Article published in Manifeste 24, under the direction of Bruno Pompili, éditions B.A. Graphis, 2006

How does one read today this Surrealist Manifesto (1924) which marked, once and for all, the advent of the movement? Armed with the historical and genetic studies of Marguerite Bonnet[1], the institutional analysis proposed by Pascal Durand[2], and even, at a pinch, this poverty: Michel Meyer presents André Breton's Surrealist Manifestos[3], the reader is now in a position to approach André Breton's manifesto text from its main angles. However, it seems to me that no one has lent themselves to the only obvious reading, that which is imposed by the initial publication of the manifesto as a preface to this collection of automatic poems that is Poisson soluble. Moreover, I assert here that no one has thought to account for a retro-reading of the text, going from the automatic poems towards their preface, and even less of a totally automatic reading of the manifesto itself. It seems to me that in the age of computing and the Internet, one cannot dispense with such an approach.

It is certainly not the same automatism.

One, according to André Breton, is a "Dictation of thought, in the absence of any control exercised by reason, outside of any aesthetic or moral preoccupation" (45)[4]. It is a production process.

The other results from the very conscious use of certain calculations produced automatically, according to a program conceived in advance, by a machine that I call golem, with a lowercase initial to avoid confusing it with the creature of the Maharal of Prague[5]. It is situated on the side of reception and understanding.

These two automatisms have their historical raison d'être and their legitimacy. One hardly writes automatic texts anymore in the Bretonian sense of the term[6]. On the other hand, one uses very frequently, even daily, automatism in the second sense, without however applying it to the resolution of literary problems. It suffices to submit a digitized version of the founding text to this marvelous machine which, properly programmed, will provide us with an automatic reading, which will then be submitted to interpretation, as are the texts produced by pure psychic automatism.

Text analysis programs are not lacking. It matters little which one (or ones) I will use, since I have promised the promoter of this book[7] not to encumber my analysis with any figures. I will comment on the results of these treatments with the greatest scrupulousness, and hold the computer outputs at the disposal of the curious reader.

In a didactic concern, my approach will consist in progressively studying the lexical content of the first manifesto, the words that constitute it, then, broadening the field of analysis, in comparing it to the manifestos of the contemporary avant-garde to, in a third step, bring it closer to the other manifesto texts that, very much against his will, Breton resolved to fulminate.

I. Tabular Reading of the Surrealist Manifesto

The current reading, the most routine, that to which we are accustomed, consists in reading a text in a linear and consecutive manner, obeying, in a way, the author's reading injunctions, and the morpho-syntactic uses of the language. We are thus so conditioned, and the authors with us, that few escape this order, except for some poets, in a framework that I would say is experimental. Now, if, with Breton, we refuse the velvet path of routine, the first step consists in breaking this linear order, in breaking the continuity of the text to oppose it with a tabular reading that all analysis tools propose. It consists in putting in columns the words used in the text, indicating opposite, in a second column, their frequency. The result presents itself in the form of a table that one can arrange alphabetically or hierarchically, preferably in descending order.

First advantage: the reader will only have to scan a reduced list of forms, exactly one fifth in the case of the first Manifesto. Not one word in five of the text, but indeed all the words of the Manifesto, which happen to be employed five times on average. Faithful to my promise, I will make no comment on the figures appearing in the second column, except to note that two thirds of these forms are employed only once (hapax), a (relative) index of a rich vocabulary in Breton or, more exactly, of his deference towards the (implicit) rule of non-repetition.

Thus escaping the linear straitjacket, the reader is better able to observe the lexical stock used by the author, the words he employs most frequently and those whose absence is significant. Thus, it is not indifferent to note that the most expected words: manifesto, revolution, Marx, psychoanalysis (or psychoanalysis, as one wrote then), etc. are not found there (or practically not, since "revolution", employed only once, figures in a citation making only reference to 1789).

