What do you think?
Rate this book
噩賲丕賱賷丕鬲 丕賱賲賰丕賳
賮賷 "噩賲丕賱賷丕鬲 丕賱賲賰丕賳" 賷亘丨孬 睾丕爻鬲賵賳 亘丕卮賱丕乇 賮賷 鬲丨丿賷丿 丕賱賯賷賲丞 丕賱廿賳爻丕賳賷丞 賱兀賳賵丕毓 丕賱賲賰丕賳 丕賱匕賷 賷賲賰賳賳丕 丕賱廿賲爻丕賰 亘賴貙 賵丕賱匕賷 賷賲賰賳 丕賱丿賮丕毓 毓賳賴 囟丿 丕賱賯賵賶 丕賱賲毓丕丿賷丞貙 兀賷 丕賱賲賰丕賳 丕賱匕賷 賳丨亘貙 賵賴賵 賲賰丕賳 賲賲鬲丿丨 賱兀爻亘丕亘 賲鬲毓丿丿丞 賲毓 丕賱兀禺匕 亘丕賱丕毓鬲亘丕乇 丕賱賮乇賵賯 丕賱賲鬲囟賲賳丞 賮賷 丕賱賮乇賵毓 丕賱卮毓乇賷丞. 賵賷乇鬲亘胤 亘賯賷賲丞 丕賱丨賲丕賷丞 丕賱鬲賷 賷賲鬲賱賰賴丕 丕賱賲賰丕賳 賵丕賱鬲賷 賷賲賰賳 兀賳 鬲賰賵賳 賯賷賲丞 廿賷噩丕亘賷丞貙 賯賷賲 賲鬲禺賷賱丞 爻乇賷毓丕賸 賲丕 鬲氐亘丨 賴賷 丕賱賯賷賲 丕賱賲爻賷胤乇丞.
廿賳 丕賱賲賰丕賳 丕賱匕賷 賷賳噩匕亘 賳丨賵賴 丕賱禺賷丕賱 賱丕 賷賲賰賳 兀賳 賷亘賯賶 賲賰丕賳丕賸 賱丕 賲亘丕賱賷丕賸貙 匕丕 兀亘毓丕丿 賴賳丿爻賷丞 賵丨爻亘. 賮賴賵 賲賰丕賳 賯丿 毓丕卮 賮賷賴 亘卮乇 賱賷爻 亘卮賰賱 賲賵囟賵毓賷 賮賯胤貙 亘賱 亘賰賱 賲丕 賮賷 丕賱禺賷丕賱 賲賳 鬲賲賷夭. 廿賳賳丕 賳賳噩匕亘 賳丨賵賴 賱兀賳賴 賷賰孬賮 丕賱賵噩賵丿 賮賷 丨丿賵丿 鬲鬲爻賲 亘丕賱丨賲丕賷丞. 賮賷 賲噩丕賱 丕賱氐賵乇貙 賱丕 鬲賰賵賳 丕賱毓賱丕賯丞 丕賱賲鬲亘丕丿賱丞 亘賷賳 丕賱禺丕乇噩 賵丕賱兀賱賮丞 賲鬲賵丕夭賷丞.
廿賳 丕賱賲賰丕賳 丕賱匕賷 賷賳噩匕亘 賳丨賵賴 丕賱禺賷丕賱 賱丕 賷賲賰賳 兀賳 賷亘賯賶 賲賰丕賳丕賸 賱丕 賲亘丕賱賷丕賸貙 匕丕 兀亘毓丕丿 賴賳丿爻賷丞 賵丨爻亘. 賮賴賵 賲賰丕賳 賯丿 毓丕卮 賮賷賴 亘卮乇 賱賷爻 亘卮賰賱 賲賵囟賵毓賷 賮賯胤貙 亘賱 亘賰賱 賲丕 賮賷 丕賱禺賷丕賱 賲賳 鬲賲賷夭. 廿賳賳丕 賳賳噩匕亘 賳丨賵賴 賱兀賳賴 賷賰孬賮 丕賱賵噩賵丿 賮賷 丨丿賵丿 鬲鬲爻賲 亘丕賱丨賲丕賷丞. 賮賷 賲噩丕賱 丕賱氐賵乇貙 賱丕 鬲賰賵賳 丕賱毓賱丕賯丞 丕賱賲鬲亘丕丿賱丞 亘賷賳 丕賱禺丕乇噩 賵丕賱兀賱賮丞 賲鬲賵丕夭賷丞.
216 pages, Paperback
First published January 1, 1957
2371 people are currently reading
38426 people want to read
About the author
Gaston Bachelard
111听books714听followersGaston Bachelard was a French philosopher who rose to some of the most prestigious positions in the French academy. His most important work is on poetics and on the philosophy of science. To the latter he introduced the concepts of epistemological obstacle and epistemological break (obstacle 茅pist茅mologique et rupture 茅pist茅mologique). He influenced many subsequent French philosophers, among them Michel Foucault and Louis Althusser.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 699 reviews
May 22, 2025
Imagine you're magically transported back to your first home. You know - the one you lived in as an infant.
Eureka... suddenly the mists of time and faulty memory withdraw, and it all comes back to you!
Every nook and cranny, every secret, mystical corner, each minute detail of your home and of the enthralled childhood you once enjoyed would flood your heart with a forgotten, Elysial joy...
I used to retain a vivid and unmistakable memory of lying in bed as an infant in a dark, warm room and hearing the ominous and mysterious double booms - first low-pitched, then even lower - of a nearby fog horn.
But I was born in inland Michigan, nowhere near the ocean!
As a teenager I used to think 鈥淚 CAN鈥橳 have just dreamed that up!鈥� I used to remember it when listening to Beethoven, for some strange reason.
Why, for Pete鈥檚 sake?
Well, much later, I was reminded by my Mom that we had lived in Big Sur on the coast of California when I was one year old, where my Dad worked as a biologist at Hopkins Marine Station - we had lived, in fact, near Steinbeck鈥檚 own Cannery Row.
And of course, she always wanted me to have a good grounding in classical music.
Toscanini was her hero! As a mathematics major at Stanford, she learned to love the pure linear clarity and strength of the classical sounds he elicited from the NBC Orchestra.
Beethoven was ALWAYS playing in the later background in my childhood, too, as every so often Dad鈥檚 starting pay as a scientist would allow him to splurge on a new Toscanini 33RPM record for her from Frieman鈥檚, where she worked part-time.
Wow!
I had had a sensory key given to me - just as Proust was given the grace of a little cake of Madeleine to permit an instant of exact recall...
And you know, these epiphanies can lead us down a wonderful rabbit hole - just like Alice - into an enchanted land that almost seems... well, make-believe.
No wonder! We, as infants, were COMPLETELY DIFFERENT than who we are now.
And, our world was completely, utterly, magically Alive!
Plato would have said we were then Closer to the Source...
And that is the essence of this fantastic book. At least as I envisaged it back in the dreamscapes of my uni Freshman Year. 鈥淭ime it was, oh what a time it was... I have a photograph - 鈥�
Paul Simon was right. Now even the photo has faded. But the song Bachelard inspired my heart to sing hasn鈥檛!
Yes, for C茅line Dion is right too. The heart DOES go on. Our dreams live in a time beyond time.
And Bachelard, though I know him now to be a post-structuralist following in the drily rational footsteps of Levi-Strauss, inspired a remarkable heart-felt memory in an 18-year-old kid鈥檚 unawakened soul, that lives on - long after the usual 鈥渞ance nuit de la peau鈥� anointed me - for I am now a lot more careful than Mallarme鈥檚 Punished Clown.
Though I certainly was just that, at first.
I had the usual rough worldly Baptism by Fire, but I burned only as long as did the mythical Phoenix, rising out of the ashes to the New Life of the Spirit.
And it is through those New Eyes of the Spirit that I see clearly the veracity of my teenaged vision.
And the memory itself of it all is Alive in a world of timelessness beyond me.
鈥淭he soul that rises with us, our Life鈥檚 Star, has had elsewhere (and far away from here) its setting!鈥� Long before my earliest memories.
And Wordsworth鈥檚 Intimations of Immortality, like mine at 18, found their proper d茅nouement in the Faith of my Fathers.
A quite unremarkable conclusion to his and my remarkably tumultuous lives.
And all the Intimations I needed were right here, in this book.
And so, if you can - buy, beg, borrow or steal it, if you鈥檙e a wide-eyed Dreamer like I was!
You鈥檒l love it.
Eureka... suddenly the mists of time and faulty memory withdraw, and it all comes back to you!
Every nook and cranny, every secret, mystical corner, each minute detail of your home and of the enthralled childhood you once enjoyed would flood your heart with a forgotten, Elysial joy...
I used to retain a vivid and unmistakable memory of lying in bed as an infant in a dark, warm room and hearing the ominous and mysterious double booms - first low-pitched, then even lower - of a nearby fog horn.
But I was born in inland Michigan, nowhere near the ocean!
As a teenager I used to think 鈥淚 CAN鈥橳 have just dreamed that up!鈥� I used to remember it when listening to Beethoven, for some strange reason.
Why, for Pete鈥檚 sake?
Well, much later, I was reminded by my Mom that we had lived in Big Sur on the coast of California when I was one year old, where my Dad worked as a biologist at Hopkins Marine Station - we had lived, in fact, near Steinbeck鈥檚 own Cannery Row.
And of course, she always wanted me to have a good grounding in classical music.
Toscanini was her hero! As a mathematics major at Stanford, she learned to love the pure linear clarity and strength of the classical sounds he elicited from the NBC Orchestra.
Beethoven was ALWAYS playing in the later background in my childhood, too, as every so often Dad鈥檚 starting pay as a scientist would allow him to splurge on a new Toscanini 33RPM record for her from Frieman鈥檚, where she worked part-time.
Wow!
I had had a sensory key given to me - just as Proust was given the grace of a little cake of Madeleine to permit an instant of exact recall...
And you know, these epiphanies can lead us down a wonderful rabbit hole - just like Alice - into an enchanted land that almost seems... well, make-believe.
No wonder! We, as infants, were COMPLETELY DIFFERENT than who we are now.
And, our world was completely, utterly, magically Alive!
Plato would have said we were then Closer to the Source...
And that is the essence of this fantastic book. At least as I envisaged it back in the dreamscapes of my uni Freshman Year. 鈥淭ime it was, oh what a time it was... I have a photograph - 鈥�
Paul Simon was right. Now even the photo has faded. But the song Bachelard inspired my heart to sing hasn鈥檛!
Yes, for C茅line Dion is right too. The heart DOES go on. Our dreams live in a time beyond time.
And Bachelard, though I know him now to be a post-structuralist following in the drily rational footsteps of Levi-Strauss, inspired a remarkable heart-felt memory in an 18-year-old kid鈥檚 unawakened soul, that lives on - long after the usual 鈥渞ance nuit de la peau鈥� anointed me - for I am now a lot more careful than Mallarme鈥檚 Punished Clown.
Though I certainly was just that, at first.
I had the usual rough worldly Baptism by Fire, but I burned only as long as did the mythical Phoenix, rising out of the ashes to the New Life of the Spirit.
And it is through those New Eyes of the Spirit that I see clearly the veracity of my teenaged vision.
And the memory itself of it all is Alive in a world of timelessness beyond me.
鈥淭he soul that rises with us, our Life鈥檚 Star, has had elsewhere (and far away from here) its setting!鈥� Long before my earliest memories.
And Wordsworth鈥檚 Intimations of Immortality, like mine at 18, found their proper d茅nouement in the Faith of my Fathers.
A quite unremarkable conclusion to his and my remarkably tumultuous lives.
And all the Intimations I needed were right here, in this book.
And so, if you can - buy, beg, borrow or steal it, if you鈥檙e a wide-eyed Dreamer like I was!
You鈥檒l love it.
