently achieved new relation" between voice and writing is
claimed in the faun E ~ I ~ And U ~ in. following Mdarmt's modernist adapta-
tion of Virghan pastoral and centering his musical ~ ~ l o on ~ aumusical
e equiv-
alent of "lyric voice" that is as divided as the faun's body, Debussy composed
86. "L'oeuvre pure implique la disparation elocutoire du $te, qui chde I'initiative aux mots,
par le heurt de leur inegalitt mobilisb; ils s'allument de reflets rkciproques comme une virmelle
&te de few sur des pierreries, remplaqant la respiration perceptible en I'anden souffle lyrique
ou la direction personnelle enthousiaste de la phrase" ( OC, 366).
87. In "Lyric and Modernity," de Man recognizes a "half-ironic" tone in Mallarmt's refer-
ences to "Le Livre" as the telos of his literary project (p. 180). He suggests elsewhere that the
Enghsh literati to whom Mallarme initially read La Mtm'gue et les lettres "probably had difficulty
understanding the rhetoric of crisis that Mallarmt was using, with an ironic slant that would not
have been lost in Paris, but that certainly baffled his foreign audience" ("Criticism and Crisis," in
his Blindnerr and Insight, 5 ) . It seems to me that his Parisian followers were just as likely as any
foreign audience to miss this irony.
88. Alpers, What is Pastoral? 68.
Hearing Debussy Reading Mallarmi 545
his own elegiac "suspension" on the brink of music's fade into an art form
"written, not played," only expressive, if at all, "without the mediation of
heard sounds."
Hearing in history
It is somewhat more dimcult to demonstrate that the Prilude's orchestration,
in itself, might stand with "suspended" pastoral poise before a vision of music
"written, not played." On the model of its self-consciouslyintertextual syntax,
however, it is possible to hear the piece's "sounds" themselves as poised at a
turning point of an ineluctable historical trajectory. Characterizing such a tra-
jectory in MallarmCan terms, we might well locate Debussy's piece against the
background of a gradual encroachment of conventional written description on
a sonorous tradition that could once claim immediacy of expression.
Berlioz's Traitt would stand as both source and center of such a
All of Berlioz's words on sounds, inflected by literature or not, had a testa-
mentary immediacy: he was describing, in the terms of his own cultural invest-
ments, his hearing of Gluck, Beethoven, and Weber. The first stage of a
progressive loss of immediacy to intertextuahty could be noted in Gevaert's
extensive quotation of Berlioz in his three treatises (1863,1885, and 1890)-
a trend that was to continue through the 1892 Traitdpratique d'instrumenta-
tion of Debussy's teacher Guiraud, into the 1904 treatise of Widor (titled as a
continuation-"suite"-f Berlio~).~oThe first official history of orchestral
practice, Henri Lavoix's Hiscoire de l'instrumentation depuis le seizi2me sikcle
jusqu'a nos jours of 1878, might be drawn into the story as another central
symptom of the fade of a testamentary poetics of sound into the scriptorium
of c o n v e n t i ~ nThe
. ~ ~ end of the story would be harder to determine. Berlioz
receives further extensive quotation in the Lavignac Encycloptdie of 1913-2 1;
no doubt later instances abound. But Richard Strauss's 1905 reedition of
Berlioz would seem to mark an important turning point, after which later
89. Besides the 1837 Manuel des compon'teursofFCtis, Berlioz's Traitt had at least two sigruf-
icant precursors: Georges Kastner's Traite'gtntral d'inmumentation (Paris: Prilipp, 1837 [suppl.
18441) and Cours d'inmurnentation considM sous les rapports pottiques et philasophiques de l'art
(Paris: Prilipp, 1839 [suppl. 18441). Kastner's name recurs as a point of reference late into the
century, but Berlioz's Traitb quickly supplanted Kasmer's as the central work on the topic. For
more on the sources for Berlioz's treatise, see Joel-Marie Fauquet, "The G'rand Traitb d'instru-
mentation," trans. Peter Bloom, in n e Cambridge Companion to Berliozj ed. Bloom (Cambridge:
Cambridge University Press, 2000), 164-70.
90. Fran~ois-AugusteGevaert, Traitbge'nbral d'inmumentation (Ghent, 1863), Nouveau
Traite'd'instrumentation, and Cours mtthodique d'orchestration (Paris and Brussels: H. Lemoine,
1890); Ernest Guiraud, Traite'pratiqued'instrumentation (Paris: A. Durand et fils, 1892); and
Charles-MarieWidor, Technique de l'orchactre modernefaisantsuite au Traitd d'inmumentation et
d'orchemation de H. Berlioz (Paris:H . Lemoine, 1904).
91. Lavoix's Histoire de l'instrumentation was commissioned (through a competition)by the
Academie des Beaux-arts.
instances could arguably be seen as belated.92For by adding copious examples