A. Strange Preface

It is clear that in the autumn of 1924, in publishing his manifesto, Breton is not yet fixed on the exact nature of this text placed before what is still for him the essential, the collection of "little stories that form the continuation of this volume" (67) entitled Poisson soluble. More exactly, he refers to it three times, not without fright, indicating thereby that, placed in the conditions of automatic writing, his thought escapes him and that he has not yet pierced the mystery of his saying: "Here is the 'soluble fish' that still frightens me quite a bit. Soluble fish, is it not I the soluble fish, I was born under the sign of the fishes and man is soluble in his thought! The fauna and flora of surrealism are unavowable." (66) Would this text sign his illocutionary disappearance? Also he spoke earlier of the "serpentine, maddening lines of this preface" (49) of which everything leads one to believe that it was imposed on him against his own will by the necessity of justifying this "mechanical writing" (62) that he practices without being able to control it completely. This is moreover what genetic study confirms[8]: the generic qualification, so peremptory and carrying the future, only intervened at the last moment, without anything announcing it in the text. In sum, the word "manifesto" is indeed a nullax as I define it, once and for all: n. m., absence of a word in a text where it is expected.

The very individual turn given to this preface, the overuse of the first person singular pronoun (j', je, me, m', moi, ma, mes) compared to all others, clearly indicates that it is a matter of accounting for a singular experience, that of the writing that will follow, denominated "surrealist". It is moreover remarkable that of all the lexical material (as opposed to grammatical), je is the most employed word, well before the word "man" that all French texts of the same order place first.

B. What is Surrealism?

If, as I suppose, this text has the purpose of presenting the surrealist pieces that will follow (which Breton does not dare to qualify as poems), it is therefore a matter of defining what characterizes them, named "surrealism". From there a certain duality of the text, analytical on the one hand, programmatic on the other. It only becomes "manifesto of surrealism" by presenting an example of surrealist production and analyzing it!

Let us relativize the frequency of a term: if Breton employs the noun surrealism twice less than the adjective surrealist, it is because instead of qualifying them one by one, he encompasses in a single statement the nineteen individuals who, at the date of publication, "have made an act of absolute surrealism" (46). From there the historical account he gives of his discovery of the phenomenon with Philippe Soupault (44), of its denomination and the definition he attempts to impose against that of Apollinaire's epigones (46). By means of free association (of which Breton gathered the principle in Freud's works and Soupault with Janet, which explains their divergent remarks afterwards), all barriers are lifted, despair is vanquished, existential problems resolved, an unknown, marvelous space opens to whoever practices this poetic surrealism that Poisson soluble illustrates. A procedure as magical as the invisible ray of science fiction stories, it authorizes a critique of the real world and opens onto the true life postulated by Rimbaud. Knowledge of death, it is also the Baudelairian paradise, childhood found at will (65). However, Breton remains doubtful as to its application to action (71) and Robert Desnos's work, perfect model of surrealism (50) is far from answering the question.

Breton therefore has the primary concern of defining what is surrealist, and under what conditions. Not going back beyond romanticism, he first names the fourteen ancestors who, in his eyes, have, partially and in a particular way, merited this attribute. The enumeration, in Jarry's manner, is so famous that it is useless to take it up again here (47). If Young's Nights are totally surrealist, one will note the arbitrariness of that by which the authors characterize themselves, and no commentator, to my knowledge, has attempted to justify this tableau as a whole. All writers have therefore not heard "the surrealist voice" or have not let themselves be carried by it, concerned as they were with their literary glory; that is why they are only milestones towards the discovery of the Magnetic Fields operated by Breton and Soupault. This speech, this voice, that oracles formerly perceived, is that of inspiration, with this difference that it can only come from oneself. It is that which dictated Poisson soluble and also this preface. Breton is well aware that it is not always perceptible, nor comprehensible, and that it can dry up as much as a river (73). By a very beautiful denial, he affirms that he does not believe in the establishment of a surrealist cliché (67) at the very moment when he despairs of the innumerable surrealist notebooks accumulated by himself and his friends in his studio! This does not prevent him from communicating to his readers the recipe of "surrealist magical art", so convinced is he that its practice is the only means of cleaning the literary stables. In passing, he rejoices that this autonomous production, escaping its creator, cannot fall under common law, and he calls for the establishment of a new morality (71).

