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AbstractWhen 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.