This study offers a mythocritical reading of Marguerite Duras’s *Les Fleurs de l’Algérien* (1957), a short chronicle in which two plainclothes police officers overturn the flower cart of a young Algerian street vendor at the Jacob-Bonaparte crossroads; it argues that, beneath the apparent transparency of testimony, Duras performs an inverted rewriting of the Persephone myth, where catabasis becomes a gesture of recovery and anonymous women form an Eleusinian chorus of silent resistance. The analysis draws on the theoretical framework of The Anthropological Structures of the Imaginary, particularly the distinction between diurnal and nocturnal regimes of the image, supplemented by René Girard’s theory of the scapegoat mechanism (1972) and references to the Eleusinian Mysteries. Three axes structure the argument: the dialectic of image regimes, the mysteric dimension of feminine ritual, and the mythic encoding of colonial violence. The police fist is read as belonging to the heroic-warrior diurnal regime (cynegetic isotopy, theriomorphic symbols), whereas the gesture of the fifteen women signals a shift toward the mystical nocturnal regime; their ritual silence opposes the hateful logorrhoea of the hostile “lady,” and their collective act of purchase constitutes a counter-sacrifice in which flowers become a pharmakon. Ultimately, this mythic structure endows the text with symbolic power by wresting colonial violence from anecdote and inscribing it within anthropological time, allowing this brief narrative to function as a mythocritical matrix for Duras’s broader body of work.