C. The Misfortunes of the Mind

The hierarchical classification of the lexical forms used in the Surrealist Manifesto brings out the massive use of the word mind (soon followed by thought), which one would not expect to find in such a position in a programmatic text, and which has been the object of no informed commentary to date. Let us examine its usage.

Setting aside the failures to which the functioning of the mind is sometimes subjected, Breton adopts a perfectly idealist position. He considers that despite external constraints, "the greatest freedom of mind is left to us" (15), which resides in imagination, itself unsubmissive. Certainly, there are the aberrations, even madness, risking to compromise the security of the mind (16), but these are moral contingencies! For him, the mind cannot let itself be distracted by weaknesses, such as banter (21), mystification (43), even realistic description which has no function but to mislead the reader (19).

For him, and this thanks to the Freudian discovery, the mind is in the process of recovering its lost powers: "It is by the greatest chance, in appearance, that a part of the intellectual world has recently been restored to light, and in my opinion by far the most important, of which one affected to no longer care." (23) In opposition to Tristan Tzara, who reproached psychoanalysis for taming individual violence and bringing the subject back to bourgeois conformism, for Breton it is capable of detecting new forces that reason will be able to organize. This is to say the eminent place he accords it: "If the depths of our mind conceal strange forces capable of augmenting those of the surface, or of victoriously fighting against them, there is every interest in capturing them, in capturing them first, to submit them afterwards, if need be, to the control of our reason." (23) For one must well agree, he says, that even in the waking state we are subject to distractions, interferences coming from our deep self in the form of slips or mistakes (26).

At bottom, it is in the dream state that the individual experiences the most total freedom, or else, in the waking state, when he follows the most unbridled imaginations, as, for example, the tales of Lewis's Monk, of which he analyzes the functioning in detail. In this type of novels, critical attention is attenuated, and the reader lets himself be carried by his faculty of imagination, by his desires, by his ambition of omnipotence. Such exaltation, characteristic of marvelous tales, is no longer found elsewhere. One would have to have preserved the ingenuousness, the "virginity of mind" proper to childhood (31) to still take pleasure in Donkey Skin. "There are tales to write for grown-ups, tales still almost blue" (31) he concludes.

From this analysis of the function of the mind follows, very logically, Breton's utopian reverie, his constant desire to possess a castle where he would welcome his friends, the gathering of the knights of the Round Table (32). In this regard, I note that he did not content himself with dreaming of ruined castles, since barely three weeks after the release of this manifesto, he visited at Verneuil, in the Eure, two hours from Paris by train (at the time), a vast three-story dwelling, adjoining an 11th-century tower, with large fireplaces, statues, old furniture, where he could gather his friends[9], establish there this "spirit of demoralization" (33) necessary to their enterprise.

Continuing his reflection, the nature of the poetic image preoccupies him (image is, after mind, the second most frequent full word of the text). Evoking his conversations with Pierre Reverdy at the time of Nord-sud, he explains why this master of his youth was mistaken, and why it appears indispensable to him to promote surrealism. It is not true, he writes, that the mind grasps the relations of the two realities put in presence by the image, since it has perceived nothing consciously (61). The conflict is evident: one posed a logical equation, while the other put the unconscious at the service of poetry! The two terms of the image are simultaneously the product of surrealist activity (62), and, moreover, "The mind convinces itself little by little of the supreme reality of these images" (63). In other words, poetry, or surrealism, as he advocates it, is a means of increasing the forces of the mind, knowledge to say everything.

