Chapter 52 III Montparnasse, the open city (1)-3

Surrealism: the exercise of purely psychological automatism in the actual operation of thought, whether spoken or written, without the exertion of any rational control, without regard to any aesthetic or moral conception, and concerned only with the faithful recording of the present what you think. André Breton Robert Desnos had just turned 20 when he ended his military service and Breton was 26.The latter was overwhelmed by the little brother's "obstinate and aggressive energy".In this respect, Desnos is indeed an extraordinary person.He was short, with locks of brown hair falling over his eyes, oyster-like lavender eyeballs inlaid with tawny, and he was casually dressed.Fanatic and impulsive, he either loves or hates a rational enemy.As a friend of the Bonot gang anarchists, Desnos also used his fists at every turn.But he couldn't fight, so his girlfriend gave him several boxing lessons.However, because he is always the first to rush when encountering injustice, learning boxing has not exempted him from often suffering.

Not only did Desnos often attack bravely at the expense of physical beatings and injuries, but he was also fearless and unscrupulous in writing.He was a pure word magician: he often wrote acrostic poems, cleverly using the first letter of each line to link together to form the author's name or the title of the poem; by changing the position of the letters in a word to form another word (such as changing gare to rage); playfully reversing the order of letters or syllables to form new words or phrases (such as writing sonnez trompettes as trompez sonnettes); or inventing as many syllables and words as you like.The freedom he displayed in writing completely broke the language logic and grammatical rules, which coincided with the trend of surrealism that emerged at that time.On this point, Breton had the foresight.

Desnos wrote about everything at the newspaper he worked for, showing a rare gift for writing.At first, he translated some advertising material into a language he could not read, then he translated reports on phylloxera, sugar beet cultivation, sailing, crushing dogs, etc. of all types and contents. Desnos is a friend of Eugene Maier.Eugène Maier had a heart of gold.He was the founder of the newspapers Le Soir de Paris (purchased by Jean Prouveau in 1930) and Le Blanc de Mer. After 1919, the newspaper published a satirical edition every Saturday, successively publishing more than 8,000 newspapers full of satirical anarchist optimists. One day in 1927, Eugène Maier had a whim to start a new daily newspaper - "Paris Morning Post".He asked the "Paris Evening News" newspaper to write the most wordy editor, a 24-year-old young man-George Simnon to help him write articles for his newspaper.Although Simnon is young, he has several successful methods.Desnos watched them happily and secretly supported them.Mel and Simnon conspire to set a trap with two backdoor traps.They will sign a contract.The contract stipulated that the writer who signed the contract must guarantee to complete a novel in three days and three nights, and the "Paris Morning Post" published it for him.In order to make the plot more attractive to readers, Simnon will naturally try his best to choose the topics that readers like, and try his best to strengthen the description of the characters, and even allow the public to directly participate in the topic selection of the novel.For example, when describing the private life between men and women, instead of writing behind closed doors, the author should write in front of as many people as possible, so as to listen to their opinions at any time.How to do it?A glass pavilion was set up in front of the Moulin Rouge (the most famous red light district in Paris), where Georges Simnon would write, and from time to time ask for opinions and suggestions from people who entered and exited the Moulin Rouge.

A glass pavilion will be erected.After the performance of the contract, Georges Simnon should be able to receive 25,000 francs of the total contract value of 100,000 francs as an advance payment.The practice was seen as a brilliant, multi-stakeholder idea that could be passed on to future generations and was welcomed by witnesses of the period.Jugi Desnos writes to tout the project, André Varnaud congratulates, Florent Fels appreciates the idea, and Louis Martin-Chauffier is ecstatic about it...  Jen Meyer thought it amused, because there had never been a glass writing booth in history, or the miracle of writing a novel in three days, or seen such a fascinated public.Only Simnon is a practical person. At the last moment when the plan was about to be implemented, he canceled the event...

Robert Simnon also gambled, but not in the same way as his boss.Breton called him "a sleepy man always on the alert."Because he was more sensitive than anyone else, more susceptible to the hypnosis, dreams and hallucinations advocated by surrealism. It's Rene Crevel (1900-1935), a French writer.In 1922, he introduced hypnosis and hypnosis to the circle of surrealists.A year ago, because of his psychic talent, he was praised by a female spiritualist. Hypnotic drowsiness is the same phenomenon as other phenomena arising from dreams or uncontrolled mental activities.It is an independent stage for surrealism.At the end of this stage, "Surrealism only needs to erase the boundaries between dream and reality, consciousness and non-consciousness, and does not expect anything else", "Surrealism is a border phenomenon whose task is to provide connection between the non-conscious and the conscious which is responsible for receiving and developing". [Excerpt from Le Surrealism cited in Gaetan Pigon's book, Schilla Press, Geneva, 1976].

