Nasrallah1

Peake Nasrallah

Nicholas Sturm

LIT 2030

9 February 2017

Thematic Comparison of Berrigan and Breton

Ted Berrigan and Andre Breton were both unique poets especially in the art of Yeatsian

semi-trance which provides the ideal atmosphere for spontaneous writing according to Berrigan

himself (Berrigan 289). A phenomena that many writers are claimed to be capable of attaining,

this semi-trance is responsible for generating a type of creative expression that can produce

prose that not only captures the attention of the reader, but is devotionally impulsive as the

interest of the writer. Both Breton and Berrigan tend to implement thematic similarities

especially regarding the way they formulate diction and structure in order to articulate their

honest reflections on reality and abstraction. Specifically, the poems Free Union and The

Sonnets by Andre Breton and Ted Berrigan use repetition as a thematic device to demonstrate

devotion to the art of prose, communication of sincere reflection, and to solidify impulsive

expression.

As mentioned, Andre Breton is capable, as a writer, of reflecting that which is difficult to

put on paper. His ability to approach a personal subject is exemplified in his description of his

wife through metaphorical repetition. Bretons influence extends in a very visual way when he

reflects his feelings about his wife in Free Union, which characterizes an individual

unorthodoxly as being similar to many different inanimate items. The various metaphorical

equivocations, similes, and odd comparisons repeated throughout Free Union are unforgettable

because the syntax flows rhythmically, depositing Bretons Yeatsian semi-trance of spontaneity

into the readers mind like a CD into a disc drive (289). Breton even calls into question the craft
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of illusion when he writes, My wife with the fingers of chance and the ace of hearts which

seems to add a mirage to an individual whos already unpredictably portrayed.

As a leader in the surrealist movement, Andre Breton demonstrates a style that is not only

definitively abstract, but oscillates between what can be explained subjectively and objectively.

Breton describes this concept of creative writing in how it relates to human nature. A human

association such as the one which enabled Surrealism to be built-an association such as had not

been seen, as far as its goals and its enthusiasm were concerned, at least since Saint-Simonism-

cannot help but obey certain laws of fluctuation about which it is probably all too human not to

be able to know how, from within, to make up one's mind (Breton, Manifestoes 114). The key

word here is fluctuation which Breton does a lot, especially in Free Union where he juxtaposes

his wife with everything from a bird in vertical flight, to the tongue of a doll whose eyes open

and close. Juxtaposition seems to be a common theme amongst surrealist poets as highlighted

by Breton as a reason for our scruples and to endow the human mind with what it lacked so

much: I mean a truly insolent grace, which has enabled the mind, on finding itself withdrawn

from all ideals, to begin to occupy itself with its own life... (Breton, Surrealism and Painting

402-409).

In essence, Free Union provides a very realist view although it uses a surrealist approach

to the idea of his wife as encompassing many different aspects in order to display affection.

While the poems expression of love is far from traditional, it comments on what is felt by many

sexual partners: ambivalence. The repetition of my wife with which generates a captivating

rhythm, is the key element of Bretons style in this poem since it colors the readers mind with a

variety of equivocal relationships for contemplation. The way Breton fluctuates in the

metaphorical descriptions of his wife is similar to way he sees reality: The unconscious rises
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from its deep well and bends the conscious mind to its will, merging it with itself in some

greater synthesis (Brenner and Walsh). Thus, Breton destroys the typical love poem with his

own surrealist style of repetitive descriptions that shows his wife as essentially, the embodiment

of worldly things and the epitome of juxtapositions: comparing humanity with its inanimate

counterparts.

While Breton and Berrigan both implement repetition in their writing in order to convey

their dedication to the subject matter, Berrigan tends to invoke repetition more subtly than Breton

due to his diverse style of prose in The Sonnets. However, Free Union being a completely

different genre of poem, actually mimics Berrigans Sonnets explosive bursts of reflective verse.

In particular, Poem in the Modern Manner addresses this idea of spontaneous reflective verse

in the third stanza Pale like an ancient scarf, she is unadorned,/bouncing a red rubber ball in the

veins./The singer sleeps in Cos. Strange juxtaposed/the phantom sings: bring me red demented

rooms, warm and delicate words! (Berrigan, The Sonnets 33) As Breton illustrates in Free

Union, Berrigan paints a visual for the reader to savor, yet instead of a wife with with woodfire

hair, one might see a mysterious theatre where an undressed woman is being tormented by the

words of the phantom singer. Consequently, Berrigans utilization of thematic devices, especially

repetition, is resembling of Bretons style in the way they both prioritize the depiction of

imagery.

Berrigan devoted as much of his time and energy as possible to his craft, constantly

writing and revising, reading and annotating books of all genres, and discussing poetry with

anyone who would listen (Henry). Berrigans dedication is evident in his writing, but his

devotion is presented with a special kind of intensity in The Sonnets due to the amphetamine-

fueled bursts of creative effort, each lasting for several consecutive (and sleepless) days
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(Henry). This explains the blending of different parts of the day throughout The Sonnets like in

V which begins with a gala occasion and notes how stars are, like nightmares, and ends

with And all day: Perceval! Perceval! (Berrigan, The Sonnets 31). Timothy Henry highlights

that Berrigans underlying theme is time in The Sonnets, which seemed to have invisible arrows

pointing out from it backwards, forwards, and sideways too, creating a long complex moment

(Henry). This theme was influenced by the extended period of sleeplessness he experienced

before his stimulant crash. The long complex moment referred to here is Berrigans experience

through defying the normal constructs of time in a sense, presenting the reader with a unique

experience about perspective on the routine of daily life (Henry). Much like Bretons display of

ambivalence in the way he describes his wife, the use of repetition in The Sonnets actualizes the

oscillating cycle of rapture and depression Berrigan experienced in an attempt to reveal a

perspective on life that is outside the typical routine.

