Words, in their distant past, have the past of my reveries.

One must always maintain one's connection to the past and yet ceaselessly pull away from it.

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.

The word chrysalis alone is an unmistakable indication that here two dreams are joined together, dreams that be-speak both the repose and flight of being, evening's crystallization and wings that open to the light.

The image can only be studied through the image, by dreaming images as they gather in reverie. It is a non-sense to claim to study imagination objectively since one really receives the image only if he admires it. Already in comparing one image to another, one runs the risk of losing participation in its individuality.

In our view any awareness is an increment to consciousness, an added light, a reinforcement of psychic coherence. Its swiftness or instantaneity can hide this growth from us. But there is a growth of being in every instance of awareness. Consciousness is in itself an act, the human act.

To go upstairs in the word house is to withdraw step by step; while to go down to the cellar is to dream.