I will not return to the historical account he gives of surrealism, nor to the art of practicing it, previously commented on, except to specify that at each occurrence it is indeed a matter of an adventure of the mind, of a drug increasing the individual's intellectual faculties. Finally, "The mind that plunges into surrealism relives with exaltation the best part of its childhood." (53)

In replacing all these citations of the word mind in their context, one will observe that they neighbor with the term thought, which cannot surprise us, so much are these words in a relation of synonymy. On the other hand, the term life, employed exactly as many times as thought, deserves particular attention, not only because it figures three times in the incipit of the manifesto, but especially because it seems to have been discovered by Breton only five years later, in the preface to the reprint of this same manifesto: "And yet I live, I have even discovered that I held to life", while it was already there in an overabundant use. It is here that our reading method reveals itself pertinent, since it highlights what the author himself had not perceived at first glance.

D. Dream and Life

Like Nerval's Aurélia, which, according to Breton, possessed to perfection the spirit of surrealism (44), it is not surprising that dream and life are correlated in this text, at a similar frequency.

More than from revolt, surrealism was born from a great despair, from the feeling that life is hardly worth living. These young people no longer believe in it. And yet, the whole text appears as a hymn to life! Let us set aside, says Breton, all the null moments, there remains all that moves his sensitivity, this practice of life of which Rimbaud has given the example (47) and especially the long time of dream on which surrealism gives, with its language, its capacity to replay in an instant the film lived since the radiant epochs of childhood (65).

The attention that Freud (whose works one then begins to translate into French) pays to the dream (24) is all the more justified since, in a man's life, the time of dream in sleep is equal to that of wakefulness. Breton therefore gives it pride of place, since he does not count reverie in this calculation. He then initiates a theory of the dream, so neglected by classical psychology (26): the dream is continuous and organized, it can even continue from one night to the next, and especially it can, as much as conscious attention, help in the resolution of life's problems (26). In the dream state, the mind does not ask the practical question: everything is possible and natural as soon as it is conceived (28). It is consequently appropriate to pursue this examination in the future, the individual beginning by noting all that is produced in the dream.

Breton then exposes his great utopia, for which he forges a neologism, this resolution of contraries that are dream and reality (which he will determine more precisely in the Second Manifesto), and which he names surreality (28) in preference to the term surreal adopted by Aragon (although he considers that one can employ certain words surreally 57).

II. Breton's Manifesto / Seven Manifestos (Tzara) / A Wave of Dreams (Aragon)

Thus the automatic reading of the Manifesto highlights what remains the most striking, as after a hurricane only the deep physical structures remain. However, the preeminence of the machine over the most attentive human reading asserts itself in the comparison of several texts. It happens that the same month of October 1924 saw the simultaneous publication of the Surrealist Manifesto on the one hand, the Seven Dada Manifestos[10] of Tzara on the other hand, while two months later came out "A Wave of Dreams[11]" by Aragon. Narrative more than manifesto text by the adopted tone, it treats of the same subject, in a dizzying manner that has marked minds. It is therefore very tempting to pass all these texts through the same black box, to observe what automatically emerges from it.

A. Specificity with respect to the Seven Dada Manifestos

One knows with what enthusiasm Breton welcomed Tristan Tzara's Dada Manifesto 1918. Also it seems to me that the preeminence of the subject in the Surrealist Manifesto owes something to this manner that Tzara had of attracting the gaze to himself[12]. But that is about all, since Breton erases all reference to what could have aroused his previous emotion for Dada in general, the Dada Manifesto 1918 in particular.

Angry at what he had adored, he only mentions the previous movement once in his text. More remarkable fact, he banishes Tzara's fantasy, animator of the Dada circus, his self-mockery, the power he accorded to gesture, to the body and to all phenomena of enunciation, by taking to task his listeners, journalists and nice bourgeois.

Away with the expression of emotions, doubt, sensitivity. To the doctrine which, despite everything, emerges from the Seven Manifestos, privileging knowledge over intelligence and speculation, Breton opposes, as we have seen, mind and method.