from Wagner to his ecfition, Straws draws the most grandiose and intimate
realization of Romantic timbral poetics into the pages of the Berlioz treatise
itself, rounding off a history of hearing and writing (and rewriting) that ex-
tends from Gluck, through Berlioz and Wagner, to Strauss and his contempo-
raries Mahler and Debussy.
The simplest readmg of the Prblude's position in such a history could prob-
ably consider it only in relationship to the source, Berlioz's Traitb. That is, it is
one thing to invoke "readmg" in the hearing of wind sound, as Berlioz does,
but it is quite another to read such invocations as shadowed by reading, as
Debussy does in the Prilude. In other words, an immediate set of associations
for the author of the treatise, when drawn into a formed realization of
Mallarmt's conflict between hearing and reading, is exposed as thoroughly
mediated by cultural literacy, and thus distanced-like Virgd's pastorals-from
truly lyrical expression. Debussy's writing for the violins, on the other hand,
might best be understood by supplementing questions of orchestral theory
with exemplary practice, and by comparing the orchestral form of the Prblude
with that of one of the important points of reference in its Wagnerian puns. In
Wagner's introduction to act 3 of Tristan, strings lead through a meandering
horn passage to the famous cor anglais solo identified by Tristan as "Die Alte
Weise": "poetic" pastoral wind writing appears as a nostalgic island amidst the
fimdamental string textures of the nineteenth-century orchestra. By gving
primacy to the winds in his pastoral, Debussy reverses the relationship, such
that the violins, and their lyricism, come to be heard nostalgically, as "Die Alte
Weise."
Beyond simply marking a moment both "after Berlioz" and "after
Wagner," however, the Prdlude could also be said to distill into music its mo-
ment in the wider history of nineteenth-century instrumental theory.
Debussy's timbral poetry, in other words, might mark a point on this historical
continuum somewhat like that exemplified in words by Gevaert. Whether or
not Debussy actually read Gevaert as one &ect source of inspiration, his col-
laboration with Mallarme would have attuned him to the wider issue: the
progressive capture of expression by writing, through the accumulation of
intertextual layers of tradition. And Mallarm6 occasionally, in his invocations
of musical timbre, hmted that he was sensitive to an encroachment of writing
on orchestral expression in particular. The 1886 sonnet "Homrnage P Richard
Wagner," for example, ends with these lines:
Du souriant fracas originel hai'
Entre elks de clartts maitresses a jailli
Jusque vers un parvis n t pour l e u sirnulacre
92. Hector Berlioz, Instrumentationslehre, rev. and trans. Richard Strauss, 2 vols. (Leipzig:
C, F. Peters, 1905).
Trompettes tout haut d'or parnt sur les velins,
Le dieu Richard Wagner irradiant un sacre
Ma1 tu par l'encre m&meen sanglots sibyllins.
(From the smiling originary h c a s hated / Amongst themselves by m a s t e m

clarities has sprung / To a parvis born for their simulacrum // Trumpets on
high of gold faded on vellum / the God Richard Wagner irradiating a rite /
Badly silenced by ink itself in sibylline sobs.)
Mallarmt's arcane imagery of a "rite badly silenced by ink itself" is dominated
by a reference to instrumentation, "trumpets faded on vellum [pages]."
Various interpretationshave been proposed for these obscure lines. I read them
as an apt epigraph-r epitaph-for the Prhlude, which, in punning on musical
syntax apks Waflnv, similarly holds up the promises of nineteenth-century or-
chestration as faded into the pages of convention-"silenced by ink itself."
Rehearing Debussy's modernism