June 17, 2025
噩賲丕賱賷賾丕鬲 丕賱賲賰丕賳
賴匕丕 賰鬲丕亘 賷鬲賲賳賶 賰賱 賳丕賯丿 丕賳 賷囟毓 丕爻賲賴 毓賱賷 毓賲賱 賲孬賱賴
噩丕爻鬲賵賳 亘丕卮賱丕乇 賮賷賱爻賵賮 丕賱兀丿亘
丕賱匕賷 賷乇賶 噩賲丕賱 丕賱賲噩丕夭 丨賯賷賯丞
賮賷 賱賵丨丞 賲賲鬲丿丞 賲賳 丕賱賳氐 廿賱賶 賲禺賷賱丞 丕賱兀丿亘丕亍
賴匕丕 丕賱乇噩賱 賱丿賷賴 亘氐賷乇丞 亘毓丕賱賲 丕賱卮毓賵乇 丕賱匕賷 鬲賳賲賵 賮賷賴 丕賱氐賵乇 賵丕賱兀賮賰丕乇
賴匕丕 丕賱毓賯賱 賷鬲噩丕賵夭 丕賱賲賳胤賯 賱賱丨丿爻 丕賱匕賷 賷賳胤賱賯 賲賳賴 丕賱賲賱賴賲賵賳 賮賷 丕賱兀丿亘 賵賮賷 鬲賮丕氐賷賱 丕賱賵丕賯毓 丕賱賷賵賲賷 兀賷囟丕
噩丕爻鬲賵賳 亘丕卮賱丕乇 賱賳 賷賰賵賳 賳氐丕 毓丕亘乇丕 賮賷 丨賷丕鬲賰
爻賷賲丿 賱賰 賷丿丕 氐丕丿賯鬲 丕賱兀賯賱丕賲 賵丕賱兀賵乇丕賯
爻賷賳馗乇 廿賱賷賰 亘毓賷賳 氐丕賮丨鬲 丕賱亘賷賵鬲 賵丕賱賯亘丕亘 賵丕賱卮賵丕乇毓 賵丕賱丨丿丕卅賯
賷毓卮賯 丨乇賷丞 丕賱賮囟丕亍 丕賱賵丕爻毓
賵兀爻乇丕乇 丕賱禺夭丕卅賳 丕賱賲睾賱賯丞
賳賮爻賴 孬乇賷丞 亘乇賵丨 賲賰鬲卮賮
賷賱鬲賲爻 丕賱毓丕賱賲 丕賱爻丨乇賷 丕賱匕賷 賷鬲卮賰賱 賮賷 氐賮丨丕鬲 丕賱賵毓賷
賴匕丕 賯賱賲 鬲丨亘 賰賱賲丕鬲賴 賱兀賳賴丕 鬲爻賰賳 毓丕賱賲賰
賵鬲賲賳丨賰 氐丿丕賯丞 毓賲賷賯丞
賷鬲乇丿丿 氐丿丕賴丕 賮賷 賲丨賷胤 賲丨亘鬲賰
賱賱賰賵賳
賵丕賱賰鬲丕亘丞
賷亘丨孬 噩丕爻鬲賵賳 亘丕卮賱丕乇 毓賳 賵毓賷 丕賱賲亘丿毓賷賳 亘丕賱毓丕賱賲
廿丿乇丕賰賴賲 賱賴 賮賷 賲乇丕賷丕 禺賷丕賱賴賲
賵丕賳毓賰丕爻賴 賮賷 兀亘噩丿賷丕鬲 鬲毓亘賷乇賴賲
毓丕賱賲賳丕 賴賵 賲丕 丕賳胤亘毓 賮賷 賲禺賷賱丕鬲賳丕
賴賵 禺胤賵胤 賵兀賱賵丕賳
賴賵 兀卮賰丕賱 賵鬲賰賵賷賳丕鬲
賴賵 丕賳爻賷丕亘 賵丨丿賵丿
丕賲鬲丿丕丿丕鬲 賵鬲賯丕胤毓丕鬲
賲氐丿乇賴丕 禺亘乇丕鬲賳丕 丕賱毓丕胤賮賷丞 賵丕賱匕賴賳賷丞
賵鬲乇丕賰賲丕鬲 丕賱賲賯賵賱丕鬲 丕賱鬲賷 鬲鬲乇丿丿 賮賷 賮囟丕卅賳丕 丕賱丕噩鬲賲丕毓賷
毓丕賱賲賳丕 賲氐賳賵毓 賲賳 丕賱乇賲賵夭 丕賱賲鬲囟丕賲丞 賮賷 噩丕賱賷乇賷 兀毓賲丕賯賳丕
丕賱賵毓賷 賲丿賷乇 兀鬲賷賱賷賴 賮賷 賲丿賷賳丞 丕賱匕丕鬲
賷毓乇囟 毓賱賷賴丕 禺亘乇丕鬲賴
賷氐丿乇 乇丐丕賴 賱賱丌禺乇賷賳
亘賷賳賳丕 賲卮鬲乇賰 賱噩賵賴乇 賵丕丨丿
亘賷賳賳丕 賲鬲睾賷乇丕鬲 丕賱兀賯丕賱賷賲 賵丕賱鬲噩丕乇亘
賮賱賳賳胤乇 賮賷 丕賱賲鬲丨賮 丕賱賰亘賷乇
賱賱馗丕賴乇丞 丕賱噩賲丕賱賷丞 丕賱廿賳爻丕賳賷丞
賷丨鬲囟賳賳丕 匕丕賰 丕賱噩賵賴乇
賵賳爻鬲賲鬲毓 亘鬲賱賰 丕賱賲鬲睾賷乇丕鬲
賰孬賷乇 賲賳 丕賱氐賵乇 丕賱卮毓乇賷丞 鬲禺乇噩 賲賳 丕賱兀賲丕賰賳
賲賳 丕賱兀乇囟 賵丕賱賲丕亍
賲賳 丕賱噩亘丕賱 賵丕賱亘賷丿丕亍
賲賳 丕賱亘賷賵鬲 賵丕賱丨丕乇丕鬲
賲賳 丕賱賵丿賷丕賳 賵丕賱賵丕丨丕鬲
賳丨賳 丕亘賳丕亍 丕賱兀賲丕賰賳
賳賱賵匕 亘賴丕 賰丨囟賳 兀賲
賳鬲丨氐賳 亘賴丕 賰丿乇毓 丕亘
賳毓卮賯 鬲賮丕氐賷賱賴丕 丕賱丿賯賷賯丞
賰丨亘賷亘丞 丨丕賳賷丞 乇賯賷賯丞
卮禺氐賷丕鬲 丕賱丿乇丕賲丕 鬲賰鬲爻亘 氐賮丕鬲賴丕 賲賳 卮禺氐賷丞 丕賱賲賰丕賳
丕賱胤亘賷毓丞 賵丕賱胤亘丕毓
丕賱丿賵丕卅乇 丕賱鬲賷 賳丿賵乇 賮賷賴丕
孬賲 賳毓賵丿 廿賱賶 丕賱丿賷丕乇
賳賵丕氐賱 丕賱丨賵丕乇
賲毓 丨亘賷亘 賲賯賷賲
兀賵 賳丨賱賲 亘丨亘賷亘
賷乇丕賳丕 賮賷 賲賰丕賳
亘賯賱亘賴 賱賲 賷乇賴 廿賳爻丕賳
丕賱賲亘丿毓 丕賱匕賷 賷噩賲毓 卮禺氐賷丕鬲賴 賮賷 丕賱亘賷鬲 賷賳鬲賲賷 賱賳賲賵匕噩 丨囟丕乇賷 賷賲賷賱 廿賱賶 丕賱孬亘丕鬲 賵丕賱兀賱賮丞 賵丕賱鬲賯丕賱賷丿
丕賱賲賯賴賶 亘賷鬲 丕賱卮丕乇毓貙 賲賱鬲賯賶 丕賱氐丨丕亘 賵丕賱睾乇亘丕亍貙 賳賲賵匕噩 鬲賰賵賷賳賷 賱丨賵丕乇 賲鬲毓丿丿 丕賱兀亘毓丕丿 亘賴丿賮 丕賱鬲賵丕氐賱 賵丕賱賮乇丕乇 賲賳 丕禺鬲賳丕賯 丨氐丕乇 丕賱亘賷鬲
丕賱卮丕乇毓 賲爻丕丨丞 賱賱賲睾丕賲乇丞 賵丕賱丕賰鬲卮丕賮
亘毓囟 丕賱亘卮乇 賷賲賰賳 鬲氐賳賷賮賴賲 胤亘賯丕 賱賳賲丕匕噩 丕賱賲賰丕賳
丕賱卮禺氐賷丞 丕賱亘賷鬲
丕賱卮禺氐賷丞 丕賱賲賯賴賶
丕賱卮禺氐賷丞 丕賱卮丕乇毓
丕賱卮禺氐賷丞 丕賱丨賯賱
丕賱卮禺氐賷丞 丕賱賲氐賳毓
丕賱卮禺氐賷丞 丕賱卮乇賰丞 丕賱鬲噩丕乇賷丞
丕賱卮禺氐賷丞 丕賱賲丿乇爻丞
丕賱卮禺氐賷丞 丕賱乇賵囟丞
賳丨賳 兀亘賳丕亍 丕賱兀賰賵丕賳 丕賱鬲賷 賱賲爻鬲賳丕 賵賱賲爻賳丕賴丕
鬲氐賵乇鬲 賮賷賴丕 賲賱丕賲丨賳丕
鬲氐賵乇鬲 賮賷 賱丕 賵毓賷賳丕 丕賲賵賲鬲賴丕
丕丨鬲囟賳鬲賳丕 賵賱賮馗鬲賳丕 賲孬賱 賰賱賲丞 禺丕乇噩丞 毓賳 丕賱賳氐
賵丕爻鬲毓丕丿鬲 兀丨賱丕賲賳丕 卮亘丕亘賴丕 丕賱睾丕乇亘
賮賷 氐賮丨丞 丕賱卮毓賵乇 鬲卮乇賯 卮賲賵爻賴丕 賲賳 賳賵丕賮匕 丕賱賵丨丿丞
鬲爻亘丨 丕卮毓鬲賴丕 賮賷 丕賳賰爻丕乇 丕賱亘毓丿
鬲鬲賳丕孬乇 賵噩賵賴 丕賱氐丨丕亘 賮賷 賯氐氐 鬲賯丕賵賲 丕賱賷賯馗丞 賵丕賱賳賵賲 賲毓丕
賮賷 氐賲鬲賳丕 丕賱賲卮丨賵賳 亘丕賱賲毓丕賳賷 賷乇賵賷 賱爻丕賳 丕賱丨丕賱 亘賱丕氐賵鬲
鬲丕乇賷禺丕 賱賲 賷賰賳 賴賰匕丕
賱賲 賳氐賳毓賴
鬲賵丕乇孬賳丕賴 賲賳 賮囟丕亍 兀鬲賵亘賷爻 賲鬲夭丕丨賲 丕賱禺胤丕亘丕鬲 丕賱賲鬲禺賮賷丞 亘丕賱兀賯賳毓丞
丕賱兀賲賰賳丞 鬲爻賯胤 賮賷 兀丿睾丕賱 丕賱賰賱丕賲
賵鬲鬲丨乇乇 賵丨丿賴丕 賮賷 賵丨丿鬲賳丕
丨賷賳賲丕 鬲亘鬲賱毓 丕胤賱丕賱 丕賱丕禺鬲賷丕乇 丕賱夭丕卅賮
禺胤賵丕鬲 丨亘賷亘 睾丕丿乇 丕賱賲賳夭賱
賵鬲爻毓賶 丕賱乇賵丨 賱丕爻鬲丨囟丕乇賴 賰賷 鬲鬲囟丕賲 禺賱丕賷丕賴丕
賰賷 賱丕 鬲賳丿乇爻 丌孬丕乇賴 禺賱賮 毓賯丕乇亘 丕賱爻丕毓丞
鬲卮丨匕 丕賱賵毓賷 賱賳賮囟 丕賱睾亘丕乇 賵賳賰鬲 丿賴丕賱賷夭 丕賱鬲匕賰乇
賮賷爻鬲毓賷賳 亘廿卮丕乇丕鬲 鬲賵賲囟 亘賷賳 賲鬲禺賷賱賴 賵賮囟丕亍 丕賱賵賯鬲
賮賷 丕賱廿亘丿丕毓 丿乇爻 賱鬲丕乇賷禺 丕賱兀賲賰賳丞 亘毓賲丕乇鬲賴丕 丕賱亘賳賷丕賳賷丞 賵丕賱卮毓賵乇賷丞
廿賳 賱賴丕 亘賷丕賳賴丕 賵兀亘噩丿賷鬲賴 兀胤賱丕賱賴丕
賵賱爻丕賳 丨丕賱賴丕 丕賱賳丕胤賯 賮賷 賳賮賵爻 賱賲 鬲亘丨 亘賲賰賳賵賳賴丕
廿賱丕 賱卮丕毓乇 賲鬲賵賴噩 丕賱賲卮丕毓乇
兀賵 賯丕氐 賷賯氐 兀孬乇 丕賱廿賳爻丕賳賷丞
兀賵 丿乇丕賲賷 賷爻鬲賳胤賯 乇賲賵夭賴丕 賮賷 丨賵丕乇
賷賮鬲丨 賳賵丕賮匕 賱兀囟賵丕亍 鬲賳賷乇 兀賮囟賷丞 丿丕賰賳丞
鬲鬲賵丕乇賶 賮賷 毓鬲賲丞 丕賱兀丨賱丕賲
賴匕丕 賰鬲丕亘 賷鬲賲賳賶 賰賱 賳丕賯丿 丕賳 賷囟毓 丕爻賲賴 毓賱賷 毓賲賱 賲孬賱賴
噩丕爻鬲賵賳 亘丕卮賱丕乇 賮賷賱爻賵賮 丕賱兀丿亘
丕賱匕賷 賷乇賶 噩賲丕賱 丕賱賲噩丕夭 丨賯賷賯丞
