| Summary: | The history of the reception in Castilian of Lautréamont’s Chants du Maldoror, a forgotten book then, intertwines with it’s rediscovery by André Breton and the surrealist movement. Both translations of the book, which are very different from a linguistic point of view, above all in what concerns the critical work surrounding the text, happen to coincide with two essential moments of the surrealist’s reception: the “Roaring Twenties”, which were years of an enormous surrealist activity, and the sixties, a decade in which the movement itself became part of the “History of Literature”. In the foreword of 1925’s version, Ramón Gómez de la Serna nourishes from surrealist’s knowledge and opinions on Lautréamont’s figure, while forty years later, Peligrini’s introduction and notes show that the author of the Chants was already considered a “classic".
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