What Is Surrealism? Essay, Research Paper At the beginning of the war of 1870 the author of the Chants de Maldororand of Po sies, Isidore Ducasse, better known by the name of Comte de Lautr amont, whose thoughts had been of the very greatest help and encouragement to many surrealists, made the following remark;
What Is Surrealism? Essay, Research Paper
At the beginning of the war of 1870 the author of the Chants de Maldororand of Po sies, Isidore Ducasse, better known by the name of Comte de Lautr amont, whose thoughts had been of the very greatest help and encouragement to many surrealists, made the following remark;
“At the hour in which I write, new tremors are running through the intellectual atmosphere; it is only a matter of having the courage to face them.”
Many of you, no doubt, would put this down to a certain youthful exaltation and to the general savagery of the time; I must, however, insist on this attitude, common to particular men and manifesting itself at periods nearly half a century distant from one another. I should affirm that in ignorance of this attitude one can form no idea of what surrealism really stands for. This attitude alone can account, and very sufficiently at that, for all the excesses that may be attributed to us but which cannot be deplored unless one gratuitously supposes that we could have started from any other point. The ill-sounding remarks, that are imputed to us, the so-called inconsiderate attacks, the insults, the quarrels, the scandals – all things that we are so much reproached with – turned upon the same road as the surrealist poems. From the very beginning, the surrealist attitude has had that in common with Lautr amont and Rimbaud which once and for all binds our lot to theirs, and that is wartime defeatism.
I am not afraid to say that this defeatism seems to be more relevant than ever. They are, in fact, always running through the intellectual atmosphere: the problem of their propagation and interpretation remains the same and, as far as we are concerned, remains to be solved. At the hour in which I speak, old and mortal shivers are trying to substitute themselves for those, which are the very shivers of knowledge and of life. They come to announce a frightful disease, a disease followed by the deprivation of all rights; it is only a matter of having the courage to face them also. This disease is called fascism.
Affirming that today, more than ever before, the liberation of the mind, demands as primary condition, in the opinion of the surrealists, the express aim of surrealism, the liberation of man, which implies that we must struggle with our fetters with all the energy of despair; that today more than ever before the surrealists entirely rely for the bringing about of the liberation of man upon the proletarian Revolution.
A certain immediate ambiguity contained in the word surrealism, is, in fact, capable of leading one to suppose that it designates I know not what transcendental attitude, while, on the contrary it expresses – and always has expressed for us- a desire to deepen the foundations of the real, to bring about an even clearer and at the same time ever more passionate consciousness of the world perceived by the senses. The whole evolution of surrealism, from its origins to the present day, which I am about to retrace, shows that our unceasing wish, growing more and more urgent from day to day, has been at all costs to avoid considering a system of thought as a refuge, to pursue our investigations with eyes wide open to their outside consequences, and to assure ourselves that the results of these investigations would be capable of facing the breath of the street. At the limits, for many years past – or more exactly, since the conclusion of what one may term the purely intuitive epoch of surrealism at the limits, I say, we have attempted to present interior reality and exterior reality as two elements in process of unification, or finally becoming one. This final unification is the supreme aim of surrealism: Interior reality and exterior reality being, in the present form of society, in contradiction (and in this contradiction we see the very cause of man’s unhappiness, but also the source of his movement), we have assigned to ourselves the task of confronting these two realities with one another on every possible occasion, of refusing to allow the preeminence of the one over the other, yet not of acting on the one and on the other both at once, for that would be to suppose that they are less apart from one another than they are (and I believe that those who pretend that they are acting on both simultaneously are either deceiving us or are a prey to a disquieting illusion); of acting on these two realities not both at once, then, but one after the other, in a systematic manner, allowing us to observe their reciprocal attraction and interpenetration and to give to this interplay of forces all the extension necessary for the trend of these two adjoining realities to become one and the same thing.
