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 great function of poetry is to give back to us the situations of our dreams.

The psychology of the alchemist is that of reveries trying to constitute themselves in experiments on the exterior world. A double vocabulary must be established between reverie and experiment. The exaltation of the names of substances is the preamble to experiments on the "exalted" substances.

Literary imagination is an aesthetic object offered by a writer to a lover of books.

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.

In order to dream so far, is it enough to read? Isn't it necessary to write? Write as in our schoolboy past, in those days when, as Bonnoure says, the letters wrote themselves one by one, either in their gibbosity or else in their pretentious elegance? In those days, spelling was a drama, our drama of culture at work in the interior of a word.

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.