To arrive, with Mallarmk, on pastoral elegy (and on "sibylline sobs") is to stray
widely fi-om the usual celebrations of the Prdlude's initiatory modernity-and
even, perhaps, to approach the critical terrain of Adorno, whose own musings
in his essay "Classicism, Romanticism, New Music" push even m e r in this
melancholy direction:
If in the course of history [music] has come to resemble the other arts in many
respects, this process-which is a process of being permeated with language-
has left it scarred. The unconscious suffering resulting &om those scars is not
the least of the reasons for the rebellion against this linguistic amnity that has
been detectable ever since the emergence of the new music.93
By locating the source of "unconscious suffering" in the resemblance between
music and other arts, Adorno might suggest a reflexive turn in my historical
argument: if the Prilude is "scarred," that is, this may be not only because of
the games in its syntax or the faded intertextuality in its timbral poetry, but
also-before or beneath these-because it is thoroughly "permeated" with
Mallarmt's language in the first place. Stiu, Adorno's morbid language seems
to raise again, even more insistently than my own faintly mournful tones,
Daverio7squestion as to "what we actually hear" Can such pathos truly be lo-
cated in a piece whose l?ee "flight" and y o u M "breath" were celebrated by
Boulez as the "awakening to modern music"? The question encapsulates the
challenge of understanding the Prhlude's "modem" means of expression. For
if we could hear the accents of mourning in the music, that would imply that
Debussy had reactivated the rhetoric of pathos of the expressive world he is on
the point of relinquishing. But elegy, in the Prilude, as in Mallarmt's &loBue,
93. Theodor W. Adorno, "Classicism, Romanticism, New Music," in his Swnd Fkures, trans.
Rodney Livingstone (Stanford:Stanford University Press, 1999),108-9.
does not reside primarily in expressive rhetoric, but rather in the forms given
to artistic material. The point calls for one last look at poetry and music.
Debussy claimed to have "prolonged" Mallarmt's last line: "Couple, adieu;
je vais voir I'ombre que tu devins." Mallarmt draws all of the poem's key
terms into suspended opposition in a line whose full message of farewell is car-
ried by the formal web. "Couple" is given the singular pronoun "tu," echoing
the slippage between plural and singular address that undercut the central ut-
terance. "Je" opposes "tu" one last time. "Vais voir" ("willsee") doubly op-
poses "devins" ("became"): seeing opposes being; the spoken future tense
opposes the (written) past historic. The "shadow" of evening hovers amidst
the terms like the shadowy present between past and future, and the shadow
between "je" and "tunthat lyric address seeks, vainly, to overleap. The valedic-
tion, "adieu," similarly suspended within the formal web, speaks to the world
once more, only to relinquish it. In Debussy's reading (Ex. 9), the last rise of
octave-doubled violins is answered by the low harps in mirror motion center-
ing on the destabilized tonic, E. A last variant of the leading motif brings a
faint memory of sensuous violin sound together with the chaste horns. Finally,
the flute's filling fourth combines with the rising mtone of the violin in a
revoicing of the "Desire" chord that collapses, without a dominant, onto the
"tonic" third E-G#. Dimly lit by harp harmonics like the star ("astre") in
Mallarmt's penultimate line, Debussy's ending relinquishes a set of poetic and
expressive promises in melody, timbre, and harmony. In the future that both
he and MallarmC "will see," the conventional syntax of Romantic expression,
shattered by analysis, will have to be acknowledged as arbitrary; the tirnbral
materials of speech and of the orchestra will retain nothing of their previous
promise of presence.
Of course, the important question about such modernist enactments is
never whether they are true in any absolute sense: while it is easy to think
ahead, on the one hand, to music of much more occult esotericism, and on
the other, to far more resolute manipulations of sound as brute material, the
conventions of Romantic expression would remain available to anyone who
rejected the inevitability of the loss staged by Debussy d'aprds Mallarmh. But
perhaps to consider the fiilude primarily within a history of composition in this
way is to misconstrue its articulation of a moment on the cusp of modernism.
That is, we might take the fact that the sonorous poetry of Debussy's reading
went unrecognized for so long as poignant evidence that the anticipated en-
trapment of music by readerly esotericism did, in fact, come to pass. Wlthin
the systematic, pitch-focused methodologies that predominated for much of a
century, the pastoral poise of the Prilude's poetic materials could never be per-
ceived, because analysis had always begun by flattening music into unevocative
''writing.'' In this sense, a hearing and a reading of the Prilude's reading of
L'Aprb-midi d'un faune can significantly deepen our understanding of
twentieth-century modernist musical culture as a culture apds Debuy.
Hearing Debussy Reading MallarmC 549
Example 9 The last line of L'Aph-midi d'un fazme, line 110, and its orchestral "prolongation"
in the Pvtlllde, mm. 105-10
Couple, adieu; je vais voir l'ombre que tu devins.