Before long, they were all engrossed in this sort of collective psychic slumber.Klevel took the lead in this practice of slumber: holding hands with Max Morris, Robert Desnos, and André Breton, in a dark room cut off from all sound, he gradually Into a drowsy state.In drowsiness and sleep, he recited, sang, sighed, and told stories... When he woke up, he could not recall anything he had done in sleep. Next time it's Desnos' turn to engage in such slumbering practices.Without realizing it, he gently scratched the table.According to Crewell, this tickling reflected his desire to write.People put a piece of paper in front of Desnos who was in his sleep, and put a pen in his hand.A miracle happened, and he began to write.Crewell observed him carefully, and his writing speed was so fast that Su Bo and other people watching around him were surprised (in real life, only Aragon has the ability to write works at the same speed).Driven by a wave of boiling enthusiasm, Desnos wrote many books at such a fast speed.However, Desnos himself never believed that it was done unconsciously. In his view, the words "writing" and "unconscious" are contradictory.But he remained completely silent and said nothing.

No matter how hard Ernst, Eluard and Morris tried, they couldn't enter the dream state.Su Bo and Aragorn watched from the sidelines.Desnos often sleeps and sleeps at Breton's house, writing, speaking, dreaming at the same time, and constantly embracing Morphy.One night, because he couldn't wake up Desnos who was sleeping, Breton had to call a doctor, but Desnos greeted the doctor with a burst of scolding. On another occasion, Desnos established a telepathic connection with Marcel Duchamp in New York, and Duchamp spoke a few words to him, which he recorded.Finally, Duchamp also paid tribute to Desnos through the mouth of Ross Selavi:

Ross Serraway knew the salt merchants well. [Excerpt from "Ross Serraway" by Robert Desnos, 1953] During a day of group practice, Crewell asked the participants to hang themselves on the coat rack.Desnos took an inch and chased Ai Luya in the yard with a kitchen knife in his hand, claiming to kill him.Breton exhausted all his strength to avoid a catastrophe.All these further and further developments prompted their leader Breton to finally understand that such activities must be terminated immediately.In "The Prospect of Reckless Behavior," he writes: For many years Robert Desnos devoted himself (from his soul to his personal possessions) to the surrealism of all automatic activities, that is, to engage in all activities entirely by psychological automaticity, and strictly prohibited any Intervention of personal will.Ever since I began to worry that his physique could not resist, I have tried many times to stop him from continuing to engage in such practice.Yes, I continue to believe that schizophrenia is possible on this path, after crossing the boundaries I feared.

Breton did dissuade Desnos, but one question remains: Was Desnos feigning sleep at some of the spiritual gatherings attended by believers in the automaticity of movement and speech? When sober, Desnos is quite flexible, whether it is in the use of language or fists. After introducing Desnos into the "Literature" agency, Breton regarded him as one of the main forces to rely on in future struggles.He did not forget their primary goal: the Dada movement was always their line of sight.Training must also continue before launching the final charge. In April 1922, eight months after the failure of the Paris Congress, the debate resumed.

