Poem-a-Day - Summer Camp: Surrealism

Surrealism emerged as the direct result of the publication of André Breton’s Le Manifeste du Surréalisme (Manifesto of Surrealism) in 1924. In this manifesto, Breton presented two definitions of Surrealism:

SURREALISM, noun, masc., Pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral preoccupations.
ENCYCL. Philos. Surrealism is based on the belief in the superior reality of certain forms of association heretofore neglected, in the omnipotence of the dream, and in the disinterested play of thought. It leads to the permanent destruction of all other psychic mechanisms and to its substitution for them in the solution of the principal problems of life.

The first definition speaks to the Surrealist methodology—the use of techniques, such as automatic writing, self-induced hallucinations, and word games like the exquisite corpse to make manifest repressed mental activities. The second definition lays out the surrealist view of reality and expresses the Surrealist’s desire to open the vistas of the arts through the close observation of the dream state and the free play of thought.

1. Warm-up: If you have a partner, share an object that is personally meaningful to you and explain why.  
    
2. Before Reading the Poem: Listen to the guitar duet “Aires criollos, no. 2.” (or the song “Jota” from the Smithsonian’s Songs of Spain playlist). As you listen, jot down any associations that come to mind. After listening, share these associations if you have a partner. (You may want to read this short biography of Lorca.)
    
3. Reading the Poem: Silently read the poem “The Guitar” by Federico García Lorca. Notice the words and phrases that jump out at you, then think about what you noticed as you annotate the poem.
    
4. Listening to the Poem: (If you have a partner, take turns reading the poem aloud): Listen as the poem is read and write down any additional words and phrases that jump out at you.
    
5. Small-group Discussion: Share what you noticed in the poem with your partner. Based on the details you just shared, what is the tone of the poem? Use evidence. (Consider playing additional tracks from the Songs of Spain playlist while you’re sharing.)
    
6. Whole Group Discussion: What might the guitar be a metaphor for? Why might the guitar weep “for distant things”?
    
7. Extension for Grades 7-8: Write a short paragraph about the conflict in this poem. What does the guitar want? What might the guitar represent?
    
8. Extension for Grades 9-12: Think back to the tone of the poem. Rewrite the poem using a different tone; perhaps instead of loss and sadness, the guitar is full of joy. Or, learn more about the poet and choose another poem of his to read. Write a compare-and-contrast paragraph about these two poems.

“Proem” by Octavio Paz

“The Woman and the Flame” by Aimé Césaire 

“It Was Going on Five in the Morning” by André Breton 

“No, Love Is Not Dead” by Robert Desnos

“No Palms” by Dorothea Tanning

“Poem” by Man Ray

“Appalling Heart” by Elsa von Freytag-Loringhoven

“Mirabeau Bridge” by Guillaume Apollinaire