Essayists From France

"I have always been amazed at the way an ordinary observer lends so much more credence and attaches so much more importance to waking events than to those occurring in dreams. It is because man, when he ceases to sleep, is above all the plaything of his memory, and in its normal state memory takes pleasure in weakly retracing for him the circumstances of the dream, in stripping it of any real importance, and in dismissing the only determinant from the point where he thinks he has left it a few hours before: this firm hope, this concern. He is under the impression of continuing something that is worthwhile. Thus the dream finds itself reduced to a mere parenthesis, as is the night. And, like the night, dreams generally contribute little to furthering our understanding. This curious state of affairs seems to me to call for certain reflections."

"Why should I not expect from the sign of the dream more than I expect from a degree of consciousness which is daily more acute? Can’t the dream also be used in solving the fundamental questions of life? Are these questions the same in one case as in the other and, in the dream, do these questions already exist? Is the dream any less restrictive or punitive than the rest? I am growing old and, more than that reality to which I believe I subject myself, it is perhaps the dream, the difference with which I treat the dream, which makes me grow old."

"Let me come back again to the waking state. I have no choice but to consider it a phenomenon of interference. Not only does the mind display, in this state, a strange tendency to lose its bearings (as evidenced by the slips and mistakes the secrets of which are just beginning to be revealed to us), but, what is more, it does not appear that, when the mind is functioning normally, it really responds to anything but the suggestions which come to it from the depths of that dark night to which I commend it."

"The mind of the man who dreams is fully satisfied by what happens to him. The agonizing question of possibility is no longer pertinent. Kill, fly faster, love to your heart's content. And if you should die, are you not certain of re-awaking among the dead? Let yourself be carried along, events will not tolerate your interference. You are nameless. The ease of everything is priceless."

"What reason, I ask, a reason so much vaster than the other, makes dreams seem so natural and allows me to welcome unreservedly a welter of episodes so strange that they could confound me now as I write? And yet I can believe my eyes, my ears; this great day has arrived, this beast has spoken."

"Surrealist methods would, moreover, demand to be heard. Everything is valid when it comes to obtaining the desired suddenness from certain associations. The pieces of paper that Picasso and Braque (in this quotation Breton refers to the early collage art of the two Cubists, ed.) insert into their work have the same value as the introduction of a platitude into a literary analysis of the most rigorous sort. It is even permissible to entitle POEM what we get from the most random assemblage possible (observe, if you will, the syntax) of headlines and scraps of headlines cut out of the newspapers."

"A story is told according to which Saint-Pol-Roux, in times gone by, used to have a notice posted on the door of his manor house in Camaret, every evening before he went to sleep, which read: ‘THE POET IS WORKING’."

"In those days, a man at least as boring as I, Pierre Reverdy, was writing: 'The image is a pure creation of the mind. It cannot be born from a comparison but from a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be – the greater its emotional power and poetic reality..' (in the 'Nord-Sud', March 1918). These words, however sibylline for the uninitiated, were extremely revealing, and I pondered them for a long time."

"In homage to Guillaume Apollinaire [famous French poet, art-critic, writer and defender of Cubism], who had just died and who, on several occasions, seemed to us to have followed a discipline of this kind, without however having sacrificed to it any mediocre literary means, Soupault and I baptized the new mode of pure expression which we had at our disposal and which we wished to pass on to our friends, by the name of SURREALISM. I believe that there is no point today in dwelling any further on this word and that the meaning we gave it initially has generally prevailed over its Apollinarian sense."

"Apollinaire asserted that Chirico's first paintings were done under the influence of kinesthetic disorders (migraines, colic, etc.)"

"Those who might dispute our right to employ the term SURREALISM in the very special sense that we understand it are being extremely dishonest, for there can be no doubt that this word had no currency before we came along. Therefore, I am defining it once and for all: SURREALISM, Psychic automatism in its pure state, by which one proposes to express – verbally, by means of the written word, or in any other manner–the actual functioning of thought. Dictated by the thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern."

"After you have settled yourself in a place as favorable as possible to the concentration of your mind upon itself, have writing materials brought to you. Put yourself in as passive, or receptive, a state of mind as you can. Forget about your genius, your talents, and the talents of everyone else. Keep reminding yourself that literature is one of the saddest roads that lead to everything. Write quickly, without any preconceived subject, fast enough so that you will not remember what you're writing and be tempted to reread what you have written. The first sentence will come spontaneously, so compelling is the truth that with every passing second there is a sentence unknown to our consciousness which is only crying out to be heard."

"Surrealism, such as I conceive of it, asserts our complete nonconformism clearly enough so that there can be no question of translating it, at the trial of the real world, as evidence for the defense. It could, on the contrary, only serve to justify the complete state of distraction which we hope to achieve here below. Kant's absentmindedness regarding women, Pasteur's absentmindedness about 'grapes', Curies absentmindedness with respect to vehicles, are in this regard profoundly symptomatic. This world is only very relatively in tune with thought, and incidents of this kind are only the most obvious episodes of a war in which I am proud to be participating. 'Ce monde nest que très relativement à la mesure de la pensée et les incidents de ce genre ne sont que les épisodes jusquici les plus marquants dune guerre dindépendence à laquelle je me fais gloire de participer'. Surrealism is the 'invisible ray' which will one day enable us to win out over our opponents. 'You are no longer trembling, carcass'. This summer the roses are blue; the wood is of glass. The earth, draped in its verdant cloak, makes as little impression upon me as a ghost. It is living and ceasing to live which are imaginary solutions. Existence is elsewhere."

"L'amour est toujours devant vous. Aimez."

"L'œil existe à l'état sauvage."

