The process of impersonalization whose theory one finds in the Divagations is illustrated in Mallarmé's poetry by the disappearance of the concrete human face as an emblem of individuality. The poem is both a mirror in which the author and the reader are reflected and an implement of their proceeding towards impersonality. Narcissus, contemplating himself in the text to loose his ordinary face, gets a fictitious one that leads to the void universality of his divinised interiority. Whether it shows an angelic face or a stellar one or it sketches a few schematic strokes that punctuate paleness, the mirror of the work substitutes to the outer face an impersonal, typical, abstract one, likely to gather in its blank, vibrating, manifold form the totality of concrete individuals.