On December 11, 1922, two plays were staged at the Antoine Theater: Raymond Roussel's "Locus Solus" and a patriotic play "Idle War". Breton and his associates still fully supported Raymond Roussel in the name of Dada, not in the name of Surrealism.Aragon, Desnos, Breton and several others were scattered around the theater.During the performance of "Locus Solus", they all took the lead in applauding, ignoring the scolding of other audience members, echoing each other loudly and congratulating the author together. "Idle Warfare" aroused the displeasure of these surrealists, and they showed great anger at the same time.Aragorn yelled loudly from one side of the theater:

"Long live Germany!" "Down with France!" echoed Desnos from the other side. "So what?" one actor asked. "Then they're all bastards!" Breton shouted from the stands. The whole theater became chaotic.Raymond Russell was delighted from the bottom of his heart: This incident caused a great sensation in Paris.The result was that I became a celebrity overnight... the name of one of my works was widely circulated. [Excerpt from "How I Write Some of My Work" by Raymond Russell] Therefore, he wrote two other plays "Cocus Solus" and "Blocus Solus or les btons dans les Ruhrs" that year. Ten months later, the Surrealists are once again in full force in defending Raymond Russell's "Frontline Star."Once again, it aroused great public indignation from the audience, so that the performance had to end in the third act.When an irate spectator yelled at Desnos that "you're all hired to cheer," Robert Desnos retorted, "We're hired to cheer, and you?" !A loud slap hit the face of the audience. The next event took place on July 6, 1923 at the Michel Theater.On this day, Chara pulled all his friends to watch a program that was peaceful but bizarrely chaotic.They performed to the audience works by Stravinsky and the "Six", read poems by Cocteau, Subor, Eluard and Apollinaire, performed dances, showed the latest films and performed Tristan Chara's three-act play, Heart of Gas. The problem is that no one consulted Su Bo and Ai Luya before organizing this event.Neither of them expected to have their poems read at the same time as Cocteau's at the event.Therefore, when they attend performances, they all bring their bodyguards with them. When the show started, everything was normal and in order.But after the piece was over, a young Dadaist, Pierre de Maceau, stepped onto the stage and began to read an essay attacking Gide, Picabia, Duchamp and Picasso.It just so happened that Picasso and Breton were also watching the performance live.Thus, Breton came to the stage to defend the painter (Picasso), and Desnos and Perret followed Breton to the stage.The two of them stepped forward to grab Marceau, and Breton raised the cane in his hand, hit Marceau's arm, and suffered a fracture.The audience roared angrily at the few people who violated others, and turned their opposition to Breton unanimously.Chara, who stood watching the battle from a distance, called the police.After Breton, Desnos and Perret were driven out of the theater, the theater finally calmed down.It is a pity that after a short period of calm, Chara's play had just opened, and a big, blond-haired young man with a different, bewildered gaze stood up and asked Chara to give everyone a reasonable explanation: why did he put Breton expelled from the theater? The newly arrived security police are still in the theater.They rushed towards Paul Ailuya immediately, however, Ailuya's friends and bodyguards immediately built an iron wall around him.So the poets fought with the police.At this time, Chara jumped onto the stage, and Ai Luya changed his attack target, turned around and rushed to Chara, and slapped him hard.The audience was furious, and the fight soon spread to the audience and theater staff, and then outside the theater.Suddenly, there was chaos inside and outside the theater.The next day, the theater manager refused to accept the new performance on the grounds that it was okay to engage in art, but not to fight. Breton has always been bitter about Chara calling the police to help drive him out of the Michel Theater, and cannot forgive.In his work "Wandering", he wrote the following inscription to Chara, the father of the Dada movement: "To Tristan Chara, the novelist of 1924, the full-fledged liar, and the eyes and ears of the police." " Walking" included an article titled "Abandoning Everything", which fully demonstrated the author's determination to completely break with the Dada movement: give up everything. Give up Dada. Give up your wife and your mistress. Let go of your hopes and fears. Go deep into the forest to reseed. Abandon your prey and go where no one