In sum, faced with the manifesto conscious of being a manifesto and which proclaims its refusal of the manifesto and of all generic code, Breton erects a writing whose seriousness, logical articulation, definitive character win over the reader.

I have always wondered why Tzara's joyful and unpretentious proclamations had had so little echo at their publication, while they had had the gift of exciting crowds at the Cabaret Voltaire and elsewhere. The explanation jumps to the eyes with this confrontation. It is quite simply because Breton was developing, retracing an approach, referring to a constituted group, while Tzara refused to explain and delighted in a role, practicing deceptiveness while the public only asked to understand!

B. Specificities with respect to A Wave of Dreams

Let us come to the surrealist texts. Aragon and Breton, the two accomplices, shall we say, knowing their intimacy at this time, speak of the same thing and aim, in a different style, at the same objective. Their vocabulary is close from one text to the other, but Aragon's is half as long as Breton's, and yet still richer since it contains relatively more unique forms.

If Tzara is not named more, the references to Dada are more explicit, and especially Aragon explicitly takes up the Dadaist slogan according to which "thought is made in the mouth", which he reformulates thus: "there is no thought except in words" (566) or "there is no thought outside words" (570).

While the two poets have, since 1917, followed the same paths, it is interesting to compare the list they give of their ancestors in the domain of the dream, or at least of their models, in one capacity or another, whom Aragon nicely names "The Presidents of the Republic of the Dream: Saint-Pol-Roux, Raymond Roussel, Philippe Daudet, Germaine Berton, Saint-John Perse, Pablo Picasso, Georges de Chirico, Pierre Reverdy, Jacques Vaché, Léon-Paul Fargue, Sigmund Freud, your portraits are hung on the walls of the dream chamber, you are the Presidents of the Republic of the Dream." (576) They have only six predecessors in common (Fargue, Reverdy, Roussel, Saint-John Perse, Saint-Pol Roux, Vaché); Aragon claiming Germaine Berton (the murderer of a Camelot du Roy), Chirico, Daudet (and this is still the young Philippe, who committed suicide in front of the police!), Picasso, Freud; while Breton designated exclusively writers, while questioning the cases of Young and Isidore Ducasse.

As for the dreamers themselves, that is to say the surrealists, Breton believes he has forgotten no one when he designates nineteen of them (including himself), having "made an act of absolute surrealism": Aragon, Baron, Boiffard, Breton, Carrive, Crevel, Delteil, Desnos, Éluard, Gérard, Limbour, Malkine, Morise, Naville, Noll, Péret, Picon, Soupault, Vitrac. Perhaps because his enumeration is slightly later, and more explicit, Aragon names eight others, and not the least: Maxime Alexandre, Antonin Artaud, François Baron (Jacques's brother, mentioned by Breton), Max Ernst, Mathias Lubeck, Man Ray, André Masson and Max Morise.

Then he describes the Surrealist Central, this famous Bureau opened to the public by the surrealists on rue de Grenelle on October 10, 1924 (which, in passing, indicates that he could not have written this part before the release of the Surrealist Manifesto). In this "inn for ideas" he numbers notably three women: Renée Gauthier, Péret's companion; Simone, Breton's wife; and Denise, whom he loves in secret, Pierre Naville's future wife.

Moreover, he stops at an objection made to the dreamers, which Breton has naturally disdained, that of simulating. His answer is irrefutable: to simulate a thing, is it not already to think it? There can therefore be no suspicion in this matter! (573). He is also the only one of the two to articulate the words unconscious (568), ghosts, and the form retrouve applied to the various states of consciousness.

The comparison of the two texts reported to the same length shows that Aragon very clearly privileges dream and dreams, shadow, location indices, natural elements (sea, sun, water) and bodily elements (eyes, hair). The café where the surrealists meet is his favorite place, just as he speaks more of the elements composing the group than of himself. Among them, the evocation of André is a privileged subject. And this is quite natural since Breton figures as a leader in his own eyes as in the eyes of society.

