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Circumstances make of Octavio Paz' work a very special model. His production originates in the peak of vanguards, and it goes on up to even much later than the high spirited period of these. It can be used as a representation of the conflictive dialogue that exists between dominant and emergent languages, signed by rupture and an attempt to renovate. In this context, the main objective of this paper consists in deepening the links between Paz' work and the surrealist trend, proposing a third way of relationship between both that has not been tackled by the critics sufficiently. Aspects of his critical production as well as of his poetry, specially Poemas (1935-1975), re-edited in 1981, will be analyzed to highlight the place that the memory of a poet definitely consecrated keeps to his "tangential" surrealist experience. [ABSTRACT FROM AUTHOR]