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En 1911, au moment où paraît Le paon d’émail de Paul Morin, le champ littéraire commence à se scinder avec, d’un côté, les écrivains qui prônent la canadianisation de la littérature québécoise et, de l’autre, ceux qui cherchent à l’émanciper de toute tutelle et revendiquent la liberté d’inspiration. Le présent article cherche à démontrer comment, dans son recueil, Paul Morin, paradoxalement, cultive une esthétique de la rupture tout en puisant dans un répertoire de lieux communs pour représenter l’Orient.When Paul Morin’s Le paon d’émail was published in 1911, the field of literature was beginning to divide. On one side were those writers who put forward the Canadianization of Québec literature and on the other were those who sought to emancipate it from any other purview and who laid claim to liberty of inspiration. The present article seeks to show how, in his collection — paradoxically — Paul Morin cultivates an aesthetic of breaking away yet draws from commonplace ideas to represent the Orient

Le paon d’émail de Paul Morin : l’exploration des lointains