For his part, Breton's discourse denotes the personalization of speech (je, j', me), articulated (que, dont) and focused on the determination of the surrealist often by the negative (n'). He is the only one of the two to speak of possible, imagination, the sentence and the verb to write, to absolutely deny.

C. Repeated Segments

The tools to which I have referred allow not only to arrange words according to their absolute or relative frequency, to compare different texts with each other, but also to spot the elements which, from one extreme to the other of the same text, are found repeated in the same order. Suffice it to say that these "repeated segments" (since thus they are named) most often escape the most sagacious reader!

In this way, the automaton makes appear five times the expression "as... as possible", which denotes in the writer a very precise concern for the real:

18| anthology as great a number as possible of novel beginnings, of

41| monologue of delivery as rapid as possible, on which the mind cr

51| established in a place as favorable as possible to the concentration of your

59| will, they are as disaffected as possible. As for the answer that

67| by the assemblage as gratuitous as possible (let us observe, if you want

On the same plane, the negated elements return five, even six times (with elision) under his pen:

16| ions, illusions, etc., are not a source of negligible jouissance

28| to hope that the mysteries which are not will give way to the great mystery

31| and I grant that these are not all of his age. The tissue

47| note. Etc. I insist, they are not always surrealist, in this

62| that the two terms of the image are not deduced one from the other by

66| monsters that lie in wait; they are not yet too ill-intentioned to

Similarly (and this confirms me in my approach that one could judge quantitative to excess), he is very sensitive to the limited quantity of phenomena, mentioning four times a "small number of":

16| owe their internment only to a small number of legally reprehensible acts

36| speaks, to excuse my voice and the small number of my gestures. The vert

54| had. Thus provided with a small number of physiological characteristics

56| spontaneously pronounce on a small number of subjects; he has not b

In the same order of ideas, it is not indifferent to observe that, recounting the experience of automatism, he names three times his adventure companion, a manner most obliging to give him credit for his capital role:

44| of mediocre literary means, Soupault and I designated under the

60| e: "barriers" in which Soupault and I show these inte

64| woman and the flying lions" that, Soupault and I, we trembled formerly

By the phenomenon of naming, this last example seems more easily perceptible and memorable, even if it extends over several pages. But, for heaven's sake, let no one tell me that it is negligible or without interest: Breton had many other ways to designate the two discoverers of automatic writing, without assembling the same words in the same order, which, moreover, went against his concern for good speaking. In other words, all these repeated segments, at more or less long distances in the discourse, are not tics, leftovers, but indeed revealing elements of a personality.

III. Specificities of the First Manifesto with respect to the Following Ones

Knowing that Breton worked to gather all his writings of the same genre in a single volume, as evidenced by the collections published by Sagittaire then by Pauvert, will one content oneself with treating only the Surrealist Manifesto? The reader of these works, including in pocket format, is therefore invited to take cognizance of the evolution in three stages of a doctrine and its author, from the first Manifesto of 1924 to the "Prolégomènes à un troisième manifeste ou non" (1942), passing through the Second Surrealist Manifesto of 1929. Second and not deuxième, which means that at the time Breton did not foresee the necessity of writing others, and which explains his reluctance to designate the third text as a manifesto, and even more the essay "Du surréalisme en ses œuvres vives" (1953) which is found in the edition of the Surrealist Manifestos.

As previously, I have submitted these three corpora to the same automata[13]. A first overall observation on these three texts: the second is one and a half times longer than the first, while the third represents barely a third of it, well justifying the term "prolégomènes", simple preface to a book which, in the eyes of surrealism's thinking head, never deserved to be written.