"Les valeurs oniriques l'ont définitivement emporté sur les autres et je demande à ce qu'on tienne pour un crétin celui qui se refuserait encore, par exemple, à voir un cheval galoper sur une tomate. Une tomate est aussi un ballon d'enfant, le surréalisme, je le répète, ayant supprimé le mot comme."

"Oneiric values have definitely won out over the others, and I maintain that anyone who still refuses to see, for instance, a horse galloping on a tomato, must be an idiot. A tomato is also a child's balloon - Surrealism, again, having suppressed the word "like.""

"Il y a plus d'une sagesse, et toutes sont nécessaires au monde; il n'est pas mauvais qu'elles alternent."

"Rien n'est plus lent que la véritable naissance d'un homme."

"La mémoire de la plupart des hommes est un cimetière abandonné, où gisent sans honneurs des morts qu'ils ont cessé de chérir."

"Tout bonheur est un chef-d'oeuvre: la moindre erreur le fausse, la moindre hésitation l'altère, la moindre lourdeur le dépare, la moindre sottise l'abêtit."

"La passion comblée a son innocence, presque aussi fragile que toute autre."

"Overhead shone the great star of the constellation of Lyra, destined to be the polar star for men who will live tens of thousands of years after we have ceased to be."

"Toute loi trop souvent transgressée est mauvaise: c'est au législateur à l'abroger ou à la changer."

"Nos lois civiles ne seront jamais assez souples pour s'adapter à l'immense et fluide variété des faits. Elles changent moins vite que les moeurs; dangereuses quand elles retardent sur celles-ci, elles le sont davantage quand elles se mêlent de les précéder."

"Les êtres humains avouent leurs pires faiblesses quand ils s'étonnent qu'un maître du monde ne soit pas sottement indolent, présomptueux, ou cruel."

"Je savais que le bien comme le mal est affaire de routine, que le temporaire se prolonge, que l'extérieur s'infiltre au dedans, et que le masque, à la longue, devient visage."

"Des moments libres. Toute vie bien réglée a les siens, et qui ne sait pas les provoquer ne sait pas vivre."

"Le véritable lieu de naissance est celui où l'on a porté pour la première fois un coup d'oeil intelligent sur soi-même: mes premières patries ont été des livres."

"La lettre écrite m'a enseigné à écouter la voix humaine, tout comme les grandes attitudes immobiles des statues m'ont appris à apprécier les gestes."

"Tous nous serions transformés si nous avions le courage d'être ce que nous sommes."

"On ne doit plus craindre les mots lorsqu'on a consenti aux choses."

"Nous nous croyons purs tant que nous méprisons ce que nous ne désirons pas."

"Nos défauts sont parfois les meilleurs adversaires que nous opposions à nos vices."

"Il n'est pas difficile de nourrir des pensées admirables lorsque les étoiles sont présentes."

"Avoir du mérite à s'abstenir d'une faute, c'est une façon d'être coupable."

"Tout silence n'est fait que de paroles qu'on n'a pas dites. C'est pour cela peut-être que je devins un musicien. Il fallait quelqu'un pour exprimer ce silence, lui faire rendre tout ce qu'il contenait de tristesse, pour ainsi dire le faire chanter. Il fallait qu'il ne se servît pas des mots, toujours trop précis pour n'être pas cruels, mais simplement de la musique."

"Je crois qu'il faut presque toujours un coup de folie pour bâtir un destin."

"Le malheur est que, parfois, des souhaits s'accomplissent, afin que se perpétue le supplice de l'espérance."

"(how do you know when you reach your goal?) It is a clear intuition, but it is at the same time mysterious. It is as though the finished work had existed previously but had somehow disappeared from the earth, and all I did was rediscover it. Marguerite Yourcenar compared that flash of discovery to the mysterious moment when the baker knows it is time to stop kneading the dough."

"In alchemical treatises, the formula L'Oeuvre au Noir … designates what is said to be the most difficult phase of the alchemist's process, the separation and dissolution of substance. It is still not clear whether the term applied to daring experiments on matter itself, or whether it was understood to symbolize trials of the mind in discarding all forms of routine and prejudice. Doubtless it signified one or the other meaning alternately, or perhaps both at the same time."

"il [Zénon] savait fort bien qu'il n'existe aucun accommodement durable entre ceux qui cherchent, pèsent, dissèquent, et s'honorent d'être capables de penser demain autrement qu'aujourd'hui, et ceux qui croient ou affirment croire, et obligent sous peine de mort leurs semblables à en faire autant."

"At this period of his existence, meat and blood, entrails, and all that had ever lived and breathed disgusted him as food, for an animal dies in pain just as man does, and it repelled him to be digesting death's agony."

"Peu de bipèdes depuis Adam ont mérité le nom d'homme."

"The world is big … May it please the One who perchance is to expand the human heart to life’s full measure."

"Qui serait assez insensé pour mourir sans avoir fait au moins le tour de sa prison?"

"Par-delà ce village, d'autres villages, par-delà cette abbaye, d'autres abbayes, par-delà cette forteresse, d'autres forteresses. Et dans chacun de ces châteaux d'idées, de ces masures d'opinions superposés aux masures de bois et aux châteaux de pierre, la vie emmure les fous et ouvre un pertuis aux sages."

"L'âme est une chose si impalpable, si souvent inutile et quelquefois si gênante, que je n'éprouvai, quant à cette perte, qu'un peu moins d'émotion que si j'avais égaré, dans une promenade, ma carte de visite."

"Il n'est pas de plaisir plus doux que de surprendre un homme en lui donnant plus qu'il n'espère."

"Et à quoi bon exécuter des projets, puisque le projet est en lui-même une jouissance suffisante?"