- n
n. ,, ~ r e t e n u Y
Tres lent et t r b retenu iusau' B la fin

Example 9 continued
* *
"T chords":
"Le Dksir" voicing
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Debussy's Bblude a LJaprds-mididJunfaune has so fir been thought to relate

only obliquely to Mallarmt's poem LJApr?s-midid J mfame. The actual so-
phistication of Debussy's reading of Mallarm6 becomes apparent through a
newly precise formal analysis of the poem, and a new analytical emphasis on
the orchestration of the prelude. In adapting the conventions of classical pas-
toral, notably the quasi-dramatic textual presentation of both Virgtl's Eclogues
and Theocritus's Idylls, Mallarmt focuses his text on an irresolvable moment
of conflict between sensuous speech and literary writing. The faun, the poem's
main "character," comes to symbolize the reader's divided experience of a text
composed on the cusp of a loss of Romantic lyricism to modernist impersonal-
ity. In Debussy's reading, a recurring contrast between strings and winds audi-
bly tracks Mallarmt's poetic template and also, more subtly, signals an esoteric
layer of puns on Wagnerian IeitrnotitS in its syntax. A division between hearing
and analyucal reading is created, which encapsulates a historical moment in
which the Romantic orchestral poetics exemplified in Berlioz's influential trea-
tise is losing its immediacy, and the Romantic harmony that attained an ex-
pressive limit in Wagner's music dramas is being broken up by systematic
analysis.

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Code, D.J.

(2001) Hearing Debussy reading Mallarmé: music "après

Deposited on: 1 March 2011

Enlighten – Research publications by members of the University of Glasgow

[ Jouml of tbc Amnican Musicologial Sociery 2001, vol. 54, no. 31

efforts promises more precise historical understanding than to celebrate again

Setting the Scenes

Speaking and reading Mallarm6

at the Thtitre de I'OdCon in 1863.13In adapting some details fiom Banville's

a slanted account of the long travail de mallarmtisation undergone by this

brated as the wellspring of the Western pastoral traditi0n.~3Classical pastoral

In a third "musical" dimension of his text, Mallarmk sigdicantly reinforces

29. "Le p d m e est devenu une sorte dejiguelitteraire,

31. OC, 1463.

he repeatedly expressed his own ambivalence about the Wagnerian "wedding"

Podmes, to have achieved something like a successll exorcism. In 1887, he

Debussy and Wagner

42. "Debussy'sSummer Rites," 228-29,232.

sides of this methodological split are equally crucial to interpretation is to open

Rereading Debussy's "denial"

drama-repeatedly revolve around invocations of orchestral timbre.49 One of

Comme brise du jour chaude dans ta toison?

Au bosquet arrose d'accords; et le seul vent

C'est, a l'horizon pas remue d'une ride,

( 23 0 bords siciliens d'un calme marecage SHORES

i 26 "Queje coupais ici les creux roseaux domptks SHORES i

Sicilian muse, the faun can only-in his "vanity"-laim to be ransacking

ejaculation-"Mais bast!"-in the same formal position as the denial-"Que

Debussy's reading of the "literary fugue"

PrLlude a l'aprk-midi d'un faune, mm. 16-20

"Le DCsir" voicing

520 Journal of the American Musicological Society

E#[F]-B-D#-G#. Such a direct reference is appropriate for the first physical

the thematic contrast in the augmentation: PriIude, mm. 36-48

0 bords siciliens. . . CONTEZ

I . . .sous les fleurs d'ktincelles,

hf-2 hf-2 .rmf -

"T chord": I ~b added-sixth Whole-tone

The linguistic crux: reading as the faun

Example 5 Schematic diagram of the "foliated" form of L'Apk-midi dJunfaune, emphasizing

r: Lines 1-7: 7-line introduction

Mallarmt presents a unified array of sections whose one-to-one proportional

(v) 75 Je t'adore, courroux des vierges, B dClice

76 Farouche du sacrk fardeau nu qui se g h e

77 Pour lir ma levre en feu buvant, comme un Cclair

(v-r) 78 TressaiUe! la fiayeur secrite de la chair:

80 Que dklaisse a la fois une innocence, humide

81 De larmes folles ou de moins mstes vapem.

rical structure (10 + 12 lines before; 11 + 11 after). The interpolated apostro-

De larmes." The liquid 1 and the closed-lipped m accumulate, quenching the

The crux o f the Pvblztde: listening as the faun

4 Bars "outer recto"

> > > >

4 Bars "outer verso"

Example 8 Schematic representation of Debussy's climactic passage, mm. 63-78 (Ex. 7) as a

that the Prklude hovers between nineteenth- and twentieth-century modes of

"purpose . . . may indeed be completely unallied to the exigencies of musical

84. Ibid., 139.

instances could arguably be seen as belated.92For by adding copious examples

Trompettes tout haut d'or parnt sur les velins,