4
" Here the phenomenologist has nothing in common with the literary critic who, as has frequently been noted, judges a work that he could not create and, if we are to believe certain facile condemnations, would not want to create. A literary critic is a reader who is necessarily severe. By turning inside out like a glove an overworked complex that has become debased to the point of being part of the vocabulary of statesmen, we might say that the literary critic and the professor of rhetoric, who know-all and judge-all, readily go in for a simplex of superiority. As for me, being an addict of felicitous reading, I only read and re-read what I like, with a bit of reader's pride mixed in with much enthusiasm. "
― Gaston Bachelard , The Poetics of Space
5
" 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. "
― Gaston Bachelard , The Poetics of Space
17
" 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. "
― Gaston Bachelard , The Poetics of Space
18
" ❝ 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. "
― Gaston Bachelard , The Poetics of Space