賮賷 賱賵丨丞 賲賲鬲丿丞 賲賳 丕賱賳氐 廿賱賶 賲禺賷賱丞 丕賱兀丿亘丕亍
賴匕丕 丕賱乇噩賱 賱丿賷賴 亘氐賷乇丞 亘毓丕賱賲 丕賱卮毓賵乇 丕賱匕賷 鬲賳賲賵 賮賷賴 丕賱氐賵乇 賵丕賱兀賮賰丕乇
賴匕丕 丕賱毓賯賱 賷鬲噩丕賵夭 丕賱賲賳胤賯 賱賱丨丿爻 丕賱匕賷 賷賳胤賱賯 賲賳賴 丕賱賲賱賴賲賵賳 賮賷 丕賱兀丿亘 賵賮賷 鬲賮丕氐賷賱 丕賱賵丕賯毓 丕賱賷賵賲賷 兀賷囟丕
噩丕爻鬲賵賳 亘丕卮賱丕乇 賱賳 賷賰賵賳 賳氐丕 毓丕亘乇丕 賮賷 丨賷丕鬲賰
爻賷賲丿 賱賰 賷丿丕 氐丕丿賯鬲 丕賱兀賯賱丕賲 賵丕賱兀賵乇丕賯
爻賷賳馗乇 廿賱賷賰 亘毓賷賳 氐丕賮丨鬲 丕賱亘賷賵鬲 賵丕賱賯亘丕亘 賵丕賱卮賵丕乇毓 賵丕賱丨丿丕卅賯
賷毓卮賯 丨乇賷丞 丕賱賮囟丕亍 丕賱賵丕爻毓
賵兀爻乇丕乇 丕賱禺夭丕卅賳 丕賱賲睾賱賯丞
賳賮爻賴 孬乇賷丞 亘乇賵丨 賲賰鬲卮賮
賷賱鬲賲爻 丕賱毓丕賱賲 丕賱爻丨乇賷 丕賱匕賷 賷鬲卮賰賱 賮賷 氐賮丨丕鬲 丕賱賵毓賷
賴匕丕 賯賱賲 鬲丨亘 賰賱賲丕鬲賴 賱兀賳賴丕 鬲爻賰賳 毓丕賱賲賰
賵鬲賲賳丨賰 氐丿丕賯丞 毓賲賷賯丞
賷鬲乇丿丿 氐丿丕賴丕 賮賷 賲丨賷胤 賲丨亘鬲賰
賱賱賰賵賳
賵丕賱賰鬲丕亘丞
賷亘丨孬 噩丕爻鬲賵賳 亘丕卮賱丕乇 毓賳 賵毓賷 丕賱賲亘丿毓賷賳 亘丕賱毓丕賱賲
廿丿乇丕賰賴賲 賱賴 賮賷 賲乇丕賷丕 禺賷丕賱賴賲
賵丕賳毓賰丕爻賴 賮賷 兀亘噩丿賷丕鬲 鬲毓亘賷乇賴賲
毓丕賱賲賳丕 賴賵 賲丕 丕賳胤亘毓 賮賷 賲禺賷賱丕鬲賳丕
賴賵 禺胤賵胤 賵兀賱賵丕賳
賴賵 兀卮賰丕賱 賵鬲賰賵賷賳丕鬲
賴賵 丕賳爻賷丕亘 賵丨丿賵丿
丕賲鬲丿丕丿丕鬲 賵鬲賯丕胤毓丕鬲
賲氐丿乇賴丕 禺亘乇丕鬲賳丕 丕賱毓丕胤賮賷丞 賵丕賱匕賴賳賷丞
賵鬲乇丕賰賲丕鬲 丕賱賲賯賵賱丕鬲 丕賱鬲賷 鬲鬲乇丿丿 賮賷 賮囟丕卅賳丕 丕賱丕噩鬲賲丕毓賷
毓丕賱賲賳丕 賲氐賳賵毓 賲賳 丕賱乇賲賵夭 丕賱賲鬲囟丕賲丞 賮賷 噩丕賱賷乇賷 兀毓賲丕賯賳丕
丕賱賵毓賷 賲丿賷乇 兀鬲賷賱賷賴 賮賷 賲丿賷賳丞 丕賱匕丕鬲
賷毓乇囟 毓賱賷賴丕 禺亘乇丕鬲賴
賷氐丿乇 乇丐丕賴 賱賱丌禺乇賷賳
亘賷賳賳丕 賲卮鬲乇賰 賱噩賵賴乇 賵丕丨丿
亘賷賳賳丕 賲鬲睾賷乇丕鬲 丕賱兀賯丕賱賷賲 賵丕賱鬲噩丕乇亘
賮賱賳賳胤乇 賮賷 丕賱賲鬲丨賮 丕賱賰亘賷乇
賱賱馗丕賴乇丞 丕賱噩賲丕賱賷丞 丕賱廿賳爻丕賳賷丞
賷丨鬲囟賳賳丕 匕丕賰 丕賱噩賵賴乇
賵賳爻鬲賲鬲毓 亘鬲賱賰 丕賱賲鬲睾賷乇丕鬲
賰孬賷乇 賲賳 丕賱氐賵乇 丕賱卮毓乇賷丞 鬲禺乇噩 賲賳 丕賱兀賲丕賰賳
賲賳 丕賱兀乇囟 賵丕賱賲丕亍
賲賳 丕賱噩亘丕賱 賵丕賱亘賷丿丕亍
賲賳 丕賱亘賷賵鬲 賵丕賱丨丕乇丕鬲
賲賳 丕賱賵丿賷丕賳 賵丕賱賵丕丨丕鬲
賳丨賳 丕亘賳丕亍 丕賱兀賲丕賰賳
賳賱賵匕 亘賴丕 賰丨囟賳 兀賲
賳鬲丨氐賳 亘賴丕 賰丿乇毓 丕亘
賳毓卮賯 鬲賮丕氐賷賱賴丕 丕賱丿賯賷賯丞
賰丨亘賷亘丞 丨丕賳賷丞 乇賯賷賯丞
卮禺氐賷丕鬲 丕賱丿乇丕賲丕 鬲賰鬲爻亘 氐賮丕鬲賴丕 賲賳 卮禺氐賷丞 丕賱賲賰丕賳
丕賱胤亘賷毓丞 賵丕賱胤亘丕毓
丕賱丿賵丕卅乇 丕賱鬲賷 賳丿賵乇 賮賷賴丕
孬賲 賳毓賵丿 廿賱賶 丕賱丿賷丕乇
賳賵丕氐賱 丕賱丨賵丕乇
賲毓 丨亘賷亘 賲賯賷賲
兀賵 賳丨賱賲 亘丨亘賷亘
賷乇丕賳丕 賮賷 賲賰丕賳
亘賯賱亘賴 賱賲 賷乇賴 廿賳爻丕賳
丕賱賲亘丿毓 丕賱匕賷 賷噩賲毓 卮禺氐賷丕鬲賴 賮賷 丕賱亘賷鬲 賷賳鬲賲賷 賱賳賲賵匕噩 丨囟丕乇賷 賷賲賷賱 廿賱賶 丕賱孬亘丕鬲 賵丕賱兀賱賮丞 賵丕賱鬲賯丕賱賷丿
丕賱賲賯賴賶 亘賷鬲 丕賱卮丕乇毓貙 賲賱鬲賯賶 丕賱氐丨丕亘 賵丕賱睾乇亘丕亍貙 賳賲賵匕噩 鬲賰賵賷賳賷 賱丨賵丕乇 賲鬲毓丿丿 丕賱兀亘毓丕丿 亘賴丿賮 丕賱鬲賵丕氐賱 賵丕賱賮乇丕乇 賲賳 丕禺鬲賳丕賯 丨氐丕乇 丕賱亘賷鬲
丕賱卮丕乇毓 賲爻丕丨丞 賱賱賲睾丕賲乇丞 賵丕賱丕賰鬲卮丕賮
亘毓囟 丕賱亘卮乇 賷賲賰賳 鬲氐賳賷賮賴賲 胤亘賯丕 賱賳賲丕匕噩 丕賱賲賰丕賳
丕賱卮禺氐賷丞 丕賱亘賷鬲
丕賱卮禺氐賷丞 丕賱賲賯賴賶
丕賱卮禺氐賷丞 丕賱卮丕乇毓
丕賱卮禺氐賷丞 丕賱丨賯賱
丕賱卮禺氐賷丞 丕賱賲氐賳毓
丕賱卮禺氐賷丞 丕賱卮乇賰丞 丕賱鬲噩丕乇賷丞
丕賱卮禺氐賷丞 丕賱賲丿乇爻丞
丕賱卮禺氐賷丞 丕賱乇賵囟丞
賳丨賳 兀亘賳丕亍 丕賱兀賰賵丕賳 丕賱鬲賷 賱賲爻鬲賳丕 賵賱賲爻賳丕賴丕
鬲氐賵乇鬲 賮賷賴丕 賲賱丕賲丨賳丕
鬲氐賵乇鬲 賮賷 賱丕 賵毓賷賳丕 丕賲賵賲鬲賴丕
丕丨鬲囟賳鬲賳丕 賵賱賮馗鬲賳丕 賲孬賱 賰賱賲丞 禺丕乇噩丞 毓賳 丕賱賳氐
賵丕爻鬲毓丕丿鬲 兀丨賱丕賲賳丕 卮亘丕亘賴丕 丕賱睾丕乇亘
賮賷 氐賮丨丞 丕賱卮毓賵乇 鬲卮乇賯 卮賲賵爻賴丕 賲賳 賳賵丕賮匕 丕賱賵丨丿丞
鬲爻亘丨 丕卮毓鬲賴丕 賮賷 丕賳賰爻丕乇 丕賱亘毓丿
鬲鬲賳丕孬乇 賵噩賵賴 丕賱氐丨丕亘 賮賷 賯氐氐 鬲賯丕賵賲 丕賱賷賯馗丞 賵丕賱賳賵賲 賲毓丕
賮賷 氐賲鬲賳丕 丕賱賲卮丨賵賳 亘丕賱賲毓丕賳賷 賷乇賵賷 賱爻丕賳 丕賱丨丕賱 亘賱丕氐賵鬲
鬲丕乇賷禺丕 賱賲 賷賰賳 賴賰匕丕
賱賲 賳氐賳毓賴
鬲賵丕乇孬賳丕賴 賲賳 賮囟丕亍 兀鬲賵亘賷爻 賲鬲夭丕丨賲 丕賱禺胤丕亘丕鬲 丕賱賲鬲禺賮賷丞 亘丕賱兀賯賳毓丞
丕賱兀賲賰賳丞 鬲爻賯胤 賮賷 兀丿睾丕賱 丕賱賰賱丕賲
賵鬲鬲丨乇乇 賵丨丿賴丕 賮賷 賵丨丿鬲賳丕
丨賷賳賲丕 鬲亘鬲賱毓 丕胤賱丕賱 丕賱丕禺鬲賷丕乇 丕賱夭丕卅賮
禺胤賵丕鬲 丨亘賷亘 睾丕丿乇 丕賱賲賳夭賱
賵鬲爻毓賶 丕賱乇賵丨 賱丕爻鬲丨囟丕乇賴 賰賷 鬲鬲囟丕賲 禺賱丕賷丕賴丕
賰賷 賱丕 鬲賳丿乇爻 丌孬丕乇賴 禺賱賮 毓賯丕乇亘 丕賱爻丕毓丞
鬲卮丨匕 丕賱賵毓賷 賱賳賮囟 丕賱睾亘丕乇 賵賳賰鬲 丿賴丕賱賷夭 丕賱鬲匕賰乇
賮賷爻鬲毓賷賳 亘廿卮丕乇丕鬲 鬲賵賲囟 亘賷賳 賲鬲禺賷賱賴 賵賮囟丕亍 丕賱賵賯鬲
賮賷 丕賱廿亘丿丕毓 丿乇爻 賱鬲丕乇賷禺 丕賱兀賲賰賳丞 亘毓賲丕乇鬲賴丕 丕賱亘賳賷丕賳賷丞 賵丕賱卮毓賵乇賷丞
廿賳 賱賴丕 亘賷丕賳賴丕 賵兀亘噩丿賷鬲賴 兀胤賱丕賱賴丕
賵賱爻丕賳 丨丕賱賴丕 丕賱賳丕胤賯 賮賷 賳賮賵爻 賱賲 鬲亘丨 亘賲賰賳賵賳賴丕
廿賱丕 賱卮丕毓乇 賲鬲賵賴噩 丕賱賲卮丕毓乇
兀賵 賯丕氐 賷賯氐 兀孬乇 丕賱廿賳爻丕賳賷丞
兀賵 丿乇丕賲賷 賷爻鬲賳胤賯 乇賲賵夭賴丕 賮賷 丨賵丕乇
賷賮鬲丨 賳賵丕賮匕 賱兀囟賵丕亍 鬲賳賷乇 兀賮囟賷丞 丿丕賰賳丞
鬲鬲賵丕乇賶 賮賷 毓鬲賲丞 丕賱兀丨賱丕賲
February 14, 2008
I've failed to explain Bachelard to so many people by now that I should know better. I should write some sort of meta-review/hymn/grocery list here, but I'm afraid. I'm afraid to wash the freaking hem of this book.
