This essay proposes for the first time the confrontation and ensuing resonance of two clearly distinct areas in the writings of Andre Breton: on the one hand, the great lyrical prose that, interwoven with images, converges with the poetics of the pseudo-Longinus; on the other, a poetry often announced as mainly 'automatic' by its author, but whose pictures trace cultural forms that are systematically explored in this book: theogonies, cosmogonies, but also symbolical spaces of intimacy and loci amoeni, which one often doesn't suspect to find in Breton's poetry. A systematic study of his oeuvre's stylistical figures enhances this publication even more.
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