Written language must be considered as a particular psychic reality. The book is permanent; it is an object in your field of vision. It speaks to you with a monotonous authority which even its author would not have. You are fairly obliged to read what is written.

In writing, you discover interior sonorities in words. Dipthongs sound differently beneath the pen. One hears them with their sounds divorced.

I am a dreamer of words, of written words. I think I am reading; a word stops me. I leave the page. The syllables of the word begin to move around. Stressed accents begin to invert. The word abandons its meaning like an overload which is too heavy and prevents dreaming. Then words take on other meanings as if they had the right to be young. And the words wander away, looking in the nooks and crannies of vocabulary for new company, bad company.

Of course, a psychologist would find it more direct to study the inspired poet. He would make concrete studies of inspiration in individual geniuses. But for all that, would he experience the phenomena of inspiration? His human documentation gathered from inspired poets could hardly be related, except from the exterior, in an ideal of objective observations. Comparison of inspired poets would soon make us lose sight of inspiration.

The repose of sleep refreshes only the body. It rarely sets the soul at rest. The repose of the night does not belong to us. It is not the possession of our being. Sleep opens within us an inn for phantoms. In the morning we must sweep out the shadows.

Man is a creation of desire, not a creation of need.

Why should the actions of the imagination not be as real as those of perception?