Probably the best thing I can say about The Poetics of Space is that, in thinking so hard about what makes a poetic image work, it really becomes more of a prose poem than a book of philosophy. Bachelard is trying to understand the "happy mind" - the mind making itself a home everywhere, no matter how hostile the environment. He calls this a phenomenology (as opposed to psychology's obsession with neurosis, damage, the "unhappy mind"), also "daydreaming," "reverie." The terms get conflated, maybe by the translation (which is beautiful), but the demonstrations are so powerful and right on that you come away with this burst of energy: as if the world were a car you'd been sitting in on a hot day in the Safeway parking lot, and of course you're wet from swimming so you've got the wet seat smell, and your crotch itches, and there's a homeless person collecting plastic bags by the cart-dispenser and a dog staring at you from three cars over, and yeah its hot as hell, and then suddenly your mom comes back and the car starts going with the windows down and its FAN-FUCKING-TASTIC.
Talking about what you learned from this book is hard, partially because that initial transfer of energy and excitement is the main thing. But like Claude Levi-Strauss or Rene Girard, Bachelard also leaves you with a form, a process that you can use to think about how you think. He makes you more conscious of, not just your mind, but your mind's movement, your mind's happiness. And no matter how unhappy we are, our mind's are all trying to be happy (happy meaning at times, unfortunately, unhappy, but then maybe the "happiness" Bachelard is talking about is only movement and life, the happiness of the seed).
As domestic a book as Anna Karenina, as accordion-expansive as Walden, as razor sharp as Candide. Could also be seen (again, like Girard), as one gigantic digression on Proust.
Probably the best thing I can say about The Poetics of Space is that, in thinking so hard about what makes a poetic image work, it really becomes more of a prose poem than a book of philosophy. Bachelard is trying to understand the "happy mind" - the mind making itself a home everywhere, no matter how hostile the environment. He calls this a phenomenology (as opposed to psychology's obsession with neurosis, damage, the "unhappy mind"), also "daydreaming," "reverie." The terms get conflated, maybe by the translation (which is beautiful), but the demonstrations are so powerful and right on that you come away with this burst of energy: as if the world were a car you'd been sitting in on a hot day in the Safeway parking lot, and of course you're wet from swimming so you've got the wet seat smell, and your crotch itches, and there's a homeless person collecting plastic bags by the cart-dispenser and a dog staring at you from three cars over, and yeah its hot as hell, and then suddenly your mom comes back and the car starts going with the windows down and its FAN-FUCKING-TASTIC.
Talking about what you learned from this book is hard, partially because that initial transfer of energy and excitement is the main thing. But like Claude Levi-Strauss or Rene Girard, Bachelard also leaves you with a form, a process that you can use to think about how you think. He makes you more conscious of, not just your mind, but your mind's movement, your mind's happiness. And no matter how unhappy we are, our mind's are all trying to be happy (happy meaning at times, unfortunately, unhappy, but then maybe the "happiness" Bachelard is talking about is only movement and life, the happiness of the seed).
As domestic a book as Anna Karenina, as accordion-expansive as Walden, as razor sharp as Candide. Could also be seen (again, like Girard), as one gigantic digression on Proust.
February 7, 2015
A bestowed mind, when undertaking the poetic journey of imagination, is elated at discovering sudden corners, pathways and bridges which lead to those places where the being surges to acquire intimacy with that notion which transpires oneness with life. Sometimes these places have always been there around waiting to be discovered. Sometimes the discovery is not sudden but gradual, brought about by a continuing familiarity with the places. The wooden door, whose smell begets a sense of warmth or security and also a promise of coming life, the book shelf which inhabits a life, the caress of whose surface makes one experience oneself in entirety; an entirety which is an accumulation of different lives lived through reading and rendered in that instance. The window which opens to a sea of faces at dusk, an assurance that life moves on irrespective of lingering darkness. The old stone stairs, erected steeply without a support to ascend, the steps of which unites the self with the child within. Places creating the spaces of reverie, oneiric experiences through which a self attains harmony; the house in which you live and which lives within you, those drawers and chests which are abode to memories to which you return again and again, the corner which stands as a retreat for solitude.
In the words of William Wordsworth, 鈥淲e are less forlorn in a world which we meet with our imagination鈥�.
The reveries of mind cumulate into creating those images which bring harmony in the existence. Harmony brings joy within the being. Camus鈥� invincible summer, in presence of Algerian Sun and Sea, spring forth due to the reveries his mind is captivated with. Reveries of the places of his childhood 鈥� the house he lived in. For him, this summer is the harmony between his existence and an indifferent Universe.This harmony is his revolt.
Gaston says:
"Tranquil foliage that really is lived in, a tranquil gaze discovered in the humblest of eyes, are the artisans of immensity. These images make the world grow, and the summer too. At certain hours poetry gives out waves of
calm. From being imagined, calm becomes an emergence of being. It is like a value that dominates, in spite of minor states of being, in spite of a disturbed world."
Through this work, he presents before us a phenomenology of imagination. How the creative consciousness associates with a poetic image to give a specific reality which is a reverberation creating harmony within a being. How such poetic image originates. Gaston here investigates simple images of felicitous space and name the investigation as topophilia. He does so by picking up spaces and citing various authors and poets referring to such spaces/ images along with presenting to us his own exploration of them. True to the name, the language of this work in itself is poetic and flows lucidly through the reader鈥檚 creative conscious, hence, succeeding in bringing those reverberations which author aims at.
In the words of William Wordsworth, 鈥淲e are less forlorn in a world which we meet with our imagination鈥�.
The reveries of mind cumulate into creating those images which bring harmony in the existence. Harmony brings joy within the being. Camus鈥� invincible summer, in presence of Algerian Sun and Sea, spring forth due to the reveries his mind is captivated with. Reveries of the places of his childhood 鈥� the house he lived in. For him, this summer is the harmony between his existence and an indifferent Universe.This harmony is his revolt.
Gaston says:
"Tranquil foliage that really is lived in, a tranquil gaze discovered in the humblest of eyes, are the artisans of immensity. These images make the world grow, and the summer too. At certain hours poetry gives out waves of
calm. From being imagined, calm becomes an emergence of being. It is like a value that dominates, in spite of minor states of being, in spite of a disturbed world."
Through this work, he presents before us a phenomenology of imagination. How the creative consciousness associates with a poetic image to give a specific reality which is a reverberation creating harmony within a being. How such poetic image originates. Gaston here investigates simple images of felicitous space and name the investigation as topophilia. He does so by picking up spaces and citing various authors and poets referring to such spaces/ images along with presenting to us his own exploration of them. True to the name, the language of this work in itself is poetic and flows lucidly through the reader鈥檚 creative conscious, hence, succeeding in bringing those reverberations which author aims at.
Want to read
December 1, 2024not a philosophy girl, but i've been promised this will change my life (regardless, this has been the best cold weather nighttime read)
September 28, 2010
鈥淲e build within ourselves stone
on stone a vast haunted castle.鈥�
-Vincent Monteiro, Vers sur verre
鈥漇pace that has been seized upon by the imagination cannot remain indifferent space subject to the measures and estimates of the surveyor. It has been lived in, not in its positivity, but with all the partiality of the imagination.鈥�
-Bachelard
鈥淎 house that stands in my heart
My cathedral of silence
Every morning recaptured in dream
Every evening abandoned
A house covered with dawn
Open to the winds of my youth.鈥�
-Jean LaRoche, Memoires d'ete
鈥�...the unlimited solitude that makes a lifetime of each day, toward a communion with the universe, in a word, space, the invisible space that man can live in nevertheless, and which surrounds him with countless presences.鈥�
-Rilke, Lettres
It is my inclination to compose this entire piece on Bachelard with citations from his book and the fragments of poems he collects; little needs to be said or can be said on the subject of intimate, poetic, personalized space that is not touched upon in his phenomenological study of the oneiric life, The Poetics of Space, and it is certainly beyond my capabilities to improve on such distilled, pure imaginative discourse. As other reviewers have noted, it is almost difficult to speak about where reading Bachelard leaves you once you have raised your eyes from the page and attempted again to view the world through the lens of your own perceptions after they have been filtered through his prism: when you walk away from this book you are not the person you were when you came to it.
It is not through shocks to the intellect or fireworks of mind-bending paradox that Bachelard affects you, but through encouraging you to look again and again, quietly, at the simplest interactions with the simplest of objects and places of your life, your past, and to see them afresh, to see how they have entered into your being and expanded their quiddity to impress themselves on all aspects of your psyche. Bachelard focuses on the intimate places of memories, habitations, our childhoods, and investigates how the images we retain from our most essential dwellings have played upon our daydreams and contributed to our sense of happiness and well-being. The Poetics of Space is essentially a study of happiness. In this way, it is akin to Proust, as it descends into dream-space, memory-space, and imaginative space-time to locate the unities that bring about a totality to our lives; in fact this was the ideal book to follow a reading of In Search of Lost Time, as both books find their center in the belief in the supremacy of the creative imagination, in the power of the image to retain and affirm all of existence, and the ceaseless pursuit of happiness in the raw material of our lived experiences.
Bachelard鈥檚 introduction elucidates his conception of the poetic image (鈥渁 sudden salience on the surface of the psyche鈥�), and the importance of the novelty of the image, that it is something essentially without causality, without a personal historic precedent, yet which can be transferred from mind to mind and still reverberate. The idea of reverberation is of utmost importance to Bachelard, this idea that a unique image can bring new vitality to the intellect and the imagination, that a wholly original concept can react within a psyche like 鈥渁 new property of the universe鈥�. Here is the launching point of his entire thesis, that there is an ontology of the imagination that works outside the realms of psychology and psychoanalysis, that the poetic image is not given potency and validation through a referential history, that 鈥渢he poet does not confer the past of his image upon me, and yet his image immediately takes root in me鈥�. This enigmatic moment of joy, this shiver of recognition that sets atremble our entire being in the presence of the sublimely poetic, even if as yet not fully comprehended (that nameless feeling which is so familiar to lovers of literature and the arts) is the focal point of Bachelard鈥檚 exploration of space, the initiator and signifier of a personal resonance.
These initiators and signifiers are universally ordinary. Houses, doors, walls, windows, roofs, cellars, chests, drawers, locks, and in our more primitive, pre-memorial past, nests, shells, trees, forests... the objects we manipulate and interact with almost unconsciously, these are our intimates, our coevals in space-time, the symbolic extensions of our language and dreams. We exist in a corner of the world, within a house within a neighborhood, a construct of dimension and verticality and depth, of portals and walls, passages of ingress and egress, of windows that let in or deny light and air and space, walls that contract and expand with the impetus of our daydreams. We find ourselves inside or outside of our dwellings, we inhabit gardens or streets or rooms daily, and the almost imperceptible way in which we place our receptive selves, leave pieces of ourselves in these places, how they communicate and reverberate in response to our mental and physical presence and us reverberating and responding within them, these are the places in which the mythology of our lives is developed, here is where Bachelard hunts down the essence of our poetic existence. For what is more intimate than our thinking/dreaming being at rest in our own house or remembering the house we grew up in? What is more like probing one鈥檚 eternity than probing one鈥檚 childhood (thank you Mr. Nabokov)? When are we more expansive than when we are traversing our reveries safely in the nest of our room or stilling ourselves from the motion of our lives on a favorite patch of earth?
