First Surrealist Manifesto
By André Breton
We are still living under the reign of logic, but the logical processes of our time apply only to the solution of problems of secondary interest. The absolute rationalism which remains in fashion allows for the consideration of only those facts narrowly relevant to our experience. Logical conclusions, on the other hand, escape us. Needless to say, boundaries have been assigned even to experience. It revolves in a cage from which release is becoming increasingly difficult. It too depends upon immediate utility and is guarded by common sense. In the guise of civilization, under the pretext of progress, we have succeeded in dismissing from our minds anything that, rightly or wrongly, could be regarded as superstition or myth; and we have proscribed every way of seeking the truth which does not conform to convention. It would appear that it is by sheer chance that an aspect of intellectual lifeand by far the most important in my opinionabout which no one was supposed to be concerned any longer has, recently, been brought back to light. Credit for this must go to Freud. On the evidence of his discoveries a current of opinion is at last developing which will enable the explorer of the human mind to extend his investigations, since he will be empowered to deal with more than merely summary realities. Perhaps the imagination is on the verge of recovering its rights. If the depths of our minds conceal strange forces capable of augmenting or conquering those on the surface, it is in our greatest interest to capture them; first to capture them and later to submit them, should the occasion arise, to the control of reason. The analysts themselves can only gain by this. But it is important to note that there is no method fixed a priori for the execution of this enterprise, that until the new order it can be considered the province of poets as well as scholars, and that its success does not depend upon the more or less capricious routes which will be followed.
It was only fitting that Freud should appear with his critique on the dream. In fact, it is incredible that this important part of psychic activity has still attracted so little attention. (For, at least from man's birth to his death, thought presents no solution of continuity; the sum of dreaming momentseven taking into consideration pure dream alone, that of sleep is from the point of view of time no less than the sum of moments of reality, which we shall confine to waking moments.) I have always been astounded by the extreme disproportion in the importance and seriousness assigned to events of the waking moments and to those of sleep by the ordinary observer. Man, when he ceases to sleep, is above all at the mercy of his memory, and the memory normally delights in feebly retracing the circumstance of the dream for him, depriving it of all actual consequence and obliterating the only determinant from the point at which he thinks he abandoned this constant hope, this anxiety, a few hours earlier. He has the illusion of continuing something worthwhile. The dream finds itself relegated to a parenthesis, like the night. And in general it gives no more counsel than the night. This singular state of affairs seems to invite a few reflections:
They say that not long ago, just before he went to sleep, Saint-Pol-Roux placed a placard on the door of his manor at Camaret which read: THE POET WORKS.
There is still a great deal to say, but I did want to touch lightly, in passing, upon a subject which in itself would require a very long exposition with a different precision. I shall return to it. For the time being my intention has been to see that justice was done to that hatred of the marvellous which rages in certain men, that ridicule under which they would like to crush it. Let us resolve, therefore: the Marvellous is always beautiful, everything marvellous is beautiful. Nothing but the Marvellous is beautiful.