Berrigans style of repetition, specifically regarding his drug induced experiences, is best

exemplified in Sonnet VI where he juxtaposes bulbs and hammers: the only repeated words in

the sonnet. The poem teases the readers imagination with its opening lines The bulbs burn

phosphorescent, white/Your hair moves slightly/Tenseness, but strength, outward (Berrigan, The

Sonnets 12). Already, one can feel the high octane pulsing nerve of the writer whose

amphetamine boosted mind is feeling everything at its extremity. On the other hand, the imagery

depicted here is certainly not left out of the anxiety filled prose: the green rug nestled against

the furnace/Dust had covered all the tacks, the hammer/optimism for the jump(12)

Evidence of an anxiety driven moment is clear, but that did not affect how the words painted a

very detailed picture in the mind. Breton managed the same feat in Free Union when he listed

metaphorically the feelings he had about his wife which juxtaposed with the idea of a love poem,
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which is by definition an outright display of affection. While Bretons intentions are certainly

affectionate, lines like With a tongue like a daggered host and My wife with a belly like the

unfolding fan of the days are not meant to flatter (Breton, Free Union 31-32).

The most intriguing similarity about the comparison between Free Union and The

Sonnets is how each poem is broken into individual units by line. In other words, Berrigan and

Breton both treat individual lines like they are interchangeable parts in the poem. These blocks of

poetic verse can be built, according to Berrigan, into a literary structure of interchangeable

parts. This is important because it allows one to approach these poems in a three-dimensional

sense providing not only a dynamic expression of prose, but gives light to an entirely different

relationship between the words and alternate contiguity. The exchangeability of lines within

these poems makes repetition, as a literary device, even more powerful because it acts as the

commonality to connect a chaos of poetic verse. Consequently, repetition provides a critical

backbone for poets like Berrigan and Breton whos constant shifting between lines has the ability

to simultaneously confuse and amuse the reader (Henry).

Keeping mind John Ashberys words, poetry is made of words rather than ideas the

vastly different worldviews of Ted Berrigan and Andre Breton affected the way they felt about

the words they wrote, but not necessarily the way their words were received. Berrigan acquired a

perspective on poetry that he wrought out of his own devotion towards creating an experience

which he did in 1961 after moving to New York City. According to Timothy Henry, The citys

bustling pace was a source of excitement and inspiration to Berrigan who consumed as

much of the city, its culture and its poetry as possible (Henry). However, Breton approached

poetry as an automatic expression of his surrealist views claiming The unconscious rises from

its deep well and bends the conscious mind to its will, merging it with itself in some greater
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synthesis (Brenner and Walsh). In essence, Breton saw the world, especially poetry, as an

expression of spontaneity, blending imagination with reality in an attempt to fulfill desire with a

metaphysical hope. Regardless of the distinctive way each poet was influenced to write poetry,

Berrigan and Bretons poems accurately reflect their sincerity and collectively act as an outlet for

impulsive expression.

Poetry is wonderful because it can rely on nothing, but impulse which No serious artistic

work is accomplished without the astonishing arrival (Brenner and Walsh). Yet the question is

why allow something as random as impulse to conduct what one puts on paper? Well it certainly

creates a poet of extraordinary lines, rather than entire poems, but allows for a type of oneness

that which I am confident, keeps me in mysterious communication with other open beings, as if

we were suddenly called to assemble (Brenner and Walsh). Despite Bretons claim to be

inspired by only the convulsive energy from within, his prose is not completely random, in fact,

the use of repetition in his poetry contrasts to the randomness he implies. In spite of his apparent

self-driven poetic stimulation through drug use and determination, Berrigan invokes Bretons

idea of spontaneous influence by the way he is affected in the city. The two poets and their

poems coincide with the common themes of instinctive bursts of poetic verse that naturally

implement repetition. Whether Free Union and The Sonnets are merely random thoughts

stimulated by an inner convulsion or purposely designed to convey a message of creativity, they

both prove that repetition is extremely important in connecting a string of thoughts to a common

theme.

Works Cited
Henry, Timothy. "Time And Time Again." Jacket Magazine 1 Jan. 2010. Print.
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Berrigan, Ted. "Worrying About Making It." Contemporary Literature 38.4 (1997). Print.
Brenner, Frank, and David Waslsh. "Andre Breton and Problems of Twentieth Century
Culture." World Socialist Website. World Socialist Website, 16 June 1997. Web. 28 Apr.
2015.
Breton, Andre. Surrealism and Painting. New York: Harper & Row, 1972. Print.
Breton, Andre. Manifestoes of Surrealism. Ann Arbor: U of Michigan, 1969. Print.
Kerouac, Jack. "Jack Kerouac, The Art of Fiction No. 41." Interview by Ted Berrigan. Paris
Review 13 Oct. 2005: 282-330. Print.
Geis, Terri. "Myth History and Repetition: Andre Breton and Vodou in Haiti."South Central
Review 32.Spring 2015 (2015): n. pag. Muse. Web. 29 Apr. 2015.
Perloff, Malorie. "Avant-Garde Tradition and Individual Talent: The Case of Language Poetry."
Editions Belin, 2005. Web. 29 Apr. 2015.