鈥滱s soon as we become motionless, we are elsewhere; we are dreaming in a world that is immense. Indeed, immensity is the movement of the motionless man.鈥�
-pg. 184
So Bachelard maintains his points of reference in the world of literature, poetry and imaginative prose, products of contemplation and reflection, and seeks no external justification in the practicality of his arguments. If something exists in the realm of the imagination, it exists with no further need of validation. There is a reality beyond the positive, material world, that contains just as much vitality and energy as physical objects, just as much prescience of an actuality as an idea turned into a material thing. Words create solidity, images evoke a concreteness, there is a realness to every written thing, no matter how abstract, and the mind reaches toward comprehension of each potent image; it is in these realms that the work of art reigns, expressing our humanity in dynamic, personalized terms. The Poetics of Space is mainly concerned with the dialectic between these regions of the imagination and the places in which they are nurtured and developed.
鈥滲y means of poetic language, waves of newness flow over the surface of being. And language bears within itself the dialectics of open and closed. Through meaning it encloses, while through poetic expression, it opens up.鈥�
-pg. 222
Among the many poets who Bachelard calls upon to compose his analysis, two of his favorite touchstones are Rilke and Baudelaire. Rilke he sees as embodying the poet of inhabited space, Baudelaire as the ultimate poet of 鈥渃orrespondences鈥� between disparate things. A lengthy passage from The Poetics of Space dissects Baudelaire鈥檚 use of the word 鈥渧ast鈥�, and makes the claim that to Baudelaire 鈥渧ast鈥� is never an objective word, it is an all encompassing vocable of breath, forced into audible pronunciation in the lines of the poem, uncontainable, a signifier of 鈥渋ntimate immensity鈥�.
鈥滷or Baudelaire, man鈥檚 poetic fate is to be the mirror of immensity; or even more exactly, immensity becomes conscious of itself, through man. Man for Baudelaire is a vast being鈥�.
-pg. 196
鈥淎ll important words, all the words marked for grandeur by a poet, are keys to the universe, to the dual universe of the Cosmos and the depths of the human spirit.鈥�
-pg. 198
It is in the expressions of humanity that Bachelard seeks his resonances with the physical world. Language is the beginning of all things human, the starting point where truths emerge from silence, therefore anything expressed contains a kernel of truth, and a kernel of humanity. It is in response to silence that words, and therefore humanity, takes form. Silence is far more abundant than language, but even small amounts of language contain more than silence. This type of interchange between man and world is pursued by Bachelard through countless aspects of inhabiting the world, expanded and expounded into regions as diverse as hermetic huts, corners, the composition of shells and bird鈥檚 nests in the animal world, the 鈥渕iniaturization鈥� of fairy tales, the dialogue between inside and outside beings, immensity and diminution, the 鈥渨arm鈥� properties of curves and the 鈥渃old鈥� properties of sharp angles, the 鈥渞oundness of being鈥�.
鈥漈he round cry of round being makes the sky round like a cupola鈥�
-pg. 238
鈥漈o benefit by all the lessons of modern psychology and all that has been learned about man鈥檚 being through psychoanalysis, metaphysics should therefore be resolutely discursive. It should beware of the privileges of evidence that are the property of geometrical intuition. Sight says too many things at one time. Being does not see itself. Perhaps it listens to itself. It does not stand out, it is not bordered by nothingness: one is never sure of finding it, or of finding it solid, when one approaches a center of being. And if we want to determine man鈥檚 being, we are never sure of being closer to ourselves if we 鈥渨ithdraw鈥� into ourselves, if we move toward the center of the spiral; for often it is in the heart of being that being is in errancy. Sometimes, it is in being outside itself that being tests consistencies. Sometimes, too, it is closed in, as it were, on the outside.鈥�
-pg. 214-215
It is silence, rather, that obliges the poet to listen, and gives the dream greater intimacy. We hardly know where to situate this silence, whether in the vast world or in the immense past. But we do know that it comes from beyond a wind that dies down or a rain that grows gentle.鈥�
-pg. 179
鈥滿an himself is mute, and it is the image that speaks. For it is obvious that the image alone can keep pace with nature.鈥�
-Boris Pasternak, quoted in Bachelard pg. 104
鈥滻n the realm of absolute imagination, we remain young very late in life. But we must lose our earthly Paradise in order to actually live in it, to experience it in the reality of its images, in the absolute sublimation that transcends all passion.鈥�
-pg. 33
鈥漌hen we are at an age to imagine, we cannot say how or why we imagine. Then, when we could say how we imagine, we cease to imagine. We should therefore dematurize ourselves.鈥�
-pg. 236
What is taken away from a reading of The Poetics of Space is a heightened awareness of the dialogue one鈥檚 psyche maintains with its environment, how a being fluctuates when one is contained in familiar surroundings or when one is on an open plane, the vastness of the world spreading out around, the necessity (if happiness is a goal) to never let the values on which you construct your life deaden, to always keep them vulnerable to change and analysis, to keep them open to play, to re-imagining and restructuring. The human consciousness is if anything mutable, it changes willingy and unwillingly, it persistently interacts with the images it has hoarded over the years, it converses with its present surroundings and is in communication with the places it has inhabited in other times. We never leave the places we have dwelled. Memory and the unconscious assure that we deposit fragments of ourselves behind that intermittently send reports out from the oblivion of time; there is always something lingering of our past worlds that speaks to and helps us to construct our current one.
on stone a vast haunted castle.鈥�
-Vincent Monteiro, Vers sur verre
鈥漇pace that has been seized upon by the imagination cannot remain indifferent space subject to the measures and estimates of the surveyor. It has been lived in, not in its positivity, but with all the partiality of the imagination.鈥�
-Bachelard
鈥淎 house that stands in my heart
My cathedral of silence
Every morning recaptured in dream
Every evening abandoned
A house covered with dawn
Open to the winds of my youth.鈥�
-Jean LaRoche, Memoires d'ete
鈥�...the unlimited solitude that makes a lifetime of each day, toward a communion with the universe, in a word, space, the invisible space that man can live in nevertheless, and which surrounds him with countless presences.鈥�
-Rilke, Lettres
It is my inclination to compose this entire piece on Bachelard with citations from his book and the fragments of poems he collects; little needs to be said or can be said on the subject of intimate, poetic, personalized space that is not touched upon in his phenomenological study of the oneiric life, The Poetics of Space, and it is certainly beyond my capabilities to improve on such distilled, pure imaginative discourse. As other reviewers have noted, it is almost difficult to speak about where reading Bachelard leaves you once you have raised your eyes from the page and attempted again to view the world through the lens of your own perceptions after they have been filtered through his prism: when you walk away from this book you are not the person you were when you came to it.
It is not through shocks to the intellect or fireworks of mind-bending paradox that Bachelard affects you, but through encouraging you to look again and again, quietly, at the simplest interactions with the simplest of objects and places of your life, your past, and to see them afresh, to see how they have entered into your being and expanded their quiddity to impress themselves on all aspects of your psyche. Bachelard focuses on the intimate places of memories, habitations, our childhoods, and investigates how the images we retain from our most essential dwellings have played upon our daydreams and contributed to our sense of happiness and well-being. The Poetics of Space is essentially a study of happiness. In this way, it is akin to Proust, as it descends into dream-space, memory-space, and imaginative space-time to locate the unities that bring about a totality to our lives; in fact this was the ideal book to follow a reading of In Search of Lost Time, as both books find their center in the belief in the supremacy of the creative imagination, in the power of the image to retain and affirm all of existence, and the ceaseless pursuit of happiness in the raw material of our lived experiences.
Bachelard鈥檚 introduction elucidates his conception of the poetic image (鈥渁 sudden salience on the surface of the psyche鈥�), and the importance of the novelty of the image, that it is something essentially without causality, without a personal historic precedent, yet which can be transferred from mind to mind and still reverberate. The idea of reverberation is of utmost importance to Bachelard, this idea that a unique image can bring new vitality to the intellect and the imagination, that a wholly original concept can react within a psyche like 鈥渁 new property of the universe鈥�. Here is the launching point of his entire thesis, that there is an ontology of the imagination that works outside the realms of psychology and psychoanalysis, that the poetic image is not given potency and validation through a referential history, that 鈥渢he poet does not confer the past of his image upon me, and yet his image immediately takes root in me鈥�. This enigmatic moment of joy, this shiver of recognition that sets atremble our entire being in the presence of the sublimely poetic, even if as yet not fully comprehended (that nameless feeling which is so familiar to lovers of literature and the arts) is the focal point of Bachelard鈥檚 exploration of space, the initiator and signifier of a personal resonance.
These initiators and signifiers are universally ordinary. Houses, doors, walls, windows, roofs, cellars, chests, drawers, locks, and in our more primitive, pre-memorial past, nests, shells, trees, forests... the objects we manipulate and interact with almost unconsciously, these are our intimates, our coevals in space-time, the symbolic extensions of our language and dreams. We exist in a corner of the world, within a house within a neighborhood, a construct of dimension and verticality and depth, of portals and walls, passages of ingress and egress, of windows that let in or deny light and air and space, walls that contract and expand with the impetus of our daydreams. We find ourselves inside or outside of our dwellings, we inhabit gardens or streets or rooms daily, and the almost imperceptible way in which we place our receptive selves, leave pieces of ourselves in these places, how they communicate and reverberate in response to our mental and physical presence and us reverberating and responding within them, these are the places in which the mythology of our lives is developed, here is where Bachelard hunts down the essence of our poetic existence. For what is more intimate than our thinking/dreaming being at rest in our own house or remembering the house we grew up in? What is more like probing one鈥檚 eternity than probing one鈥檚 childhood (thank you Mr. Nabokov)? When are we more expansive than when we are traversing our reveries safely in the nest of our room or stilling ourselves from the motion of our lives on a favorite patch of earth?
鈥滱s soon as we become motionless, we are elsewhere; we are dreaming in a world that is immense. Indeed, immensity is the movement of the motionless man.鈥�
-pg. 184
So Bachelard maintains his points of reference in the world of literature, poetry and imaginative prose, products of contemplation and reflection, and seeks no external justification in the practicality of his arguments. If something exists in the realm of the imagination, it exists with no further need of validation. There is a reality beyond the positive, material world, that contains just as much vitality and energy as physical objects, just as much prescience of an actuality as an idea turned into a material thing. Words create solidity, images evoke a concreteness, there is a realness to every written thing, no matter how abstract, and the mind reaches toward comprehension of each potent image; it is in these realms that the work of art reigns, expressing our humanity in dynamic, personalized terms. The Poetics of Space is mainly concerned with the dialectic between these regions of the imagination and the places in which they are nurtured and developed.
鈥滲y means of poetic language, waves of newness flow over the surface of being. And language bears within itself the dialectics of open and closed. Through meaning it encloses, while through poetic expression, it opens up.鈥�
-pg. 222
Among the many poets who Bachelard calls upon to compose his analysis, two of his favorite touchstones are Rilke and Baudelaire. Rilke he sees as embodying the poet of inhabited space, Baudelaire as the ultimate poet of 鈥渃orrespondences鈥� between disparate things. A lengthy passage from The Poetics of Space dissects Baudelaire鈥檚 use of the word 鈥渧ast鈥�, and makes the claim that to Baudelaire 鈥渧ast鈥� is never an objective word, it is an all encompassing vocable of breath, forced into audible pronunciation in the lines of the poem, uncontainable, a signifier of 鈥渋ntimate immensity鈥�.
鈥滷or Baudelaire, man鈥檚 poetic fate is to be the mirror of immensity; or even more exactly, immensity becomes conscious of itself, through man. Man for Baudelaire is a vast being鈥�.
-pg. 196
鈥淎ll important words, all the words marked for grandeur by a poet, are keys to the universe, to the dual universe of the Cosmos and the depths of the human spirit.鈥�
-pg. 198
It is in the expressions of humanity that Bachelard seeks his resonances with the physical world. Language is the beginning of all things human, the starting point where truths emerge from silence, therefore anything expressed contains a kernel of truth, and a kernel of humanity. It is in response to silence that words, and therefore humanity, takes form. Silence is far more abundant than language, but even small amounts of language contain more than silence. This type of interchange between man and world is pursued by Bachelard through countless aspects of inhabiting the world, expanded and expounded into regions as diverse as hermetic huts, corners, the composition of shells and bird鈥檚 nests in the animal world, the 鈥渕iniaturization鈥� of fairy tales, the dialogue between inside and outside beings, immensity and diminution, the 鈥渨arm鈥� properties of curves and the 鈥渃old鈥� properties of sharp angles, the 鈥渞oundness of being鈥�.
