To go upstairs in the word house is to withdraw step by step; while to go down to the cellar is to dream.
Memories of the outside world will never have the same tonality as those of home and, by recalling these memories, we add to our store of dreams; we are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.
Immensity is within ourselves. It is attached to a sort of expansion of being that life curbs and caution arrests, but which starts again when we are alone. As soon as we become motionless, we are elsewhere; we are dreaming in a world that is immense. Indeed, immense is the movement of motionless man. It is one of the dynamic characteristics of quiet daydreaming.
In Leonardo da Vinci’s Notebooks, we read: “An oyster opens wide at full moon. When the crab sees this, it throws a pebble or a twig at the oyster to keep it from closing and thus have it to feed upon.” Da Vinci adds the following suitable moral to this fable: “Like the mouth that, in telling its secret, places itself at the mercy of an indiscreet listener.
In this dynamic rivalry between house and universe, we are far removed from any reference to simple geometrical forms. A house that has been experienced is not an inert box. Inhabited space transcends geometrical space.
To sum up, while we do not seek to instruct the reader, we should feel rewarded for our efforts if we can persuade him to practice an exercise at which we are a master: to laugh at oneself. No progress is possible in the acquisition of objective knowledge without this self-critical irony.
Toujours, imaginer sera plus grand que vivre.
All important words, all the words marked for grandeur by a poet, are keys to the universe, to the dual universe of the Cosmos and the depths of the human spirit.
The intellectualist philosopher who wants to hold words to their precise meaning, and uses them as the countless little tools of clear thinking, is bound to be surprised by the poet’s daring. And yet a syncretism of sensitivity keeps words from crystallizing into perfect solids. Unexpected adjectives collect about the focal meaning of the noun. A new environment allows the word to enter not only into one’s thoughts, but also into one’s daydreams. Language dreams.
Every object in the world, loved for its own sake, has a right to its own nothingness. Every being pours out being, a little of its being, the shadow of its being, into its own non-being.
Poetry puts language in a state of emergence, in which life becomes manifest through its vivacity. These linguistic impulses, which stand out from the ordinary rank of pragmatic language, are miniatures of the vital impulse. A micro-Bergsonism that abandoned the thesis of language-as-instrument in favor of the thesis of language-as-reality would find in poetry numerous documents of the intense life of language.
The brook will nonetheless teach you to speak, in spite of sorrows and memories.
The imagination is ceaselessly imagining and enriching itself with new images. It is this wealth of imagined being that I should like to explore.
The lock doesn’t exist that could resist absolute violence, and all locks are an invitation to thieves. A lock is a psychological threshold.
An anguishing book offers anguished people a homeopathy of anguish.
In the resonance we hear the poem, in the reverberations we speak it, it is our own.
It is also a terrible trait of men that they should be incapable of understanding the forces of the universe intuitively, otherwise than in terms of a psychology of wrath.
In this admiration, which goes beyond the passivity of contemplative attitudes, the joy of reading appears to be the reflection of the joy of writing, as though the reader were the writer’s ghost.
To speak well is part of living well.
A great verse can have a great influence on the soul of a language.
How much philosophers would learn, if they would consent to read the poets!