One could believe that Breton took more assurance in the course of the development of his movement, that he therefore has an even more personal tone in the following manifestos. It is nothing of the sort. The systematic comparison of the three texts brings out the specificities of the first. This means that the overuse of pronouns and verbal forms in the first person, the use of negation, noted above, remains the characteristic of the first manifesto, as does the discourse on dream, the marvelous, image and imagination, the surrealist attribute, reality, mind, attention, night, the sentence that knocks at the window, etc. Philippe Soupault, with whom he shared the discovery of the "surrealism" concept, figured there in a very good place; he only appears negatively in the second, to disappear totally afterwards, to the profit of Georges Bataille (in the Second Manifesto) and the filthy exclamation of Père Duchesne in the Prolégomènes.

I moreover notice that the use of the collective "we", under-employed in the first text, becomes the primordial mark of the second. This would tend to prove that Breton, despite the setbacks that the group causes him, expresses himself there more as a leader of men (this word in the plural being singularly deficient in the first text). It was noted above that the term revolution designated the revolution of 1789, no more, and one must wait for the Second Manifesto to read consequent developments on the subject (with this difference that there is also much question of La Révolution surréaliste, a journal of which everyone is free to appreciate the revolutionary content). The treatment of the surrealism form obviously calls for attention. Under-employed in the first text, it takes expansion in the second, and reduces again in the third. Here, for the reader's edification, is its concordance in the whole corpus (the first column designates each manifesto, the second the page and by a letter the location in the page of the Pauvert edition, the third providing the context on both sides of the word).

M1 44a| designated under the name of _ surrealism _ the new mode of expr

M1 44c| writing, _ still imperfect, of surrealism and having shown himself impuiss

M1 45c| the right to employ the word _ surrealism _ in the very parti

M1 45d| therefore once and for all: _ surrealism, _ n. m. psychic automatism

M1 46a| _ encycl. philos. _ surrealism rests on the belief in

M1 46b| of life. have made an act of _ absolute surrealism _ Mm. Aragon, Ba

M1 50b| the hope that I placed in surrealism and I still summon myself to

M1 53a| the glass beads of words. by surrealism he will surprise in his poor

M1 53d| will begin to write a novel. surrealism will allow you to; you n

M1 55a| . . ) _ against death: _ surrealism will introduce you into the mo

M1 59c| of his age and his name. poetic surrealism, to which I consa

M1 60b| impartial interlocutors. surrealism does not allow those who s

M1 60c| engender – in many ways surrealism presents itself as a _ vi

M1 65c| 2. the mind that plunges into surrealism relives with exaltation the

M1 66b| hazards, of oneself. thanks to surrealism, it seems that these chance

M1 66e| thought! the fauna and flora of surrealism are unavowable. 3. j

M1 71a| to hear, the applications of surrealism to action. certainly, I

M1 75a| sacred fever. surrealism, as I envisage it,

M1 75c| I glory in participating. surrealism is the "invisible ray"

M2 91a| will well end up agreeing that surrealism did not tend to anything so much as

M2 92c| . it is clear, also, that surrealism is not interested in ten

M2 93a| region where, by definition, surrealism has no ear. one

M2 93c| what sort of moral virtues surrealism makes exactly appeal pui

M2 94a| inhabitable world, one conceives that surrealism did not fear to fa

M2 95a| belief in this gleam that surrealism seeks to detect at the bottom

M2 97c| nt, on Edgar Poe. if, by surrealism, we reject without hesit

M2 100a| failure to surrealism's engagements supposes a disinterest

M2 100b| desire for truth, that however surrealism would live. in any manner

M2 100c| to the reissue of the _ surrealist manifesto _ (1929) to abandon

M2 100e| review _ of the "surrealist manifesto" published in _ the "intran

M2 102c| special issue of _ variétés: _ "surrealism in 1929", that the little

M2 102d| that the ease with which surrealism flatters itself to _ thank,

M2 103b| ? _ shit. _ surrealism's confidence cannot be well or badly

M2 105a| surrealism of the accusation of not be

M2 105d| le) and, since his exclusion from surrealism, "the poilus", "Je

M2 106b| reading of a book entitled _ surrealism and painting _ where the au

M2 111a| sense – let us recall that the idea of surrealism tends simply to the recup