Empirical description involves enslavement to the object by decreeing passivity on the part of the subject.

A special kind of beauty exists which is born in language, of language, and for language.

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.

It is a poor reverie which invites a nap. One must even wonder whether, in this "failing asleep", the subconscious itself does not undergo a decline in being.

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.

In living off all the reflecting light furnished by poets, the I which dreams the reverie reveals itself not as poet but as poetizing I.

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.