The definition of surrealism that has passed into the dictionary, a definition taken from the Manifesto of 1924, takes account only of this entirely idealist disposition and (for voluntary reasons of simplification and amplification destined to influence in my mind the future of this definition) does so in terms that suggest that I deceived myself at the time in advocating the use of an automatic thought not only removed from all control exercised by the reason but also disengaged from “all aesthetic or moral preoccupations.” It should at least have been said: conscious aesthetic or moral preoccupations. During the period under review, in the absence, of all seriously discouraging exterior events, surrealist activity remained strictly confined to its first theoretical premise, continuing all the while to be the vehicle of that total “non-conformism” which, as we have seen, was the binding feature in the coming together of those who took part in it, and the cause, during the first few years after the war, of an uninterrupted series of adhesions. No coherent political or social attitude, however, made its appearance until 1925, that is to say (and it is important to stress this), until the outbreak of the Moroccan war, which, re-arousing in us our particular hostility to the way armed conflicts affect man, abruptly placed before us the necessity of making a public protest.
Surrealist activity, faced with a brutal, revolting, unthinkable fact, was forced to ask itself what were its proper resources and to determine their limits; it was forced to adopt a precise attitude, exterior to itself, in order to continue to face whatever exceeded these limits. Surrealist activity at this moment entered into its reasoning phase. It suddenly experienced the necessity of crossing over the gap that separates absolute idealism from dialectical materialism.
As a living movement, that is to say a movement undergoing a constant process of becoming and, what is more, solidly relying on concrete facts, surrealism has brought together and is still bringing together diverse temperaments individually obeying or resisting a variety of bents. The determinant of their enduring or short-lived adherence is not to be considered as a blind concession to an inert stock of ideas held in common, but as a continuous sequence of acts which, propelling the doer to more or less distant points, forces him for each fresh start to return to the same starting-line. These exercises not being without peril, one man may break a limb or – for which there is no precedent – his head, another may peaceably submerge himself in a quagmire or report himself dying of fatigue. Unable as yet to treat itself to an ambulance, surrealism simply leaves these individuals by the wayside. Those who continue in the ranks are aware of course of the casualties left behind them. But what of it? The essential is always to look ahead, to remain sure that one has not forfeited the burning desire for beauty, truth and justice, to go onwards towards the discovery, one by one, of fresh landscapes, and to continue doing so indefinitely and without coercion to the end, that others may afterwards travel the same spiritual road, unhindered and in all security.
The development of surrealism throughout the decades of its existence is, we take it, a function of the unrolling of historical realities as these may be speeded up between the period of relief which follows the conclusion of a peace and the fresh outbreak of war. It is also a function of the process of seeking after new values in order to confirm or invalidate existing ones
It was in 1919, in complete solitude and at the approach of sleep, that my attention was arrested by sentences more or less complete, which became perceptible to my mind without my being able to discover (even by very meticulous analysis) any possible previous volitional effort. One evening in particular, as I was about to fall asleep, I became aware of a sentence articulated clearly to a point excluding all possibility of alteration and stripped of all quality of vocal sound; a curious sort of sentence which came to me bearing – in sober truth – not a trace of any relation whatever to any incidents I may at that time have been involved in; an insistent sentence, it seemed to me, a sentence I might say, that knocked at the window. I was prepared to pay no further attention to it when the organic character of the sentence detained me. I was really bewildered. Unfortunately, I am unable to remember the exact sentence at this distance, but it ran approximately like this:
“A man is cut in half by the window.”
What made it plainer was the fact that it was accompanied by a feeble visual representation of a man in the process of walking, but cloven, at half his height, by a window perpendicular to the axis of his body. Definitely, there was the form, re-erected against space, of a man leaning out of a window. But the window following the man’s locomotion, I understood that I was dealing with an image of great rarity. Instantly the idea came to me to use it as material for poetic construction. I had no sooner invested it with that quality, than it had given place to a succession of all but intermittent sentences which left me no less astonished, but in a state, I would say, of extreme detachment.
The word “surrealism” having thereupon become descriptive of the generalizable undertaking to which we had devoted ourselves, I thought it indispensable, in 1924, to define this word once and for all:
Pure psychic automatism, by which it is intended to express, verbally, in writing, or by other means, the real process of thought. Thought’s dictation, in the absence of all control exercised by the reason and outside all aesthetic or moral preoccupations.
Surrealism rests in the belief in the superior reality of certain forms of association neglected heretofore; in the omnipotence of the dream and in the disinterested play of thought. It tends definitely to do away with all other psychic mechanisms and to substitute itself for them in the solution of the principal problems of life.
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