Communicating Vessels has ratings and 3 reviews. What Freud did for dreams, André Breton (–) does for despair: in its distortions he finds th.. . COMMUNICATING. VESSELS: Andre. Breton and his Atelier,. Home and Personal. Museum in Paris1. DAGMAR MOTYCKA WESTON. The house where I lire. , English, Book, Illustrated edition: Communicating vessels / André Breton ; translated by Mary Ann Caws & Geoffrey T. Harris, with notes & introduction by.
How very hard to run a movement and be oneself. Tristan Tzara somehow managed it with Dada, as long as he did, but then Dada died. He was a man who believed above all in the notion of the collective and on the reactions of the group, which he organized: His most high-styled and influential works remain, brfton with a few very great poems, these: Teresa, in the same essay:. That Breton should eventually have been disappointed in the techniques of automatism does not affect his initial excitement over them, or their ongoing importance in the worlds of literature and art.
What they unleashed, apart from a remarkable series of writings and events, was in fact a whole point of view recognizably that of a free spirit.
That he himself was, but one easily depressed when his pragmatic sense told him his idealistic moves were not working. His lament marks the extreme limit of his deception with the fate of the great surrealist idea:.
Here, the unexpected clash of opposites then conmunicating their parts works to vexsels up the closure of the poem, as, in his theoretical writings, opposites merge in a telescoping that is the aesthetic point of surrealism. Over this chasm of contradiction, such brave and, some would have it, lunatic souls as Antonin Artaud have taken their creations without using any guard rails.
This is the kind of mental bravery Breton admires. He detects a quiver in the shoulders of the persons present, moving towards him: And yet, when they take their first walk of love, if I can put it like that, panic ensues: Jacqueline Lamba to translate this book or long poem in prose.
Communicating Vessels by André Breton
If that optimism is lost, then all surrealist hope is gone. It will not do to say that we are determined by the human condition: First of all, the muses who can combine the realms of perception are primary. In the volume called Arcanum 17, written in North America during his visit here, he extols this ambiguous figure as the one able to undo all ego-based systems, not subject to them any more than she is subject to place or time.
Breton was a dealer in art objects, particularly African, and the Surrealists were all passionate about the kind of bearing an object in the external world could have on their imagination, or on their inner world. So the Surrealists, wherever they were, would make expeditions to parks, but in particular vessls flea markets and to antique stores, in order to discover objects with primitive power, able to unleash those passions in their possessors.
The goal of this search for passion was a total reviewing and redoing of the way the world could be changed by the surrealist optimism. It was as if the more impossible situations and desires led him to greater heights of rhetoric.
From an communicatinv human point of view, surrealism as Breton conceived it was vastly over-reaching—but his was not an ordinary point commhnicating view. The new mythology he saw himself as participating in depended on his style of assurance.
Like the much-admired Gaston Bachelard, a postman turned phenomenologist and professor, and often called the philosopher of surrealism, Breton believed in replacing the idea of perception by that of admiration, the passive seeing of what is in the universe by the active involvement in it.
His notion of vision was an assertive one: But beyond the ideas remains the poetry. This, then, from bretn conclusion of Communicating Vessels, that as an image, as a thought, and gessels words making love for themselves and for us all, speaks with a voice many of us might gladly claim as our own:. Anthology of Black Humor.
Teresa, in the same essay: Simply by virtue of the fact that she saw her wooden cross transform into a crucifix of precious stones, and that she held this vision to be at once imaginative and sensorial, St. Teresa of Avila can be said to command the line along which mediums and poets take their place. His lament marks the extreme limit of his deception with the fate of the great surrealist idea: This time I live in, this time, alas, runs by and takes me with it.
That crazed and, as it were, accidental impatience in which it is caught up spares me nothing. There is vessles, it is true, little room for anyone who would haughtily trace in the grass the learned arabesque of the suns. In the clamor of crumbling walls, among the songs of gladness vessls rise from the towns already reconstructed, andrw the top of the torrent that cries the perpetual return of the forms unceasingly afflicted with change, upon the quivering wing of affections, of the passions alternately raising and letting fall both beings and things, above the bonfires in which whole civilizations conflagrate, beyond the confusion of tongues and commjnicating, I see man, what remains of him, forever unmoving in the center of the whirlwind.
Flame of water guide me to the sea of fire. Indeed, one of his most remarkable poems, beginning with a tale of the marvelous: All the flowering appletree of the sea. Reciprocal love, such as I envisage it, is a system of mirrors which reflects for me, under the thousand angles that the unknown can take for me, the faithful image of the one I love, always more surprising in her divining of my own desire and more gilded with life.
She seemed swathed in mist—clothed in fire? Everything seemed colorless and frozen brteon to this complexion imagined in perfect concord between rust and green: This color, taking on a deeper vesselss from her face to her hands, played on a fascinating tonal relation between the extraordinary pale sun of her hair like a bouquet of honeysuckle—her head bent, then raised, unoccupied—and the notepaper she asked for to write on in relation to the color of the dress, most moving perhaps now when I no longer remember it.
I see bad and good in all their native state, the bad winning out communicatong all the ease of suffering. Life is slow, and man scarcely knows how to play it.
Who is going with me, who is preceding me tonight once again? There would still be time to turn back. This, then, from the conclusion of Communicating Vessels, that as an image, as a thought, and as words making love for themselves and for us all, speaks with a voice many of us might gladly claim as our own: The poet to come will surmount the depressing idea of the irreparable divorce between action and dream.
From then on the poetic operation will be conducted in broad daylight. No one will any longer try to pick a quarrel with a few people, who will in the long run become all people, because of actions long considered suspicious by others and ambiguous by themselves, actions they pursue in order to retain eternity in the moment and to fuse the general with the particular. They will already be outside, mingled with everyone else in full sunlight, and will cast no more complicitous or intimate a look than others do at truth itself when it comes to shake out, at their dark window, its hair streaming with light.
Privacy & Cookies Policy
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.