鈥漈he round cry of round being makes the sky round like a cupola鈥�
-pg. 238
鈥漈o benefit by all the lessons of modern psychology and all that has been learned about man鈥檚 being through psychoanalysis, metaphysics should therefore be resolutely discursive. It should beware of the privileges of evidence that are the property of geometrical intuition. Sight says too many things at one time. Being does not see itself. Perhaps it listens to itself. It does not stand out, it is not bordered by nothingness: one is never sure of finding it, or of finding it solid, when one approaches a center of being. And if we want to determine man鈥檚 being, we are never sure of being closer to ourselves if we 鈥渨ithdraw鈥� into ourselves, if we move toward the center of the spiral; for often it is in the heart of being that being is in errancy. Sometimes, it is in being outside itself that being tests consistencies. Sometimes, too, it is closed in, as it were, on the outside.鈥�
-pg. 214-215
It is silence, rather, that obliges the poet to listen, and gives the dream greater intimacy. We hardly know where to situate this silence, whether in the vast world or in the immense past. But we do know that it comes from beyond a wind that dies down or a rain that grows gentle.鈥�
-pg. 179
鈥滿an himself is mute, and it is the image that speaks. For it is obvious that the image alone can keep pace with nature.鈥�
-Boris Pasternak, quoted in Bachelard pg. 104
鈥滻n the realm of absolute imagination, we remain young very late in life. But we must lose our earthly Paradise in order to actually live in it, to experience it in the reality of its images, in the absolute sublimation that transcends all passion.鈥�
-pg. 33
鈥漌hen we are at an age to imagine, we cannot say how or why we imagine. Then, when we could say how we imagine, we cease to imagine. We should therefore dematurize ourselves.鈥�
-pg. 236
What is taken away from a reading of The Poetics of Space is a heightened awareness of the dialogue one鈥檚 psyche maintains with its environment, how a being fluctuates when one is contained in familiar surroundings or when one is on an open plane, the vastness of the world spreading out around, the necessity (if happiness is a goal) to never let the values on which you construct your life deaden, to always keep them vulnerable to change and analysis, to keep them open to play, to re-imagining and restructuring. The human consciousness is if anything mutable, it changes willingy and unwillingly, it persistently interacts with the images it has hoarded over the years, it converses with its present surroundings and is in communication with the places it has inhabited in other times. We never leave the places we have dwelled. Memory and the unconscious assure that we deposit fragments of ourselves behind that intermittently send reports out from the oblivion of time; there is always something lingering of our past worlds that speaks to and helps us to construct our current one.
October 13, 2020
賴乇诏夭 讴鬲丕亘蹖 賳禺賵丕賳丿賴 亘賵丿賲 讴賴 亘鬲賵丕賳丿 鬲丕 丕蹖賳 丨丿 賱匕鬲鈥屬囏й� 丿乇賵賳蹖鈥屫з� 乇丕 讴賴 亘蹖鈥屬囒屭� 賳卮丕賳賴鈥屰� 亘蹖乇賵賳蹖貙 乇賵丨鈥屫з� 乇丕 丌乇丕賲 賲蹖鈥屭┵嗁嗀� 鬲賵囟蹖丨 丿賴丿 賵 賵氐賮 讴賳丿. 丕丨爻丕爻 賲蹖鈥屭┵嗁� 鬲賲丕賲 賳賯丕胤 乇賵丨鈥屫з� 丕夭 胤乇蹖賯 賲鬲賳 亘丕卮賱丕乇 丿乇讴 卮丿賴 賵 趩蹖夭蹖 乇丕 禺賵丕賳丿賴鈥屫з� 讴賴 賴賲賵丕乇賴 丿乇賵賳賲 丕鬲賮丕賯 賲蹖鈥屫з佖ж� 丕賲丕 賳賲蹖鈥屫堌з嗀池団€屫з� 亘丕 丕蹖賳 噩夭卅蹖丕鬲 丿乇 噩乇蹖丕賳 讴賱 丌賳 賮乇丕蹖賳丿 賯乇丕乇 亘诏蹖乇賲. 丕賱亘鬲賴 讴賴 賴丿賮 亘丕卮賱丕乇 賮賯胤 卮乇丨 賮乇丕蹖賳丿 禺蹖丕賱鈥屬矩必ж藏з嗁団€屫й� 賳蹖爻鬲 讴賴 亘乇 鬲賳 禺丕賳賴 賲蹖鈥屬嗀篡屬嗀�. 丕賵 亘丕 亘乇乇爻蹖 倬丿蹖丿丕乇卮賳丕爻丕賳賴鈥屰� 鬲禺蹖賱 丿乇 卮毓乇 卮丕毓乇丕賳 賵 丕乇鬲亘丕胤卮 亘丕 賳賯丕胤 賲禺鬲賱賮 禺丕賳賴貙 賲蹖鈥屫堌з囏� 賮囟丕蹖蹖 讴賴 丿乇 丌賳 夭賳丿诏蹖 賲蹖鈥屭┵嗃屬� 乇丕 丿乇 賲賯丕亘賱鈥屬呚з� 賵丕讴丕賵蹖 讴賳丿. 丿賱賲 賳賲蹖鈥屫堌ж池� 讴鬲丕亘 乇丕 鬲賲丕賲 讴賳賲. 賲蹖鈥屫堌ж池� 丕蹖賳 賮囟丕蹖 賴賲蹖卮賴 丌卮賳丕蹖蹖 讴賴 亘丕卮賱丕乇 亘賴 丌賳 丿毓賵鬲賲 讴乇丿賴 乇丕 鬲丕 丕亘丿 讴卮 亘丿賴賲 賵 趩賯丿乇 卮丕毓乇丕賳诏蹖 丕蹖賳 賮蹖賱爻賵賮 賲亘賴賵鬲賲 讴乇丿.
丿蹖诏乇 讴卮卮 睾乇蹖亘賲 亘賴 禺丕賳賴 賵 丿賱鬲賳诏蹖鈥屫з� 賵賯鬲蹖 讴賴 丕夭卮 丿賵乇賲貙 亘乇丕蹖賲 毓噩蹖亘 賳蹖爻鬲. 趩賵賳 乇丕亘胤賴鈥屫й� 亘蹖賳 鬲禺蹖賱 讴乇丿賳 賵 禺丕賳賴 賴爻鬲 賵 丌賳鈥屫焚堌� 讴賴 亘丕卮賱丕乇 賲蹖鈥屭堐屫�: 芦禺丕賳賴 倬賳丕賴诏丕賴 乇丐蹖丕倬乇丿丕夭蹖 丕爻鬲. 禺丕賳賴 倬卮鬲蹖亘丕賳 乇丐蹖丕倬乇丿丕夭 丕爻鬲禄. 賵 亘毓丿 賵丕乇丿 禺丕賳賴 讴賴 賲蹖鈥屫促堐� 亘賴 丕鬲丕賯鬲 倬賳丕賴 賲蹖鈥屫ㄘ臂� 趩賵賳貨 芦丕鬲丕賯 禺賵卮丕賲丿蹖 亘賴 禺蹖丕賱 丕爻鬲 賵 禺蹖丕賱 鬲毓丕賱蹖 鬲賲丕賲 丕丨爻丕爻鈥屬囏ж池�.
丿蹖诏乇 讴卮卮 睾乇蹖亘賲 亘賴 禺丕賳賴 賵 丿賱鬲賳诏蹖鈥屫з� 賵賯鬲蹖 讴賴 丕夭卮 丿賵乇賲貙 亘乇丕蹖賲 毓噩蹖亘 賳蹖爻鬲. 趩賵賳 乇丕亘胤賴鈥屫й� 亘蹖賳 鬲禺蹖賱 讴乇丿賳 賵 禺丕賳賴 賴爻鬲 賵 丌賳鈥屫焚堌� 讴賴 亘丕卮賱丕乇 賲蹖鈥屭堐屫�: 芦禺丕賳賴 倬賳丕賴诏丕賴 乇丐蹖丕倬乇丿丕夭蹖 丕爻鬲. 禺丕賳賴 倬卮鬲蹖亘丕賳 乇丐蹖丕倬乇丿丕夭 丕爻鬲禄. 賵 亘毓丿 賵丕乇丿 禺丕賳賴 讴賴 賲蹖鈥屫促堐� 亘賴 丕鬲丕賯鬲 倬賳丕賴 賲蹖鈥屫ㄘ臂� 趩賵賳貨 芦丕鬲丕賯 禺賵卮丕賲丿蹖 亘賴 禺蹖丕賱 丕爻鬲 賵 禺蹖丕賱 鬲毓丕賱蹖 鬲賲丕賲 丕丨爻丕爻鈥屬囏ж池�.
November 18, 2013
Bachelard offers nothing, and I mean nothing, new in terms of philosophical insight or logical exposition, in 鈥楶oetics鈥�. Decidedly unoriginal in its portrayal of concepts, associations and representation, this book brings no new angle, no new vista on the dynamics of the house in all its possible permutations: nest, shell ,miniature (doll鈥檚 house), accessories included (wardrobe, chests, drawers, locked pendants, etc). Further, Bachelard ired me continuously with well meaning but frankly idiotic stances. I鈥檓 willing to forgive him the patronising attitudes towards the housewife and her pleasure in giving life to objects through polishing (pg 68). Yes, I rise above that. But when he attacks my beloved metaphor and relegates it to the compost heap because the only truth is 鈥榠mage鈥� whereas a metaphor is some sort of corrosive influence: I blanche. When he states that values alter facts I know this whole phenomenology business has gone not just straight to his head, but over it, and good. His cult idolisation of Bergson probably helps him along in this respect.
Clearly this is my personal phenomenological (heh heh) interpretation of this book, and others who have not come across the concept of a house/dwelling/physical space acquiring anthropomorphic features and functioning as an extension of, or a repository of, stream of consciousness, memory and image memes, might be tickled pink into this beginners bible on the subject.
But whilst Bachelard fails to blind with science, he sucks you in in other ways. The man is so genuine, full of joy de vivre, enthusiastic and unassuming on, lets face it, a topic : home, which in turns provokes a feel good factor, that one is arrested and stops to contemplate. Bachelard may not be saying anything new, but its how he says it that鈥檚 mesmerising: interweaving bits of poetry, art and showing a zest for living which is nonpareil, he breaks down my cynicism. Undertaking Proustian journeys down memory lane he evokes images of fairy tale cottages and feelings of security and happiness. Each line he writes is filled with the wonder of a man who stops to smell the flowers and rediscovers the meaning in life in that infinitely small gesture. How can I not be seduced?
Clearly this is my personal phenomenological (heh heh) interpretation of this book, and others who have not come across the concept of a house/dwelling/physical space acquiring anthropomorphic features and functioning as an extension of, or a repository of, stream of consciousness, memory and image memes, might be tickled pink into this beginners bible on the subject.
But whilst Bachelard fails to blind with science, he sucks you in in other ways. The man is so genuine, full of joy de vivre, enthusiastic and unassuming on, lets face it, a topic : home, which in turns provokes a feel good factor, that one is arrested and stops to contemplate. Bachelard may not be saying anything new, but its how he says it that鈥檚 mesmerising: interweaving bits of poetry, art and showing a zest for living which is nonpareil, he breaks down my cynicism. Undertaking Proustian journeys down memory lane he evokes images of fairy tale cottages and feelings of security and happiness. Each line he writes is filled with the wonder of a man who stops to smell the flowers and rediscovers the meaning in life in that infinitely small gesture. How can I not be seduced?
March 29, 2025
I鈥檓 not sure that I learned a whole lot about space but being in Bachelard鈥檚 company was a DELIGHT. He鈥檚 a gentle dreamy old man who sees the glow of flowers, sees a glow of floating gold-dust over everything and, like a child, sees fairies and tiny people and senses things that no one else can perceive, that fill him with glee.
