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Gaston Bachelard 'The Poetics of Space' - WordPress.com

Gaston Bachelard 'The Poetics of Space' - WordPress.com

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xxvi introductionalone. It is a homely sort <strong>of</strong> pride. Nobody knows thatin reading we are re-living our temptations to be a poet.All readers who have a certain passion for reading, nurtureand repress, through reading, the desire to be<strong>com</strong>e a writer.When the page we have just read is too near perfection, ourmodesty suppresses this desire. But it reappears, nevertheless.In any case, every reader who re-reads a work that helikes, knows that its pages concern him. In Jean-PierreRichard's excellent collection <strong>of</strong> essays entitled Poesie etPr<strong>of</strong>ondeur (Poetry and Depth), there is one devoted toBaudelaire and one to Verlaine. Emphasis is laid on Bau"elaire,however, since, as the author says, his work "concernsus." There is great difference <strong>of</strong> tone between the two essays.Unlike Baudelaire, Verlaine does not attract <strong>com</strong>pletephenomenological attention. And this is always the case.In certain types <strong>of</strong> reading with which we are in deep sympathy,in the very expression itself, we are the "beneficiaries."Jean-Paul Richter, in Titan, gives the following description<strong>of</strong> his hero: "He read eulogies <strong>of</strong> great men with as muchpleasure as though he himself had been the object <strong>of</strong> thesepanegyrics."! In any case, harmony in reading is inseparablefrom admiration. We can admire more or less, but asincere impulse, a little impulse toward admiration, is alwaysnecesssary if we are to receive the phenomenologicalbenefit <strong>of</strong> a poetic image. The slightest critical considerationarrests this impulse by putting the mind in secondposition, destroying the primitivity <strong>of</strong> the imagination. Inthis admiration, which goes beyond the passivity <strong>of</strong> contemplativeattitudes, the joy <strong>of</strong> reading appears to be thereflection <strong>of</strong> the joy <strong>of</strong> writing, as though the reader werethe writer's ghost. At least the reader participates in thejoy <strong>of</strong> creation that, for Bergson, is the sign <strong>of</strong> creation.2Here, creation takes place on the tenuous thread <strong>of</strong> thesentence, in the fleeting life <strong>of</strong> an expression. But this poeticexpression, although it has no vital necessity, has a bracingeffect on our lives, for all that. To speak well is part <strong>of</strong> liv-1 Jean-Paul Richter, Le Titan, French translation by Philarete-Chaslea,1878, Vol. I, p. 22.2 Henri Bergson, L'Energie Spirituelle, p. IS.

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