In a famous essay Gottfried Benn has called attention to an essential peculiarity of modern lyrical I, namely: the link between poetic composition and reflective activity. In the words of Benn, in modern literature abounds with examples of authors for whom poetry and essays are of equal importance, and even, it seems that condition respectively. No claim of completeness quotes poets Valery, Eliot, Pound, Baudelaire, Mallarmé and Poe. Yet we must not ignore the membership of our author a German proper essayistic tradition that goes back to Goethe, Schiller, Novalis, Schlegel, Heine, Nietzsche and culminates in figures like Hofmannsthal, Musil, the Mann brothers or Jünger. However, Benn does not reduce to a mere essay helpful to express their poetic, aesthetic disseminate news or exercise literary criticism vehicle. Benn enhances the expressive power of his prose and essays becomes a means for polemics and satire, sarcasm and irony. His aggressive critic of the time has assimilated the values ​​of absolute precision and constructiveness the world of art. Facing the easy label reactionary or fascist not be omitted that the expressionist poet worked steadily in the work of destruction of the value of goods and fetishistic aspect of literature using self-conscious of his prose technology. As a modern aesthetic experimentation testing Benn playing transgress conventional boundaries between genres.The development of the artistic personality of the poet and essayist Gottfried Benn (Mansfeld, West Prussia, 1886 - Berlin, 1956) is closely related with its family atmosphere (the father was a pastor) and medical studies. Medical language, which was so close, allows you to create in his early poems (Morgue, 1919) atmospheres and images that establish him as one of the founders of German literary expressionism. In 1917 he published his second book of poems (Fleisch), written during the First World War. This collection will make a career in later poetic creation. Disillusioned of rationalist thought of the West will continue to Spaltung (1925) and Trunkene flut (1927) inquiring about drunkenness, sleep and primitive structures I to get rid of rationalism and delve into the mythical origins of man and society. These concerns explain, in part, the enthusiasm with which receives at first coming to power of Nazism, soon to be disappointed and rejected, in turn, by the new power. The breakdown of public engagement in it reinforces the tendency to differentiate clearly art and life; Doppelleben his autobiography (1950) describes this conscious split personality, a sign of modern man. Starting in 37 developing what will be called "absolute prose" with titles like Weinhaus Wolf (1937), Roman des phänotyps (1944) and Der Ptolomäer (1947). Then see the light Statische books of poems Gedichte (1948), Fragmente (1951), Destillationen (1953) and Aprèslude (1955).