Gaston Bachelard Quotes

What is the source of our first suffering? It lies in the fact that we hesitated to speak....it was born in the moments when we accumulated silent things within us.

In this admiration, which goes beyond the passivity of contemplative attitudes, the joy of reading appears to be the reflection of the joy of writing, as though the reader were the writer's ghost.

Arbre toujours au milieu
De tout ce qui l'entoure
Arbre qui savoure
La voute des cieux

(Tree always in the center
Of all that surrounds it
Tree feasting upon
Heaven's great dome)

In the realm of blue air more than elsewhere, we feel that the world may be permeated by the most indeterminate reverie. This is when reverie really has depth. The blue sky opens up in depth beneath the dream. Then dreams are not limited to one-dimensional images. Paradoxically, the aerial dream soon has only a depth dimension… The world is then truly beyond the unsilvered mirror. There is an imaginary beyond, a pure beyond, open without a within. First there is nothing, then there is a deep nothing, then there is blue

The philosophy of poetry must acknowledge that the poetic act has no past, at least no recent past, in which its preparation and appearance could be followed.

Sometimes the house of the future is better built, lighter and larger than all the houses of the past, so that the image of the dream house is opposed to that of the childhood home. Late in life, with indomitable courage, we continue to say that we are going to do what we have not yet done: we are going to build a house. This dream house may be merely a dream of ownership, the embodiment of everything that is considered convenient, comfortable, healthy, sound, desirable, by other people. It must therefore satisfy both pride and reason, two irreconcilable terms.

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.

Writing a book is always a hard job. One is always tempted to limit oneself to dreaming it.

In this dynamic rivalry between house and universe, we are far removed from any reference to simple geometrical forms. A house that has been experienced is not an inert box. Inhabited space transcends geometrical space.

"In my Paris apartment, when a neighbor drives nails into the wall at an undue hour, I "naturalize" the noise by imagining that I am in my house in Dijon, where I have a garden. And finding everything I hear quite natural, I say to myself: "That's my woodpecker at work in the acacia tree." This is my method for obtaining calm when things disturb me."

But each poetic world is not a pure invention, it is a possibility of nature.
Imagination is itself immanent in the real. It is not a state. It is human existence itself.

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

"Needless to say, all the poet really sees is a tree in a meadow; he is not thinking of a legendary Yggdrasill that would concentrate the entire cosmos, uniting heaven and earth, within itself. But the imagination of round being follows its own law: since, as the poet says, the walnut tree is "proudly rounded," it can feast upon "heaven's great dome." The world is round around the round being.

And from verse to verse, the poem grows, increases its being. The tree is alive, reflective, straining toward God.

Dieu lui va apparaitre
Or, pour qu'il soit sur
Il developpe en rond son etre
Et lui tend des bras murs.

Arbre qui peut-etre
Pense au-dedans.
Arbre qui se domine
Se donnant lentement
La forme qui elimine
Les hasards du vent!

(One day it will see God
And so, to be sure,
It develops its being in roundness
And holds out ripe arms to Him.

Tree that perhaps
Thinks innerly
Tree that dominates self
Slowly giving itself
The form that eliminates
Hazards of wind!"

❝ Outside and inside form a dialectic of division, the obvious geometry of which blinds us as soon as we bring it into play in metaphorical domains. It has the sharpness of the dialectics of ‘yes’ and 'no,’ which decides everything. Unless one is careful, it is made into a basis of images that govern all thoughts of positive and negative. Logicians draw circles that overlap or exclude each other, and all their rules immediately become clear. Philosophers, when confronted with outside and inside, think in terms of being and non-being. Thus profound metaphysics is rooted in an implitcit geometry which– whether we will or no–confers spatiality upon thought; if a metaphysician could not draw, what would he think? Open and closed, for him, are thoughts. They are metaphors that he attaches to everything, even his systems. In a lecture given by Jean Hyppolite on the subtle structure of denegation (which is quite different from the simple structure of negation) Hyppolite spoke of “a first myth of outside and inside.” And he added: “you feel the full significance of this myth of outside and inside in alienation, which is founded on these two term. Beyond what is expressed in their formal opposition lie alienation and hostility between the two.” And so, simple geometrical opposition becomes tinged with agressivity. Formal opposition is incapable of remaining calm.

"If I were a psychiatrist, I should advise my patients who suffer from "anguish" to read this poem of Baudelaire's whenever an attack seems imminent. Very gently, they should pronounce Baudelaire's key word, vast. For it is a word that brings calm and unity; it opens up unlimited space. It also teaches us to breathe with the air that rests on the horizon, far from the walls of the chimerical prisons that are the cause of our anguish. It has a vocal excellence that is effective on the very threshhold of our vocal powers. The French baritone, Charles Panzera, who is sensitive to poetry, once told me that, according to certain experimental psychologists, it is impossible to think the vowel sound ah without a tautening of the vocal chords. In other words, we read ah and the voice is ready to sing. The letter a, which is the main body of the word vast, stands aloof in its delicacy, an anacoluthon of spoken sensibility."