I mean, just look at this guy:
鈥溾€n order to devote myself to this miniaturized metaphysics with a clear conscience, I should need the increased support of additional texts. Otherwise, by confessing my love of miniature, I should be afraid of confirming the diagnosis suggested, some twenty-five years ago, by my old friend Mme. Favez-Boutonier, who told me that my Lilliputian hallucinations were characteristic of alcoholism.鈥�
I mean, just look at this guy:
鈥溾€n order to devote myself to this miniaturized metaphysics with a clear conscience, I should need the increased support of additional texts. Otherwise, by confessing my love of miniature, I should be afraid of confirming the diagnosis suggested, some twenty-five years ago, by my old friend Mme. Favez-Boutonier, who told me that my Lilliputian hallucinations were characteristic of alcoholism.鈥�
July 24, 2023
This book is a good choice for anyone seeking a deeper understanding of the spaces we occupy. Bachelard effortlessly weaves together philosophy, literature, and psychology to unveil the profound impact that spaces have on the human psyche.
One of the most resonating passages from the book discusses the concept of the house as a repository of memories: "Memory aids the individual in the dense texture of dreams. It is an abundance of history that the soul loves and by which it is enriched.", Something I couldn't agree more.
What stood out to me was Bachelard's profound appreciation for the poetry found in small details, like doors: "A door that communicates freedom is a door that has been opened by a hand." This simple yet evocative insight brilliantly captures the essence of his exploration.
This is a book that demands contemplation and introspection. Bachelard's ability to reveal the hidden significance of our surroundings compels readers to reexamine their own lived experiences within their homes, gardens, and cherished places.
One of the most resonating passages from the book discusses the concept of the house as a repository of memories: "Memory aids the individual in the dense texture of dreams. It is an abundance of history that the soul loves and by which it is enriched.", Something I couldn't agree more.
What stood out to me was Bachelard's profound appreciation for the poetry found in small details, like doors: "A door that communicates freedom is a door that has been opened by a hand." This simple yet evocative insight brilliantly captures the essence of his exploration.
This is a book that demands contemplation and introspection. Bachelard's ability to reveal the hidden significance of our surroundings compels readers to reexamine their own lived experiences within their homes, gardens, and cherished places.
June 21, 2014
[W]e are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.
This is not what I expected. The Poetics of Space is not some rigorous discussion of the concept of home or the distinction between inside and outside. This is a meditation. Bachelard prefers "daydream". As one reads, one takes shorthand from the philosopher's imagination. The text is steeped in whimsy and speculation. The citations refer to the poetic, not the philosophical. Heidegger is not mentioned. I suspect that is political.
Borrowing Bachelard's seminal point of contact, his Poetics remains half-open. The idea of the house and dwelling is only explored on the hoof; broader issues of the miniature and the vast are extended the lengthier chew. I loved the sections on nests and wardrobes, each dizzying with references to Rimbaud and insularity. I simply felt the wider thrust of the book abandoned the thesis of the Home.
This then is my ancestral forest. And all the rest is fiction.
This is not what I expected. The Poetics of Space is not some rigorous discussion of the concept of home or the distinction between inside and outside. This is a meditation. Bachelard prefers "daydream". As one reads, one takes shorthand from the philosopher's imagination. The text is steeped in whimsy and speculation. The citations refer to the poetic, not the philosophical. Heidegger is not mentioned. I suspect that is political.
Borrowing Bachelard's seminal point of contact, his Poetics remains half-open. The idea of the house and dwelling is only explored on the hoof; broader issues of the miniature and the vast are extended the lengthier chew. I loved the sections on nests and wardrobes, each dizzying with references to Rimbaud and insularity. I simply felt the wider thrust of the book abandoned the thesis of the Home.
This then is my ancestral forest. And all the rest is fiction.
October 18, 2009
賴賱 氐丨賷丨賹 賲丕 兀賵乇丿鬲賴 丕賱賮賱爻賮丕鬲 丕賱賲賷鬲丕賮賷夭賷賯賷丞 貙 兀賳 丕賱廿賳爻丕賳 ( 賲賯匕賵賮賹 賮賷 丕賱毓丕賱賲 ) 貙 賲禺匕賵賱 貙 賲鬲乇賵賰 賱賱鬲爻丕丐賱 賮賷 毓丕賱賲賺 氐乇賷丨 賮賷 毓丿丕卅賷鬲賴 責 兀賲 兀賳 賲丕 賳爻賲賾賷賴 ( 丕賱賵噩賵丿 鈥� 賴賳丕賰 ) 賱賷爻 賰丕亘賵爻賷丕賸 賰賲丕 賷購氐賵賾乇 賱賳丕 亘賯丿乇 賲丕 賴賵 賲卮乇賵毓 賱丕賳賮鬲丕丨 丕賱丿丕禺賱 毓賱賶 丕賱禺丕乇噩 貙 賱丕丨鬲賵丕亍 丕賱毓丕賱賲 毓賵囟丕賸 毓賳 丕賱鬲卮馗賷 賮賷賴 責
廿賳 睾丕爻鬲賵賳 亘丕卮賱丕乇 貙 賰賲丕 賷鬲亘丿賶 噩賱賷丕賸 賲賳 禺賱丕賱 丕賱丕賯鬲亘丕爻 丕賱爻丕亘賯 賷毓丕乇囟 亘賯賵賾丞 賲丕 鬲囟禺賴 丕賱賮賱爻賮丕鬲 丕賱賵噩賵丿賷丞 丨賵賱 毓丿丕卅賷丞 丕賱賲賰丕賳 貙 賵 丨鬲賶 丕賳賮氐丕賱賷丞 丕賱賲賰丕賳 貙 丨賷孬購 鈥� 兀賳丕 丕賱賲賰丕賳 丕賱匕賷 兀賵噩丿 賮賷賴 鈥� ( 賳賵賷賱 丌乇賳賵 ) 貙 賵 丨賷孬購 鈥� 丕賱賲賰丕賳 賮賷 賱丕 賲賰丕賳 貙 廿賳賴 賮賷 丕賱丿丕禺賱 貙 賲孬賱 丕賱毓爻賱 賮賷 丕賱禺賱賷丞 鈥� ( 噩賵 亘賵爻賰賵賷 ) .. 賵 丨賷孬購 賳氐賵氐 卮毓乇賷丞 賰孬賷乇丞 丕毓鬲賲丿賴丕 賰賵孬丕卅賯 賱丿乇丕爻鬲賴 毓亘乇 丕鬲亘丕毓賴 賱賱賲賳賴噩 丕賱馗丕賴乇丕鬲賷 賮賷 賰鬲丕亘賴 ( 噩賲丕賱賷丕鬲 丕賱賲賰丕賳 ) .
鈥� 廿賳 丕賱賮賱爻賮丞 丕賱鬲賷 鬲賳胤賱賯 賲賳 賱丨馗丞 鈥� 廿賱賯丕亍 丕賱廿賳爻丕賳 賮賷 丕賱毓丕賱賲 鈥� 賴賷 賮賱爻賮丞 孬丕賳賵賷丞 貙 廿賳賴丕 鬲賯賮夭 賮賵賯 丕賱兀賵賱賷丕鬲 貙 賵 鬲賱賰 貙 丨賷賳 賰丕賳 丕賱賵噩賵丿 賴賳賷卅丕賸 貙 丨賷賳 賰丕賳 丕賱廿賳爻丕賳 賲賳禺乇胤丕賸 賮賷 丕賱賴賳丕亍丞 貙 賵 丨賷賳 賰丕賳鬲 丕賱賴賳丕亍丞 鬲乇鬲亘胤 亘丕賱賵噩賵丿 鈥�
廿賳賴 賰鬲丕亘賹 噩丕亍 賱賷毓賷丿 氐賷丕睾丞 丕賱毓賱丕賯丞 亘賷賳 賲丕 爻賲丕賴 賮賱丕爻賮丞 丕賱賵毓賷 ( 丕賱兀賳丕 賵 賲丕 賱賷爻 丕賱兀賳丕 ) 丨賷孬 賷賳賮賷 毓丿丕卅賷丞 丕賱毓丕賱賲 賲賳 丨賯賷賯丞 亘爻賷胤丞 賵賲賴賲卮丞 亘賲亘丕賱睾丞 : 兀賳 丕賱廿賳爻丕賳 賮賷 亘丿丕賷丞 賯丿賵賲賴 廿賱賶 丕賱毓丕賱賲 賷賰賵賳 賲丨賮賵賮丕賸 亘亘賷鬲 賲丕 貙 亘賷鬲 賷乇丕丿賮 賲丕 爻賲丕賴 鈥� 丕賱賴賳丕亍丞 鈥� 賵 賲賳 孬賲 鈥� 丕賱賵噩賵丿 鈥� 丨賷孬 鈥� 丕賱亘賷鬲 賴賵 乇賰賳賳丕 賮賷 丕賱毓丕賱賲貙 廿賳賴 賰賵賳賳丕 丕賱兀賵賱 鈥� 廿匕 賷鬲賮鬲丨 丕賱毓丕賱賲購 亘兀賱賮丞賺 賵鬲爻鬲丨賷賱 丕賱毓賱丕賯丞 亘賷賳 丕賱卮禺氐賷 賵丕賱賰賵賳賷 廿賱賶 卮賷亍賺 丨賲賷賲 貙 兀賵 賱賳賯賱 亘兀賳 噩丿賱賷丞 丕賱丿丕禺賱 賵丕賱禺丕乇噩 ( 丕賱賵噩賵丿 賵丕賱毓丿賲 ) 鬲鬲亘丿賶 毓亘乇 爻賱爻賱丞 賲賳 丕賱鬲乇丿丿丕鬲 貙 丕賱鬲賮丕毓賱丕鬲 貙 丕賱鬲賷 鬲爻賷乇購 噩賳亘丕賸 廿賱賶 噩賳亘 賳丨賵 廿夭丕賱丞 丕賱賮賵丕氐賱 丕賱毓丿丕卅賷丞 亘賷賳 丕賱丕孬賳賷賳 貙 賱兀賳 丕賱禺丕乇噩 賵丕賱丿丕禺賱 賰賱丕賴賲丕 兀賱賮丞 貙 賵 鈥� 丕賱毓鬲亘丞 卮賷亍賹 賲賯丿賾爻 鈥� ( 亘賵乇賮賷乇爻 ) 貙 賵 賰賱 卮賷亍賹 賷賳胤賱賯 賳丨賵 賳賯賷囟賴 貙 廿賳賴丕 丿賷賳丕賲賷賰賷丞 丕賱丨亘賾 丕賱賲賯丿賾爻丞.
September 27, 2020
诏丕爻鬲賵賳 亘丕卮賱丕乇貙 丕爻鬲丕丿 丿丕賳卮诏丕賴 爻賵乇亘賳 賮乇丕賳爻賴 丿乇 丕蹖賳 讴鬲丕亘貙 賴賲趩賳丕賳 讴賴 丕夭 賳丕賲 丌賳 倬蹖丿丕爻鬲貙 亘丕 丕爻鬲賮丕丿賴 丕夭 賲毓蹖丕乇蹖 賴賲賴鈥屬矩佰屫必� 蹖毓賳蹖 禺丕賳賴貙 爻毓蹖 丿乇 鬲乇爻蹖賲 丨丿賵丿 賵 丕亘毓丕丿 鬲禺蹖賱 丿丕乇丿. 丕賱亘鬲賴 鬲賳賴丕 亘賴 毓丕賲賱 鬲禺蹖賱 丕讴鬲賮丕 賳賲蹖鈥屫促堌� 賵 丕賵 丌孬丕乇 賲禺鬲賱賮蹖 乇丕 丕夭 賳賵蹖爻賳丿诏丕賳 賲禺鬲賱賮 亘丕 丕蹖賳 賲毓蹖丕乇 亘乇乇爻蹖 賲蹖鈥屭┵嗀�. 爻亘讴 禺丕氐 賳賵蹖爻賳丿賴貙 亘丕毓孬 鬲賮賴蹖賲 賴乇 趩賴 亘賴鬲乇 賲胤丕賱亘 賲蹖鈥屫促堌�. 亘賴 毓賳賵丕賳 賲孬丕賱貙 诏賱賳 爻賵丕賱丕鬲蹖 乇丕 賲胤乇丨 賲蹖鈥屫池ж藏� 讴賴 丿乇 毓蹖賳 爻丕丿诏蹖 賵 丕亘丿丕毓蹖 亘賵丿賳貙 蹖丕賮鬲賳 倬丕爻禺 亘乇丕蹖 丌賳鈥屬囏� 丿卮賵丕乇貙 賵 亘賴 賴賲丕賳 丕賳丿丕夭賴 賳蹖夭 囟乇賵乇蹖 賵 讴丕乇亘乇丿蹖 禺賵丕賴丿 亘賵丿貙 丕賵 賲蹖鈥屬矩必池� 趩诏賵賳賴 蹖讴 賳賮乇 賲蹖鈥屫堌з嗀� 亘賴 賮囟丕蹖 卮毓乇蹖 讴賴 禺丕乇噩 丕夭 丕鬲丕賯 丕賵爻鬲貙 賳馗丕賲蹖 賵爻蹖毓鈥屫� 亘亘禺卮丿責
賳賵蹖爻賳丿賴 丿乇 亘乇乇爻蹖 乇賵丕賳讴丕賵丕賳賴 禺賵丿 賵 賲丨蹖胤 賵 賴賳乇 賵 賳賯丿 丿乇 夭賲丕賳蹖 賵 賴賲鈥屫操呚з嗃� 賳蹖夭 亘賴 丕蹖賳 爻賵丕賱丕鬲 賵 鬲毓亘蹖乇丕鬲 丿爻鬲 賲蹖鈥屰屫ж藏�.
