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By way of introducing the page free-verse poem to follow, it describes the weight that the empty spaces, varying typefaces, and uneven layout of text contribute to the meaning of the work.

The poem as a result is structured to act on one level as something of an exploration of vision, in that it directs the eye along an inconsistent track from page to page, top to bottom and across, sometimes moving smoothly and sometimes jarringly.

On several pages the placement of words assumes the form of a constellation of stars. On others, the sweep of the text hurries the eye toward the right-most edge of the page, replicating visually the pull of the flow of water to an uncertain destination.

Since it originally appeared in , the poem has been republished many times. Several of these publications are accompanied by illustrations, which work to expand upon the visual power of the literary work. Also available are a series of illustrations for the poem done by Odilon Redon in , which were executed for an edition planned by Vollard but never published.

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His use of complex syntax, and subtle turns of phrase, often makes his verse seem more abstruse than its content indicates, revealing as it does a relatively narrow though sophisticated world, predominantly literary and philosophical in nature. Part of the charm of his poetry is his ability to create a rich and detailed edifice from the simplest of ideas, objects, or occasions. Philosophically he is associated with ideas of absence and emptiness, but also of a quasi-Platonic realm of forms inherent in that emptiness, though paradoxically his verse, which often attempts to realise the ideal essence of the perceived external reality, through its images, symbols, and metaphors, appeals strongly to the senses. An experiment in typographical layout, the author used variable spacing to indicate voids and pauses which highlight and contrast with the elements of text. The poem contains symbolist, impressionistic, and proto-surrealist themes, the various linguistic threads being emphasized by changes in font size. The poem has influenced many later experiments in the graphic design of free verse texts.

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Stéphane Mallarmé

Often included in exhibitions tracing the history of the artist's book, [2] [3] the work is seen as a seminal example of the European post-avant-garde. Broodthaers had lived in poverty as a poet in Brussels for twenty years before becoming an artist in This was the first of many works that 'employed techniques associated with poetry but applied by him not only to words but to images and symbols. The poem was famous for its extraordinary typography, which anticipated the 20th century interest in graphic design and concrete poetry.

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