Manifestoes of Surrealism

The “Second Manifesto of Surrealism” is a refinement of the ideas put forth in the original manifesto, an analysis of Surrealism’s place in the world, and a criticism of artists whom Breton sees as undeserving of the Surrealist title. He opens the manifesto with a passage written by a psychologist who expresses concern about the influence of Surrealism on his patients. He writes that an “especially dangerous and demanding madman” (120) obtained a copy of one of Breton’s books, and the book in question contains harsh criticism of the psychological field. The writer suggests that the book will inspire a violent reaction from the patient and encourages other psychologists to protest the publication of Breton’s works. The passage is followed by a transcript of a discussion between two doctors in which Surrealists are characterized as radical and likely to be mentally unstable. The passage acts as a launching pad for Breton to express his fear that Surrealism is being corrupted in a number of ways. The first problem, he believes, is that those who call themselves Surrealists are trying to ascribe specific beliefs and actions to the Surrealist Movement itself and are becoming influenced by outsiders who do not subscribe to the Surrealist worldview.

Breton is particularly concerned with Surrealism’s place within the leftist political scene of late-1920s Europe. He insists, as he does throughout the text, in the value of artistic expression as a revolutionary tool. He writes disparagingly about the French Communist Party, stating that the Marxists did not appreciate or understand his Surrealist views and even viewed his philosophy as a joke. Although he continues to insist that Surrealism is inextricably linked to leftism, he believes that tying it too closely to any specific political party or movement will cheapen the value of Surrealism as its own movement. Breton also worries about Surrealists who attempt to convey political meaning through their art, especially when it comes to political struggles involving the working class. He writes:

I do not believe in the present possibility of an art or literature which expresses the aspirations of the working class. If I refuse to believe in such a possibility, it is because, in any prerevolutionary period the writer or artist, who of necessity is a product of the bourgeoisie, is by definition incapable of translating these aspirations (155).

Breton goes on to call for collective action among the Surrealists and excludes specific artists he believes are uninterested in working as a unified front, naming them “dissidents." He believes that Surrealism is still in its infancy, and he hopes to preserve the core tenets of the movement as it grows. He writes that the purity of the movement must be preserved. He also calls for the remaining Surrealists to work together against the threat of racism and to strive for a left-wing populist revolution across the world. He identifies the Surrealist version of revolutionary thought as non-representational, idealist, and implicitly—rather than explicitly—political. He also emphasizes that Surrealism does not subscribe to any specific morality.

“A Letter to Seers” is an open letter to practitioners of mysticism. Breton addresses them using exclusively female pronouns and contrasts them with lawyers, politicians, and other “rational” occupations, represented as men. He describes a court of law in which men argue over a crime: “They believe that they must answer, here for an affair of heart, there for a crime” (197). Breton characterizes the court as a place of pointless speculation, lacking in any real truth or justice. He imagines all the court’s men—both those working for the justice system and those who are accused of crimes—as unhappy, unsatisfied, and willing to submit to a future they do not hope for or care about. He mourns the destruction of the human spirit within this hypothetical situation, wondering how the men can accept their meaningless lives just to make a little bit more money.

Breton believes that the misery of the court can be attributed to a lack of imagination within mainstream society. The men “have not taken the orders of the marvelous” (198). Rather, they live in the way that is expected of them, without regard for whether what they do is really what they want. He suggests that once someone begins down a path of miserable normality, it becomes more and more difficult to express any original thoughts or explore any nonconformist feelings. Breton shows compassion for this type of man, calling him “endlessly patient” and suggesting that it is the fault of society, not the individual, that many people end up in unsatisfying lives. Ultimately, Breton blames modern society’s obsession with money for many people’s woes; they are convinced that being rich is the ultimate success, even if it comes at the price of happiness.

Breton worries that mystics are also becoming victims of the drive for capital. In his mind, this is a critical problem, as those who are attuned to the supernatural world are one of the remaining signs that reality extends beyond the everyday, visible world. He believes that seers were bullied into hiding their inherent talents for fear of being judged insane by society. As evidenced by widespread belief in the world's major religions, this is not because society lacks a desire for the supernatural. Rather, Breton criticizes mediums who were caught performing hoaxes and believes they tainted the reputation of the profession. He believes that seers have real power; in contrast, those who concoct elaborate ruses are driven by a desire for scandal or fame. In the conclusion to his letter, Breton implores seers to overcome their fear of living outside societal norms and allow their power to shine. This power, he thinks, will be able to overpower the forces of structured, logical society and usher in a revolution of newfound mental freedom.