knows. Give up a comfortable life and everything others have provided for your future. Take solid steps and go your own way. [Excerpt from André Breton's "Promenade"] After a long time, the two enemies, Breton and Challa, will meet again, but this will not be until the publication of "Surrealist Manifesto (II)". The Surrealist movement took a major turning point in 1924.Breton was not content with publishing his "Promenade", he also published "Manifesto of Surrealism".At the same time, Aragon published "Bohemian", Perret published "Eternal Illness", and Eluard published "Eternal Death". Writer, dramatist and theater actor.Published "The Center of Purgatory". In addition to publishing the above-mentioned works and gaining a place in the literati circle, this small surrealist group also has a "Surrealist Research Office" at 15 Grenell Street.The office is open every day from 4:30pm to 6:30pm.In the near future, they will open a showroom on Rue Jacques-Carlo, led by the imaginative genius Laurent Thiard, who unfortunately never writes.In particular, they are about to launch a magazine, Surrealist Revolution.The first issue will be published in December 1924 under the chairmanship of the directors Pierre Navier and Benjamin Perret. 1924 also marked a major turning point in the life of André Breton.This turning point coincides with Anatole France (1844-1924), a French novelist who joined the French Communist Party in October 1921 and won the Nobel Prize for Literature in the same year.His death and the scandal created by the Surrealists over this event. Breton hated the writer Anatole France, who once wrote in his "Conversation with André Parino": He boasted that his writing style was clear and clear, but in reading his work, we don't get the slightest sense of it.What particularly repelled us was his excessive skepticism... We found him deeply dishonest as a person, which was the most despised: he boasted that he had done what he was supposed to do in mediating the pain of the left and the right everything of.He has become morally depraved due to too much honor and carefree life. At the time of Anatole France's funeral, Aragon, Breton, Éluard, Dertheil, Drieux and Soupaud published extremely violent articles against Anatole France: "A Dead Body".In particular, Breton wrote in an article entitled "Refusal to Bury": We should get rid of these unlucky three people - Loti Loti (1850-1923), French novelist. The year of , Balais and France is marked white, because they are idiots, traitors and spies respectively. Aragon happily followed Breton and asked: Have you ever slapped a dead man? I insist that all who appreciate Anatole France are degenerates.In thought, he was nothing short of a hateful charlatan.Does he deserve, in all fairness, the name of France which the people of France gladly lend him the name of which he has brought them so much shame? ... Sometimes, I really want to use an eraser to wipe away this dirt of human beings. The collective attack on Anatole France's article cost André Breton dearly.It was these extremely fierce offensive articles that cost him the job he had occupied for many years.And it was precisely because he occupied this position that he was able to attend the auction of the Carnville collection held in Drouot.At that auction, he used his position to purchase not only many famous paintings for himself, but also for a man who had hired him for the mission.This is a person who has kept most of the artists (including painters and poets) in Montparnasse alive for many years. He is the fashion guru Jacques Doucet, who heavily supports the cause of literature and art. Until the end of the month, I had nothing to do, so I had to go to the fields and suffer like years, lying in the grass, smoking non-stop, and thinking wildly... Thanks to Mr. Doucet, I can have today. bryce sandras In 1924, Mr. Jacques Doucet was not too young, and he had no interest in high fashion, and he also hated people treating him as a fashion master.Indeed, he was, and continues to be, the great savior of Belle Époque women.It was he who introduced sheer fabrics, lace, pleating, and embroidery into the garments he made for them, who decided that women could no longer be confined to artificial hoops and corsets (for skirts), he who For them, we have produced dresses that are close-fitting, with concave necks, and that can reflect the beautiful figure of women. The most noble women of his time wore his fashions.The catwalks he produced were indeed true art showcases.Every Sunday, those dukes and countess wives love to go to the Longchamp Jockey Club to show the colorful, soft, lightweight, and finely crafted beautiful clothes he made for them.Many artists are his friends, Sarah