The poetic image […] is not an echo of the past. On the contrary: through the brilliance of any image, the distant past resounds with echoes.

Of course, any simplification runs the risk of mutilating reality; but it helps us establish perspectives.

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.

We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.

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.

Man is an imagining being.

All the senses awaken and fall into harmony in poetic reverie. Poetic reverie listens to this polyphony of the senses, and the poetic consciousness must record it.