Rabelais coins hundreds of neologisms in his Gargantua and Pantagruel, including elaborate compound adjectives and invented proper names that demonstrate how literary neologism can serve comic, satirical, and encyclopedic purposes simultaneously; Apollinaire's neologism "calligramme" invents a new word for a new form, demonstrating how poets sometimes need to create vocabulary to name their formal innovations: the new word enacts the same creative ambition as the new form it names; The Oulipo movement, particularly Queneau and Perec, creates neologisms as part of their systematic exploration of language's combinatorial possibilities, showing how invented words can reveal the constructedness of all language, not just the invented parts; A student practicing néologisme should try to coin a word for a concept that currently lacks a precise name: the feeling of finding a book you didn't know you needed, the light in a room just after someone has left it, discovering how the exercise of naming illuminates the concept being named; Surrealist automatic writing produces accidental neologisms through the collision of unexpected words, and the Surrealists embraced these accidents as revelations of unconscious verbal creativity rather than errors to be corrected; Rimbaud's vocabulary in the Illuminations contains coined or radically displaced words that resist easy glossing, their semantic instability contributing to the dreamlike quality of the prose poems and challenging the reader's assumption that poetry should be translatable into everyday language.