Bernhardt (1844-1923), head of the French troupe, theater actor and film actor.And Rejane Rejane (1856-1920), French theater actress.They are all his close friends.However, his only wish is to sell his clothing store.Because although he is a fashion guru, he is first and foremost a collector.Although it may not appear on the surface, he is actually a bit of an anomaly.He was handsome and well-dressed, with silver-gray hair and a soft, well-trimmed beard.He wore leggings on his legs and shiny boots on his feet: legend has it that he used a special varnish and baked them in the oven every day after taking them off. Although he had contacts with most of the literati in Paris, he did not have many friends due to his rough personality.He was, however, an emotional and sentimental man.Unfortunately, his love is often not rewarded and he feels very lonely all the time.He loved a young girl, but was rejected; fell in love with a second girl, and died before she could accept his advances; later he fell in love with a married woman-Mrs. Determined to persuade her to divorce.Among the gifts he plans to give to future brides is a private mansion he has already started construction on rue Spontigny near the Bois de Boulogne.When his pretty sweetheart finally agreed to grant his courtship, Jacques Doucet bought a large number of paintings by Latour, Fragonard and Boucher, china, Chinese bric-a-brac, plus his original Watteau , Goya and Chardin's oil paintings, sculptures, and a hundred or so 18th-century works (during the first big auction of Drouot in 1906, the master had already bought the above works for collection), no doubt, the bride will have a A mansion like a museum. It is a pity that this Mrs. R never visited this fantastic palace.Because she died suddenly a few days before her husband finally agreed to her divorce request. Duce never recovered. In 1912, he sold his entire collection.He decided to use the 7 million gold francs he obtained to build an art library. From 1909 onwards, he rented a house opposite the private mansion in Rue Spontini, where he centrally stored some rare manuscripts and publications that he carefully selected and purchased.He hired the art critic René-Jean to assist him.He extended the house, which later became one of the largest libraries in France.During the war, the library was managed successively by André Suarez, André Breton and Marie Dormoy.Jacques Doucet eventually bequeathed it to the University of Paris. Collector Doucet showed his generosity and generosity everywhere.One day, he participated in a fitting event held in his fashion store, and a customer shouted loudly: "Once I hear the song "Tristan", I am ecstatic, and I can do whatever others want. I do what I do, I do." "Excellent." The fashion master said to himself, thinking that now he had found a confidant. It is not recorded in the history books whether Dussel liked Wagner, but he arranged a feast for the female customer and entertained her, which is enough to show how much he respected the female customer.He rented a house, furnished it with great taste, and hired a lady musician.She is coming.As soon as the honored guest closed the door of the living room, beautiful music sounded in the next room. "Come and see," Duce said. He dragged his soon-to-be crush into a room where some musicians were playing excerpts from "Tristan."The atmosphere there is like heaven. Ducet showed the same generosity to the artists he sponsored during and after the war, exactly as he had done to his beauties.He asked them each to give him a gift.What he wants is not people, but their works.For he did not collect only first editions and manuscripts, no matter how rare (e.g. Baudelaire, Rimbaud, Chateaubriand, Verlaine, Mallarme, Flaubert, Claudel, Jaime, De's manuscript), and also hoped that the writers and poets he supported would write something for him. Ducey chose Andre Suarez among the literati he first came into contact with, and gave him a task: to write him a letter every week, the content was about modern literature or the current situation. In 1916, Pierre Levedi often wrote articles about the artistic movements of that era, and he could get 50 francs for each article. After the "North and South" magazine was founded, Doucet not only gave him material support, but also often gave him a lot of suggestions.It was at Doucet's urging that Levedi expelled Jean Cocteau from the magazine's editorial board.But this does not prevent Jean Cocteau from saying to Radigues when he talked about Raymond Radigues receiving help from Doucet (writing a column every week for 50 francs). Hey, it's my old friend Doucet!" [From "Jacques Doucet - The Art of Financing Art" by François Chapont] André Salmon was