Santa Maria)  One stanza of this poem begins by depicting a scene "inert, [where] all things burn in the tawny hour" as the speaker stands alone in "ancient floods of light," a contrast with an earlier part where he described his doubt as "the hoard of ancient night." That speaker notices two intertwined figures at his feet who are bruised by "languor in the pain of being two," and he seizes them, without untangling them.
Santa Maria)  One stanza of this poem begins by depicting a scene "inert, [where] all things burn in the tawny hour" as the speaker stands alone in "ancient floods of light," a contrast with an earlier part where he described his doubt as "the hoard of ancient night." That speaker notices two intertwined figures at his feet who are bruised by "languor in the pain of being two," and he seizes them, without untangling them. This piece was begun about the same time as its author's long poem "Herodias," and published in a volume decorated by a line drawing of Edouard Manet. In the end, the speaker lies on sand delighting to open his mouth to "wine's potent star" and return to dreams, saying "I shall see the shade that you now are." FTP, name this poem which begins by talking about perpetuating some nymphs, a symbolist masterpiece by Stéphane Mallarmé which inspired Claude Debussy to compose his Prelude.
Santa Maria)  One stanza of this poem begins by depicting a scene "inert, [where] all things burn in the tawny hour" as the speaker stands alone in "ancient floods of light," a contrast with an earlier part where he described his doubt as "the hoard of ancient night.
“The {Afternoon of a Faun}”