... One night, before falling asleep, I became aware of a most bizarre sentence, clearly articulated to the point where it was impossible to change a word of it, but still separate from the sound of any voice. It came to me bearing no trace of the events with which I was involved at that time, at least to my conscious knowledge. It seemed to me a highly insistent sentencea sentence, I might say, which knocked at the window. I quickly took note of it and was prepared to disregard it when something about its whole character held me back. The sentence truly astounded me. Unfortunately I still cannot remember the exact words to this day, but it was something like: 'A man is cut in half by the window'; but it can only suffer from ambiguity, accompanied as it was by the feeble visual representation of a walking man cut in half by a window perpendicular to the axis of his body. ^ It was probably a simple matter of a man leaning on the window and then straightening up. But the window followed the movements of the man, and I realized that I was dealing with a very rare type of image. Immediately I had the idea of incorporating it into my poetic material, but no sooner had I invested it with poetic form than it went on to give way to a scarcely intermittent succession of sentences which surprised me no less than the first and gave me the impression of such a free gift that the control which I had had over myself up to that point seemed illusory and I no longer thought of anything but how to put an end to the interminable quarrel which was taking place within me.(3)
Totally involved as I was at the time with Freud, and familiar with his methods of examination which I had had some occasion to practise on the sick during the war, I resolved to obtain from myself what one seeks to obtain from a patienta spoken monologue uttered as rapidly as possible, over which the critical faculty of the subject has no control, unencumbered by any reticence, which is spoken thought as far as such a thing is possible. It seemed to me, and still doesthe manner in which the sentence about the man cut in two came to me proves itthat the speed of thought is no greater than that of words, and that it does not necessarily defy language or the moving pen. It was with this in mind that Philippe Soupault (with whom I had shared these first conclusions) and I undertook to cover some paper with writing, with a laudable contempt for what might result in terms of literature. The ease of realization did the rest. At the end of the first day we were able to read to each other around fifty pages obtained by this method, and began to compare our results. Altogether, those of Soupault and my own presented a remarkable similarity, even including the same faults in construction: in both cases there was the illusion of an extraordinary verve, a great deal of emotion, a considerable assortment of images of a quality such as we would never have been capable of achieving in ordinary writing, a very vivid graphic quality, and here and there an acutely comic passage. The only difference between our texts seemed to me essentially due to our respective natures (Soupault's is less static than mine) and, if I may hazard a slight criticism, due to the fact that he had made the mistake of distributing a few words in the way of titles at the head of certain pagesno doubt in the spirit of mystification. On the other hand, I must give him credit for maintaining his steadfast opposition to the slightest alteration in the course of any passage which seemed to me rather badly put. He was completely right on this point, of course.(4) In fact it is very difficult to appreciate the full value of the various elements when confronted by them. It can even be said to be impossible to appreciate them at the first reading. These elements are outwardly as strange to you who have written them as to anyone else, and you are naturally distrustful of them. Poetically speaking, they are especially endowed with a very high degree of immediate absurdity. The peculiarity of this absurdity, on closer examination, comes from their capitulation to everythingboth inadmissible and legitimateIn the world, to produce a revelation of a certain number of premises and facts generally no less objective than any others.
In homage to Guillaume Apollinairewho died recently, and who appears to have consistently obeyed a similar impulse to ours without ever really sacrificing mediocre literary meansSoupault and I used the name SURREALISM to designate the new mode of pure expression which we had at our disposal and with which we were anxious to benefit our friends. Today I do not believe anything more need be said about this word. The meaning which we have given it has generally prevailed over Apollinaire's meaning. With even more justification we could have used SUPERNATURALISM, employed by Gerard de Nerval in the dedication of Filles de Feu.(5) In fact, Nerval appears to have possessed to an admirable extent the spirit to which we refer. Apollinaire, on the other hand, possessed only the letter of surrealism (which was still imperfect) and showed himself powerless to give it the theoretical insight that engages us. Here are two passages by Nerval which appear most significant in this regard:
'I will explain to you, my dear Dumas, the phenomenon of which you spoke above. As you know, there are certain storytellers who cannot invent without identifying themselves with the characters from their imagination. You know with what conviction our old friend Nodier told how he had had the misfortune to be guillotined at the time of the Revolution; one became so convinced that one wondered how he had managed to stick his head back on.'
It would be dishonest to dispute our right to employ the word SURREALISM in the very particular sense in which we intend it, for it is clear that before we came along this word amounted to nothing. Thus I shall define it once and for all:
SURREALISM, noun, masc., Pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral preoccupations.
ENCYCL. Philos. Surrealism is based on the belief in the superior reality of certain forms of association heretofore neglected, in the omnipotence of the dream, and in the disinterested play of thought. It leads to the permanent destruction of all other psychic mechanisms and to its substitution for them in the solution of the principal problems of life.ï»¿
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