also paid for publishing his views on literature, as was Max Jacobs.Jacques Doucet also wanted an update from Jacob on the avant-garde warriors of the literary arts.Often he could get news from Jacob, but not in the way he hoped to.The poet reported to him in detail: the fight between Levedi and Diego Rivera at La Perouse's house: the dispute caused by the performance of "The Breast of Tirias"; The clash of critics and so on.Max Jacobs frankly revealed his love and dislike of literature and poetry to his patron Doucet.But when Dusselt asked him to talk about Picasso, he never gave in to his patron's demands: I haven't written anything about Picasso.He is very disgusted when people write about him, he is very disgusted by other people's incomprehension and the behavior of revealing other people's secrets.I adore him, respect him and appreciate him so much and I will never do anything to make him uncomfortable... Some friends live off his name but I'm sure there will be a day... Let's see... [Excerpt from Max Jacob's "Contact Book"] Max Jacobs sold to Ducet manuscripts of several books: The Siege of Jerusalem, The Cup of Dice, Christ at Montparnasse, some original manuscripts, some recopied.Jacob suggested that Doucet go to Apollinaire and lesser-known writers or some poor painters.When Max Jacobs was short of money, he would not hesitate to ask his patrons to pay his manuscript fees in advance.In order to express his gratitude, he gave some gouache paintings to the sponsor. Doucet also approached Bryce Sandras.At that time, the latter happened to be often penniless, and even eating was a problem.He often sent some poems to the "French Courier".Once the other party accepted his work, Sandras asked for a small advance payment. The other party always exclaimed as if he almost lost his breath: "Advance what?" "Qian, please do me a favor." The atmosphere immediately became tense.Sandras' face flushed. "You must know, sir, that the French Courier never gives advances to lyricists." "That's all right, you can turn it into prose. Please give me six centimes anyway," argued the author, shrugging his shoulders. He got no money, but no one knows if he left his work to the newspaper...   It is reported that not long after, Jacques Doucet's servant came to visit Sandras and conveyed to him his master's proposal: write him a letter every month, in exchange, he can get 100 francs a month.He found the sale almost unbelievable, writing in "The Gift of Heaven": Mr. Doucet was not my friend at that time, so there was no reason to write to him, so what should I say to him? ...I'm not even qualified to know him. So he answered in the negative.Sandras wrote a rejection letter.It was a gift, since it was a free letter for Ducet, the collector.In this letter, Sandras made a counter-proposal: He agreed to write a book for Doucet on the condition that one chapter be delivered each month. Ducet's servant returns to Ducet's mansion in Rue Spontini.Then he returned to the Sandras house and put 100 francs and a letter on his desk.The letter stated that their sale was completed.In reply, Sandras wrote two more free letters to Doucet!The poet further clarified the specific terms of their contract: this is a small book, completed in 12 months, how many pages per month, how many lines per page, how many words per line; Property of the author. This is how "The Gaul Monk Knowing Astronomy, Nature, and Divination" was written.Sandras said he and Doucet had only dealt with each other on this matter. André Breton, like a large number of others, also received the great help of the fashion master. In December 1920, he was hired as an administrator of the Doucet Library.The task was to select books that he felt suited the sensibilities of his time and to teach his 70-year-old boss modern art.Therefore, he will ask his boss to buy "The Girl of Avignon" (for 25,000 francs), Rousseau's "The Man with the Snake" (Fig. 58), and Delang, De Chirico, Works by Seurat, Duchamp, Picabia, Ernst, Masson, Miro and other painters. In 1922, Breton proposed to Jacques Doucet to expand the library, and hired Aragon on his own initiative. The two jointly formulated an expansion plan, the purpose of which was to collect and purchase literature that was not accepted or unknown by traditional literature and official literature. work.In addition to the works of Lautreamont and Raymond Roussel, which they had already accepted, the duo proposed that the library pay homage to Pascal (1623-1662), French writer and philosopher. , Kant Kant (1724-1804), German philosopher. , Hegel Hegel (1770-1831), German philosopher. , Fichte Fichte (1762-1814), German philosopher. , Bergson, Sade Sade (1740-1814), a famous French writer. , Restif