Any work of science, no matter what its point of departure, cannot become fully convincing until it crosses the boundary between the theoretical and the experimental: Experimentation must give way to argument, and argument must have recourse to experimentation.

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.

In our life as a civilized person in the industrial age, we are invaded by objects; how could an object have a "force" when it no longer has individuality?

Through imagination, thanks to the subtleties of the irreality function, we re-enter the world of confidence, the world of the confident being, which is the proper world for reverie.

The reverie we intend to study is poetic reverie. This is a reverie which poetry puts on the right track, the track an expanding consciousness follows. This reverie is written, or, at least, promises to be written. It is already facing the great universe of the blank page. Then images begin to compose and fall into place.

The reverie would not last if it were not nourished by the images of the sweetness of living, by the illusions of happiness.

In contrast to a dream a reverie cannot be recounted. To be communicated, it must be written, written with emotion and taste, being relived all the more strongly because it is being written down. Here, we are touching the realm of written love. It is going out of fashion, but the benefits remain. There are still souls for whom love is the contact of two poetries, the fusion of two reveries.