Empirical description involves enslavement to the object by decreeing passivity on the part of the subject.
Cosmic reveries separate us from project reveries. They situate us in a world and not in a society. The cosmic reverie possesses a sort of stability or tranquility. It helps us escape time. It is a state.
Dreaming by the river, I dedicated my imagination to water, to clear, green water, the water that makes the meadows green.
The human mind has claimed for water one of its highest values-the value of purity.
All the senses awaken and fall into harmony in poetic reverie. Poetic reverie listens to this polyphony of the senses, and the poetic consciousness must record it.
An excess of childhood is the germ of a poem.
A clear conscience is, for me, an occupied conscience-never empty-the conscience of a man at work until his last breath.
To verify images kills them, and it is always more enriching to imagine than to experience.
How is it possible not to feel that there is communication between our solitude as a dreamer and the solitudes of childhood? And it is no accident that, in a tranquil reverie, we often follow the slope which returns us to our childhood solitudes.
Instead of looking for the dream in reverie, people should look for reverie in the dream. There are calm beaches in the midst of nightmares.
So, like a forgotten fire, a childhood can always flare up again within us.
At all times and in all fields the explanation by fire is a rich explanation.
The spoken reverie of substances calls matter to birth, to life, to spirituality.
Poetry is one of the destinies of speech... One would say that the poetic image, in its newness, opens a future to language.
It is quite evident that a barrier must be cleared in order to escape the psychologists and enter into a realm which is not "auto-observant", where we ourselves no longer divide ourselves into observer and observed. Then the dreamer is completely dissolved in his reverie. His reverie is his silent life. It is that silent peace which the poet wants to convey to us.
A man is a man to the extent that he is a superman. A man should be defined by the sum of those tendencies which impel him to surpass the human condition.
For in the end, the irreality function functions as well in the face of man as in the face of the cosmos. What would we know of others if we did not imagine things?
There are children who will leave a game to go and be bored in a corner of the garret. How often have I wished for the attic of my boredom when the complications of life made me lose the very germ of freedom!
The reverie would not last if it were not nourished by the images of the sweetness of living, by the illusions of happiness.
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.
Whoever lives for poetry must read everything. How often has the light of a new idea sprung for me from a simple brochure! When one allows himself to be animated by new images, he discovers iridescence in the images of old books. Poetic ages unite in a living memory. The new age awakens the old. The old age comes to live again in the new. Poetry is never as unified as when it diversifies.
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.
The metaphor is~ an origin, the origin of an image which acts directly, immediately.
For a knowledge of intimacy, localization in the spaces of our intimacy is more urgent than determination of dates.
One doesn't read poetry while thinking of other things.
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