de la Bretonne Restif de la Bretonne (1734-1806), French writer. , Su Sue (1804-1857), French writer. , Jari and Dada's works are open.They also suggested to Doucet to buy Jean Polan, Tristan Chara, Paul Éluard, Benjamin Perret, Robert Desnos, Jacques Baron and Georges Lambert, etc. Writer's manuscript. Breton made no secret of his ambition.He wanted to help his friend, and he did.Doucet likes Aragon very much, and supports Aragon just as he supports others.He persuaded writers to send him manuscripts of some chapters in The Peasants of Paris, and obtained two letters from Aragon on literature.In this way, the costume master who lives in the Neuilly-Passy district of Paris has quietly made selfless contributions to the livelihood of this group of young literati.However, these bohemian young literati often made some mischief in many neighborhoods of Paris, constantly arousing discussions and public outrage from all walks of life. Already seen clearly at the death of Anatole France, the idyllic days between Dussel and the artists suddenly changed in 1924.In the face of fierce attacks from his young friends, Jacques Doucet used the "eraser" in his boss's hands to erase all contact between him and the Surrealists and broke off all contracts between them. .Marie Dormoy, according to Breton, took a different view. She believed that Doucet had been told that his friends were disrespecting him behind his back, spreading a lot of cynicism and anger.After hearing these sad news, he summoned all the members of the Surrealists to his office and announced that he would pay all the money owed to them, but the cooperation between him and others except Aragon From then on, it will not continue. In 1926, Aragon fell in love with Nancy Gunnar, the heiress of the Gunnar Ocean Shipping Company.Nancy's mother was a frequent visitor to the British royal palace, and this background provided great convenience for the career of the costume master.As a result, Doucet doubled Aragon's monthly salary, and at the same time asked him to provide him with information on when and what entertainment activities young people in Paris' high society liked to engage in at any time.Aragon undertook this work under Dousse until 1927.After Aragon joined the French Communist Party, due to his different political views, he completely severed his contact with Jacques Ducet. Still later, André Breton acknowledged the high morals of the couturier and collector Jacques Doucet.The master gave him generous and selfless help in various difficult periods of his life (for example, when he got married in 1921, Doucet gave him gifts, paid for the newlyweds to travel, and paid him back for him to support his wife. Double your salary).But when he praised his benefactor, he consciously lowered his tone: Because I don't think it's about professional secrecy, and I think it's good to understand the relationship between artists and amateurs in today's society.Allow me to point out here that this grant is not solely for the benefit of young artists. [Excerpt from "A Conversation with André Parino" by André Breton] In the story told by Breton, there is something even more detrimental to Dousse's image!Example: It was Breton himself who persuaded collectors (rather than himself voluntarily) to buy a Max Ernst painting exhibited at the Independent.This painting, showing five similar bouquets in five similar vases, was listed for 500 francs.但据他说杜塞当时建议说：“请您让画家给我们只画两个花瓶吧，我只出两百法郎。” 据皮埃尔·卡巴纳说，一天，布勒东带领服装大师到他家里去买一幅静物画。画家从衣袋中取出一个卷尺，量过杜塞大师十分渴望得到的那幅画之后，对他的拜访者说：“如果按精确到平方厘米的程度计算的话，这幅画卖4000法郎。”杜塞二话没说就离去了。 又有一天，杜塞对马松的一幅微型画说：“这幅画上缺点什么……”他手捋着胡须嘀咕了好半天，突然似乎有了重大发现似的大声嚷嚷道：“我必须去要求画家在上面加点儿东西……一只鸟！对了！增加一只鸟，这幅画就十全十美了！” 阿拉贡对他的资助人杜塞怀有深深的感激之情。在他的剧本《奥雷利安》中，他将杜塞叫夏尔·鲁塞尔，并把他与一个叫贾莫拉（他不是别人，而是毕卡比亚）的画家作比较。人们不难发现，他在小说中描写了后者不少怪癖：热中于社交生活，乐于接待“名赛马师、公爵夫人、文人学者、游手好闲的有钱人、各界美人、象棋手和外出旅游时在大西洋轮船上结识的人”。［摘自1944年出版的路易·阿拉贡的剧本《奥雷利安》］ 在同一部戏剧中，作者将前者描写成一位穿着时髦标致的美男子：“梳妆打扮得像只鬈毛狗，穿着考究到引人注目的程度。”该剧中未把另外一个诗人梅内特雷尔（原形是布勒东）描写得那么标致，而是侧重描写他在超现实主义者们制造的一次丑闻中扮演了不受欢迎的角色。这出戏讲述的是一群“不喜欢科克托”的人们如何破坏科克托的一出戏剧演出的故事：在一阵短促的对骂打斗之后，梅内特雷尔（布勒东）鼻子受伤，领带上到处是血；夏尔·鲁塞尔（杜塞）立即带他到了一家酒馆，圆睁着贪婪的眼睛，气愤地对他说：“你是否可以就今晚发生的如此奇特的事件给我的图书馆写篇东西呢？我手里已经有了剧本的手稿，是我向科克托买过来的……我将把你写的东西附在剧本上……” 阿拉贡和布勒东一样，时不时地也对他们本该无限感激的恩人表现出不够尊重。那时，从基斯林、桑德拉斯、安德烈·萨尔蒙、马克斯·雅各布、阿波利奈尔、拉迪盖、科克托到德斯诺斯之间都互相传话，说可以从雅克·杜塞那里得到大量慷慨的资助。于是，他们的大多数人都以极其谦恭的态度给这位先生写卑躬屈膝的信件。 尽管桑德拉斯说是杜塞先派了他的仆人来同他联系的，但这是吹嘘。事实是桑德拉斯于1917年亲自给杜塞写信，为完成他的小说向杜塞要求赞助他500法郎。他还提议以向大师赠送他1912年撰写的《纽约的复活节》一书的手稿作为交换条件。在这之后，他们之间就《高卢僧侣》达成了协议。因此，事实并非像桑德拉斯所说，他们之间只有一笔交易，至少有两笔。而且绝对不是桑德拉斯自己决定交易的条件，甚至在第一笔交易中，他要500法郎，杜塞也只给了150法郎。桑德拉斯在他的《分天》中一直将杜塞称为“老来俏”，但这并没有妨碍他在给恩人的信件中对他给予的慷慨帮助感激得五体投地。任何人都没有像他那样活灵活现地描写雅克·杜塞的图书馆：我们看到他陪同老板在装满书籍和信件的一大堆一大堆由书箱组成的迷宫中艰难地跋涉；他在认真地听老头子不停地抱怨收到的东西太多了，最后以十分遗憾的口吻感叹道：“他们还会继续不停地写下去呢！” 其实这是桑德拉斯在感叹，而不是杜塞。