by Albert Camus
Moreover, Harrar was actually foretold in his work, but in the form of his final abdication. "And best of all,
2 It is only fair to note that the tone of these letters might be explained by the people to whom they are written. But they do not suggest that Rimbaud is making a great effort to lie. Not one word betrays the Rimbaud of former times.
a drunken sleep on the beach." The fury of annihilation, appropriate to every rebel, then assumes its most common form. The apocalypse of crime—as conceived by Rimbaud in the person of the prince who insatiably slaughters his subjects—and endless licentiousness are rebellious themes that will be taken up again by the surrealists. But finally, even with Rimbaud, nihilist dejection prevailed; the struggle, the crime itself, proved too exacting for his exhausted mind. The seer who drank, if we may venture to say so, in order not to forget ended by finding in drunkenness the heavy sleep so well known to our contemporaries. One can sleep on the beach, or at Aden. And one consents, no longer actively, but passively, to accept the order of the world, even if the order is degrading. Rimbaud's silence is also a preparation for the silence of authority, which hovers over minds resigned to everything save to the necessity of putting up a fight. Rimbaud's great intellect, suddenly subordinated to money, proclaims the advent of other demands, which are at first excessive and which will later be put to use by the police. To be nothing—that is the cry of the mind exhausted by its own rebellion. This leads to the problem of suicide of the mind, which, after all, is less respectable than the surrealists' suicide, and more fraught with consequences. Surrealism itself, coming at the end of this great act of rebellion, is only significant because it attempted to perpetuate that aspect of Rimbaud which alone evokes our sympathy. Deriving the rules for a rebellious asceticism from the letter about the seer and the system it implies, he illustrates the struggle between the will to be and the desire for annihilation, between the yes and the no, which we have discovered again and again at every stage of rebellion. For all these reasons, rather than repeat the, endless commentaries that surround Rimbaud's work, it seemed preferable to rediscover him and to follow him among his successors.
Absolute rebellion, total insubordination, sabotage on principle, the humor and cult of the absurd—such is the nature of surrealism, which defines itself, in its primary intent, as the incessant examination of all values. The refusal to draw any conclusions is flat, decisive, and provocative. "We are specialists in rebellion." Surrealism, which,
according to Aragon, is a machine for capsizing the mind, was first conjured up by the Dadaist movement, whose romantic origins and anemic dandyism must be noted.3 Non-signification and contradiction are therefore cultivated for their own sakes. "The real Dadaists are against Dada. Everyone is a director of Dada." Or again: "What is good? What is ugly? What is great, strong, weak . . . ? Don't know! Don't know!" These parlor nihilists were obviously threatened with having to act as slaves to the strictest orthodoxies. But there is something more in surrealism than standard nonconformism, the legacy left by Rimbaud, which, in fact, Breton recapitulates as follows: "Must we abandon all hope at that particular point?"
An urgent appeal to absent life is reinforced by a total rejection of the present world, as Breton's arrogant statement indicates: "Incapable of accepting the fate assigned to me, my highest perceptions outraged by this denial of justice, I refrain from adapting my existence to the ridiculous conditions of existence here below." The mind, according to Breton, can find no point of rest either in this life or beyond it. Surrealism wants to find a solution to this endless anxiety. It is "a cry of the mind which turns against itself and finally takes the desperate decision to throw off its bonds." It protests against death and "the laughable duration" of a precarious condition. Thus surrealism places itself at the mercy of impatience. It exists in a condition of wounded frenzy: at once inflexible and self-righteous, with the consequent implication of a moral philosophy. Surrealism, the gospel of chaos, found itself compelled, from its very inception, to create an order. But at first it only dreamed of destruction—by poetry, to begin with—on the plane of imprecation, and later by the use of actual weapons. The trial of the real world has become, by logical development, the trial of creation.
Surrealist irreligion is methodical and rational. At first it established itself on the idea of the absolute nonculpability of man, to whom one should render "all the power that he has been capable of putting into the word God." As in every history of rebellion, this idea of abso-
3 Jarry, one of the masters of Dadaism, is the last incarnation, peculiar rather than brilliant, of the metaphysical dandy.
lute non-culpability, springing from despair, was little by little transformed into a mania for punishment. The surrealists, while simultaneously exalting human innocence, believed that they could exalt murder and suicide. They spoke of suicide as a solution and Crevel, who considered this solution "the most probable, just, and definitive," killed himself, as did Rigaut and Vache. Later Aragon was to condemn the "babblers about suicide." Nevertheless the fact remains that to extol annihilation, without personal involvement, is not a very honorable course. On this point surrealism has retained, from the "litterature" it despised, the most facile excuses and has justified Ri-gaud's staggering remark: "You are all poets, and I myself am on the side of death."
