This essay assesses Quentin Meillassoux’s numerological approach to Mallarmé’s problematic but formally innovative poem “Un Coup de dés,” using a semiotic methodology to reveal the deficiencies of that approach from the viewpoint of literary theory. Section 1 describes my expanded version of Michael Riffaterre’s semiotic theory of the structure of modern poetry. Poems are generated by two underlying propositions, each of which governs the structure of a set of symbolic images on the textual surface. These “matricial” propositions are linked by (...) a syntagmatic relation. The primary text functions as subject-sign of the Peircean semiotic triad; its object-sign is an intertextual model. The interpretant of these two textual signs is assembled by the reader and has a sociolectic counterpart – or context – which has similar lexical content but contrasting internal structure. This contrast may produce a change in the preconceptions of the reader. Section 2 examines Meillassoux’s approach to Mallarmé’s poem, which is preoccupied with a “number” supposedly encrypted in the text. This is not convincingly related to the propositional structure of the poem. In Section 3, the text is interpreted using a semiotics-based methodology. The poem is generated by two matrices: one concerning the “Master” versus the storm, and the second concerning the power of Chance. The relation linking the matrices is clarified. This analysis is compared with that of Meillassoux throughout. Section 4 resumes the differences between Meillassoux’s concentration on the “number” and the “siren,” and my analysis which centres on the relation between the Master (symbolising traditional poets and their preferred metre) and the Constellation (symbolising the wide range of new future poetic metres and formats). Meillassoux’s approach turns out to be unconvincing. (shrink)