Gaston Bachelard Quotes
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Baudelaire writes: In certain almost supernatural inner states, the depth of life is entirely revealed in the spectacle, however ordinary, that we have before our eyes, and which becomes the symbol of it." Here we have a passage that designates the phenomenological direction I myself pursue. The exterior spectacle helps intimate grandeur unfold.
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It is a poor reverie which invites a nap. One must even wonder whether, in this "failing asleep", the subconscious itself does not undergo a decline in being.
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Ideas are invented only as correctives to the past. Through repeated rectifications of this kind one may hope to disengage an idea that is valid.
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The characteristic of scientific progress is our knowing that we did not know.
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The dream remains overloaded with the badly lived passions of daytime life. Solitude in the nocturnal dream is always a hostility. It is strange. It isn't really our solitude.
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The poetic image is a sudden salience on the surface of the psyche.
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To live life well is to express life poorly; if one expresses life too well, one is living it no longer.
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The human being taken in his profound reality as well as in his great tension of becoming is a divided being, a being which divides again, having permitted himself the illusion of unity for barely an instant. He divides and then reunites.
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Happy is the man who knows or even the man who remembers those silent vigils where silence itself was the sign of the communion of souls!
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In living off all the reflecting light furnished by poets, the I which dreams the reverie reveals itself not as poet but as poetizing I.
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Every corner in a house, every angle in a room, every inch of secluded space in which we like to hide, or withdraw into ourselves, is a symbol of solitude for the imagination; that is to say, it is the germ of a room, or of a house.
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In contrast to a dream a reverie cannot be recounted. To be communicated, it must be written, written with emotion and taste, being relived all the more strongly because it is being written down. Here, we are touching the realm of written love. It is going out of fashion, but the benefits remain. There are still souls for whom love is the contact of two poetries, the fusion of two reveries.
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Two half philosophers will probably never a whole metaphysician make.
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Poetry is one of the destinies of speech... One would say that the poetic image, in its newness, opens a future to language.
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Childhood knows unhappiness through men. In solitude, it can relax its aches. When the human world leaves him in peace, the child feels like the son of the cosmos.
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To feel most beautifully alive means to be reading something beautiful, ready always to apprehend in the flow of language the sudden flash of poetry.
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A pretext-not a cause-is sufficient for us to enter the "solitary situation", the situation of the dreaming solitude. In this solitude, memories arrange themselves in tableaux. Decor takes precedence over drama. Sad memories take on at least the peace of melancholy.
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Even a minor event in the life of a child is an event of that child's world and thus a world event.
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Here we are at the very core of the thesis we wish to defend in the present essay: reverie is under the sign of the anima. When the reverie is truly profound, the being who comes to dream within us is our anima. For a philosopher who takes his inspiration from phenomenology, a reverie on reverie is very exactly a phenomenology of the anima, and it is by coordinating reveries on reverie that he hopes to constitute a "Poetics of reverie". In other words, the poetics of reverie is a poetics of the anima.
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One must always maintain one's connection to the past and yet ceaselessly pull away from it.
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If we did not have a feminine being within us, how would we rest ourselves?
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The reverie would not last if it were not nourished by the images of the sweetness of living, by the illusions of happiness.
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If I were asked to name the chief benefit of the house, I should say: the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace.
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The metaphor is~ an origin, the origin of an image which acts directly, immediately.