Surrealism did not rest there. It chose as its hero Violette Noziere or the anonymous common-law criminal, affirming in this way, in the face of crime, the innocence of man. But it also was rash enough to say—and this is the statement that Andre Breton must have regretted ever since 1933—that the simplest surrealist act consisted in going out into the street, revolver in hand, and shooting at random into the crowd. Whoever refuses to recognize any other determining factor apart from the individual and his desires, any priority other than that of the unconscious, actually succeeds in rebelling simultaneously against society and against reason. The theory of the gratuitous act is the culmination of the demand for absolute freedom. What does it matter if this freedom ends by being embodied in the solitude defined by Jarry: "When I'll have collected all the ready cash, in the world, I'll kill everybody and go away." The essential thing is that every obstacle should be denied and that the irrational should be triumphant. What, in fact, does this apology for murder signify if not that, in a world without meaning and without honor, only the desire for existence, in all its forms, is legitimate? The instinctive joy of being alive, the stimulus of the unconscious, the cry of the irrational, are the only pure truths that must be professed. Everything that stands in the way of desire—principally society—must therefore be mercilessly destroyed. Now we can understand Andre Breton's remark about Sade: "Certainly man no longer consents to unite with nature except in crime; it
remains to be seen if this is not one of the wildest, the most incontestable, ways of loving." It is easy to see that he is talking of love without an object, which is love as experienced by people who are torn asunder. But this empty, avid love, this insane desire for possession, is precisely the love that society inevitably thwarts. That is why Breton, who still bears the stigma of his declarations, was able to sing the praises of treason and declare (as the surrealists have tried to prove) that violence is the only adequate mode of expression.
But society is not only composed of individuals. It is also an institution. Too well-mannered to kill everybody, the surrealists, by the very logic of their attitude, came to consider that, in order to liberate desire, society must first be overthrown. They chose to serve the revolutionary movement of their times. From Walpole and Sade—with an inevitability that comprises the subject of this book— surrealists passed on to Helvetius and Marx. But it is obvious that it is not the study of Marxism that led them to revolution.4 Quite the contrary: surrealism is involved in an incessant effort to reconcile, with Marxism, the inevitable conclusions that led it to revolution. We can say, without being paradoxical, that the surrealists arrived at Marxism on account of what, today, they most detest in Marx.
Knowing the basis and the nobility of the motives that compelled him, particularly when one has shared the same lacerating experiences, one hesitates to remind Andre" Breton that his movement implied the establishment of "ruthless authority" and of dictatorship, of political fanaticism, the refusal of free discussion, and the necessity of the death penalty. The peculiar vocabulary of that period is also astonishing ("sabotage," "informer," etc.) in that it is the vocabulary of a police-dominated revolution. But these frenetics wanted "any sort of revolution," no matter what as long as it rescued them from the world of shopkeepers and compromise in which they were forced to live. In that they could not have the best, they still preferred the worst. In that respect they were nihilists. They were not aware of the fact that those among them who were, in
4 The Communists who joined the party as a result of having studied Marx can be counted on the fingers of one hand. They are first converted and then they read the Scriptures.
the future, to remain faithful to Marxism were faithful at the same time to their initial nihilism. The real destruction of language, which the surrealists so obstinately wanted, does not lie in incoherence or automatism. It lies in the word order. It was pointless for Aragon to begin with a denunciation of the "shameful pragmatic attitude," for in that attitude he finally found total liberation from morality, even if that liberation coincided with another form of servitude. The surrealist who meditated most profoundly about this problem, Pierre Naville, in trying to find the denominator common to revolutionary action and surrealist action, localized it, with considerable penetration, in pessimism, meaning in "the intention of accompanying man to his downfall and of overlooking nothing that could ensure that his perdition might be useful." This mixture of Machiavellianism and Augustinism in fact explains twentieth-century rebellion; no more audacious expression can be given to the nihilism of the times. The renegades of surrealism were faithful to most of the principles of nihilism. In a certain way, they wanted to die. If AndreBreton and a few others finally broke with Marxism, it was because there was something in them beyond nihilism, a second loyalty to what is purest in the origins of rebellion: they did not want to die.
Certainly, the surrealists wanted to profess materialism. "We are pleased to recognize as one of the prime causes of the mutiny on board the battleship Potemkin that terrible piece of meat." But there is not with them, as with the Marxists, a feeling of friendship, even intellectual, for that piece of meat. Putrid meat typifies only the real world, which in fact gives birth to revolt, but against itself. It explains nothing, even though it justifies everything. Revolution, for the surrealists, was not an end to be realized day by day, in action, but an absolute and consolatory myth. It was "the real life, like love," of which Eluard spoke, who at that time had no idea that his friend Kalandra would die of that sort of life. They wanted the "communism of genius," not the other form of Communism. These peculiar Marxists declared themselves in rebellion against history and extolled the heroic individual. "History is governed by laws, which are conditioned by the cowardice of individuals." Andr6 Breton wanted revolu-
tion and love together—and they are incompatible. Revolution consists in loving a man who does not yet exist. But he who loves a living being, if he really loves, can only consent to die for the sake of the being he loves. In reality, revolution for Andre Breton was only a particular aspect of rebellion, while for Marxists and, in general, for all political persuasions, only the contrary is true. Breton was not trying to create, by action, the promised land that was supposed to crown history. One of the fundamental theses of surrealism is, in fact, that there is no salvation. The advantage of revolution was not that it gives mankind happiness, "abominable material comfort." On the contrary, according to Breton, it should purify and illuminate man's tragic condition. World revolution and the terrible sacrifices it implies would only bring one advantage: "preventing the completely artificial precariousness of the social condition from screening the real precariousness of the human condition." Quite simply, for Breton, this form of progress was excessive. One might as well say that revolution should be enrolled in the service of the inner asceticism by which individual men can transfigure reality into the supernatural, "the brilliant revenge of man's imagination." With Andre Breton, the supernatural holds the same place as the rational does with Hegel. Thus it would be impossible to imagine a more complete antithesis to the political philosophy of Marxism. The lengthy hesitations of those whom Artaud called the Amiels of revolution are easily explained. The surrealists were more different from Marx than were reactionaries like Joseph de Maistre, for example. The reactionaries made use of the tragedy of existence to reject revolution—in other words, to preserve a historical situation. The Marxists made use of it to justify revolution—in other words, to create another historical situation. Both make use of the human tragedy to further their pragmatic ends. But Breton made use of revolution to consummate the tragedy and, in spite of the title of his magazine, made use of revolution to further the surrealist adventure.
Finally, the definitive rupture is explained if one considers that Marxism insisted on the submission of the irrational, while the surrealists rose to defend irrationality to the death. Marxism tended toward the conquest of
totality, and surrealism, like all spiritual experiences, tended toward unity. Totality can demand the submission of the irrational, if rationalism suffices to conquer the world. But the desire for unity is more demanding. It does not suffice that everything should be rational. It wants, above all, the rational and the irrational to be reconciled on the same level. There is no unity that supposes any form of mutilation.
For Andre Breton, totality could be only a stage, a necessary stage perhaps, but certainly inadequate, on the way that leads to unity. Here we find once again the theme of All or Nothing. Surrealism tends toward universality, and the curious but profound reproach that Breton makes to Marx consists in saying quite justifiably that the latter is not universal. The surrealists wanted to reconcile Marx's "let us transform the world" with Rimbaud's "let us change life." But the first leads to the conquest of the totality of the world and the second to the conquest of the unity of life. Paradoxically, every form of totality is restrictive. In the end, the two formulas succeeded in splitting the surrealist group. By choosing Rimbaud, Breton demonstrated that surrealism was not concerned with action, but with asceticism and spiritual experience. He again gave first place to what composed the profound originality of his movement: the restoration of the sacred and the conquest of unity, which make surrealism so invaluable for a consideration of the problem of rebellion. The more he elaborated on this original concept, the more irreparably he separated himself from his political companions, and at the same time from some of his first manifestoes.
Andre Breton never, actually, wavered in his support of surrealism—the fusion of a dream and of reality, the sublimation of the old contradiction between the ideal and the real. We know the surrealist solution: concrete irrationality, objective risk. Poetry is the conquest, the only possible conquest, of the "supreme position." "A certain position of the mind from where life and death, the real and the imaginary, the past and the future . . . cease to be perceived in a contradictory sense." What is this supreme position that should mark the "colossal abortion of the Hegelian system"? It is the search for the summit-abyss, familiar to the mystics. Actually, it is the mysticism
without God which demonstrates and quenches the rebel's thirst for the absolute. The essential enemy of surrealism is rationalism. Breton's method, moreover, presents the peculiar spectacle of a form of Occidental thought in which the principle of analogy is continually favored to the detriment of the principles of identity and contradiction. More precisely, it is a question of dissolving contradictions in the fires of love and desire and of demolishing the walls of death. Magic rites, primitive or naive civilizations, alchemy, the language of flowers, fire, or sleepless nights, are so many miraculous stages on the way to unity and the philosophers' stone. I
f surrealism did not change the world, it furnished it with a few strange myths which partly justified Nietzsche's announcement of the return of the Greeks. Only partly, because he was referring to unenlightened Greece, the Greece of mysteries and dark gods. Finally, just as Nietzsche's experience culminated in the acceptance of the light of day, surrealist experience culminates in the exaltation of the darkness of night, the agonized and obstinate cult of the tempest. Breton, according to his own statements, understood that, despite everything, life was a gift. But his compliance could never shed the full light of day, the light that all of us need. "There is too much of the north in me," he said, "for me to be a man who complies entirely."