芦賵賯鬲蹖 讴賴 亘蹖鈥屫堌жㄛ� 讴賴 蹖讴蹖 丕夭 賳丕禺賵卮蹖鈥屬囏й� 賮蹖賱爻賵賮 丕爻鬲貙 亘丕 亘蹖鈥屫堌蒂勞� 賳丕卮蹖 丕夭 卮賱賵睾蹖 卮賴乇 鬲賵丕賲 賲蹖鈥屫促堌� 蹖丕 卮賱賵睾蹖 丕鬲賵賲亘蹖賱鈥屬囏� 賵 讴丕賲蹖賵賳鈥屬囏й� 丿蹖乇賵賯鬲 丌卮賵亘 亘乇倬丕 賲蹖鈥屭┵嗀� 賲賳 丕夭 卮賴乇賳卮蹖賳蹖 賲鬲賳賮乇 賲蹖鈥屫促堎� 賵 丌乇丕賲卮賲 乇丕 亘丕 夭賳丿賴 讴乇丿賳 丕爻鬲毓丕乇賴鈥屬囏й� 丕賯蹖丕賳賵爻 亘丕夭 賲蹖鈥屰屫жㄙ�.禄 (69)
賳賵蹖爻賳丿踿 丕蹖賳 讴鬲丕亘貙 丿乇 丨丕賱 賳卮丕賳 丿丕丿賳 丕丨爻丕爻蹖鈥屫池� 禺賵丿禺丕賳賴鈥屫з嗂ж必з嗁囏� 賳賵毓蹖 賲丕鬲乇蹖丕賱蹖爻賲蹖 讴賴 亘丕 禺賵丿 丕賳爻丕賳 丿乇 丿蹖丕賱讴鬲蹖讴 卮乇讴鬲 賲蹖鈥屭┵嗀�. 蹖丕 亘賴 夭亘丕賳 禺賵丿賲丕賳貙 鬲卮亘蹖賴 賲購囟賲乇蹖 讴賴 丿乇 跇乇賮鈥屫池ж� 禺賵丿貙 禺丕賳賴鈥屫й屸€屫ж池� 賴賳丿爻蹖. 丕蹖賳 丿蹖诏乇丕賳丿蹖卮蹖 賵 禺賵丿丿蹖诏乇倬賳丿丕乇蹖 丿乇 丨蹖胤賴 丕卮蹖丕貙 賲賳噩乇 亘賴 讴卮賮 鬲賮讴乇 賵 丨丕賱丕鬲 禺丕氐蹖 丿乇 丕丨爻丕爻 賵 匕賴賳 賲蹖鈥屫促堌�. 亘賴 毓賳賵丕賳 賳賲賵賳賴貙 亘丕卮賱丕乇 丕蹖賳 卮毓乇 丕夭 芦乇賳賴 诏丕夭賱禄 乇丕 賲孬丕賱 賲蹖鈥屫操嗀�:
禺丕賳賴鈥屫й� 讴賴 丿乇 賯賱亘 賲賳 噩丕蹖 诏乇賮鬲賴貙
賳賲丕夭禺丕賳賴鈥屫й� 禺丕賲賵卮
賴乇 爻倬蹖丿賴鈥屫� 丿乇 乇賵蹖丕 鬲亘禺蹖乇 賲蹖鈥屫促堌�
賴乇 卮丕賲诏丕賴 亘丕夭 倬爻 賲蹖鈥屬嗀篡屬嗀�.
禺丕賳賴 亘丕 爻丨乇诏丕賴 倬賵卮蹖丿賴 賲蹖鈥屫促堌�
诏卮賵丿賴貙 亘乇 賵夭卮 賳爻蹖賲鈥屬囏й� 噩賵丕賳蹖 賲賳 (95)
丕蹖賳 亘賴鬲乇蹖賳 賲孬丕賱蹖鈥屫池� 讴賴 賲蹖鈥屫堌з� 丿乇 鬲賵囟蹖丨 丕爻鬲丨丕賱踿 賮囟丕 賵 乇丕亘胤踿 丕賳爻丕賳 亘丕 賮囟丕 賲胤乇丨 賳賲賵丿.
丿乇 丕蹖賳 丕禺鬲 卮丿賳 亘丕 賮囟丕 賵 賮囟丕爻丕夭蹖貙 賲賴賲鈥屫臂屬� 毓賳氐乇蹖 讴賴 倬丕 亘賴 毓乇氐賴 賵噩賵丿 賲蹖鈥屭柏ж必� 芦鬲禺蹖賱禄 丕爻鬲. 卮丕毓乇 賵賯鬲蹖 丕夭 賵丕賯毓蹖鬲鈥屬囏� 毓亘賵乇 賲蹖鈥屭┵嗀� 亘賴 賲乇夭賴丕蹖 卮毓乇 賳夭丿蹖讴 賲蹖鈥屫促堌�. 丕亘鬲丿丕 亘丕蹖丿 丕賵 丿乇 丕鬲賴丕賲 賯乇丕乇 亘诏蹖乇丿 鬲丕 亘鬲賵丕賳丿 夭賲蹖賳賴鈥屫й� 賲賳丕爻亘 亘乇丕蹖 鬲禺蹖賱 禺賵丿 賮乇丕賴賲 讴賳丿. 芦卮丕毓乇丕賳 丕睾賱亘 賲丕 乇丕 亘賴 噩賴丕賳 丌賵丕賴丕蹖 賳丕賲賲讴賳 賮乇丕 賲蹖鈥屫堌з嗁嗀� 丌賳鈥屬傌� 賳丕賲賲讴賳 讴賴 丿乇 丨賯蹖賯鬲 賳賵蹖爻賳丿賴 丌賳鈥屬囏� 賲賲讴賳 丕爻鬲 賲鬲賴賲 亘賴 丌賮乇蹖賳卮 禺蹖丕賱蹖 卮賵丿 讴賴 毓賱丕賯賴鈥屫й� 亘乇賳賲蹖鈥屫з嗂屫藏�. 丌丿賲蹖 賲蹖鈥屫嗀� 賵 亘賴 乇丕賴 禺賵蹖卮 賲蹖鈥屫辟堌�. 丕賲丕 亘丕夭 卮丕毓乇 亘蹖卮鈥屫� 賵賯鬲鈥屬囏� 卮毓乇 禺賵蹖卮 乇丕 爻亘讴 賳賲蹖鈥屫促呚ж必� 賵 爻爻鬲蹖 賵 丨爻丕爻蹖鬲蹖 禺丕氐 亘乇 丕蹖賳 禺蹖丕賱鈥屬囏� 丨讴賵賲鬲 賲蹖鈥屭┵嗀�.禄 (225)
**
乇囟丕 亘乇丕賴賳蹖 丿乇 讴鬲丕亘 讴蹖賲蹖丕 賵 禺丕讴 丕卮丕乇賴 鈥屫й� 亘賴 丕蹖賳 讴鬲丕亘 丿丕卮鬲賴 賵 诏賮鬲賴 讴賴 蹖丿丕賱賱賴 乇賵蹖丕蹖蹖 丿乇 禺賱賯 噩乇蹖丕賳 卮毓乇 丨噩賲 亘賴 丕蹖賳 讴鬲丕亘 賳馗乇 丿丕卮鬲賴 丕爻鬲. 亘賴 丕丨鬲賲丕賱 亘爻蹖丕乇 夭蹖丕丿 賳蹖夭 丕蹖賳鈥屭堎嗁� 亘賵丿賴 丕爻鬲 賵 賲蹖鈥屫堌з� 丕蹖賳 讴鬲丕亘 乇丕 賴丿蹖賴鈥屫й� 禺賵亘 賵 亘賴鈥屬堎傌� 亘乇丕蹖 丕丿亘蹖丕鬲 丕蹖乇丕賳 丿丕賳爻鬲.
99/07/07
賳賵蹖爻賳丿賴 丿乇 亘乇乇爻蹖 乇賵丕賳讴丕賵丕賳賴 禺賵丿 賵 賲丨蹖胤 賵 賴賳乇 賵 賳賯丿 丿乇 夭賲丕賳蹖 賵 賴賲鈥屫操呚з嗃� 賳蹖夭 亘賴 丕蹖賳 爻賵丕賱丕鬲 賵 鬲毓亘蹖乇丕鬲 丿爻鬲 賲蹖鈥屰屫ж藏�.
芦賵賯鬲蹖 讴賴 亘蹖鈥屫堌жㄛ� 讴賴 蹖讴蹖 丕夭 賳丕禺賵卮蹖鈥屬囏й� 賮蹖賱爻賵賮 丕爻鬲貙 亘丕 亘蹖鈥屫堌蒂勞� 賳丕卮蹖 丕夭 卮賱賵睾蹖 卮賴乇 鬲賵丕賲 賲蹖鈥屫促堌� 蹖丕 卮賱賵睾蹖 丕鬲賵賲亘蹖賱鈥屬囏� 賵 讴丕賲蹖賵賳鈥屬囏й� 丿蹖乇賵賯鬲 丌卮賵亘 亘乇倬丕 賲蹖鈥屭┵嗀� 賲賳 丕夭 卮賴乇賳卮蹖賳蹖 賲鬲賳賮乇 賲蹖鈥屫促堎� 賵 丌乇丕賲卮賲 乇丕 亘丕 夭賳丿賴 讴乇丿賳 丕爻鬲毓丕乇賴鈥屬囏й� 丕賯蹖丕賳賵爻 亘丕夭 賲蹖鈥屰屫жㄙ�.禄 (69)
賳賵蹖爻賳丿踿 丕蹖賳 讴鬲丕亘貙 丿乇 丨丕賱 賳卮丕賳 丿丕丿賳 丕丨爻丕爻蹖鈥屫池� 禺賵丿禺丕賳賴鈥屫з嗂ж必з嗁囏� 賳賵毓蹖 賲丕鬲乇蹖丕賱蹖爻賲蹖 讴賴 亘丕 禺賵丿 丕賳爻丕賳 丿乇 丿蹖丕賱讴鬲蹖讴 卮乇讴鬲 賲蹖鈥屭┵嗀�. 蹖丕 亘賴 夭亘丕賳 禺賵丿賲丕賳貙 鬲卮亘蹖賴 賲購囟賲乇蹖 讴賴 丿乇 跇乇賮鈥屫池ж� 禺賵丿貙 禺丕賳賴鈥屫й屸€屫ж池� 賴賳丿爻蹖. 丕蹖賳 丿蹖诏乇丕賳丿蹖卮蹖 賵 禺賵丿丿蹖诏乇倬賳丿丕乇蹖 丿乇 丨蹖胤賴 丕卮蹖丕貙 賲賳噩乇 亘賴 讴卮賮 鬲賮讴乇 賵 丨丕賱丕鬲 禺丕氐蹖 丿乇 丕丨爻丕爻 賵 匕賴賳 賲蹖鈥屫促堌�. 亘賴 毓賳賵丕賳 賳賲賵賳賴貙 亘丕卮賱丕乇 丕蹖賳 卮毓乇 丕夭 芦乇賳賴 诏丕夭賱禄 乇丕 賲孬丕賱 賲蹖鈥屫操嗀�:
禺丕賳賴鈥屫й� 讴賴 丿乇 賯賱亘 賲賳 噩丕蹖 诏乇賮鬲賴貙
賳賲丕夭禺丕賳賴鈥屫й� 禺丕賲賵卮
賴乇 爻倬蹖丿賴鈥屫� 丿乇 乇賵蹖丕 鬲亘禺蹖乇 賲蹖鈥屫促堌�
賴乇 卮丕賲诏丕賴 亘丕夭 倬爻 賲蹖鈥屬嗀篡屬嗀�.
禺丕賳賴 亘丕 爻丨乇诏丕賴 倬賵卮蹖丿賴 賲蹖鈥屫促堌�
诏卮賵丿賴貙 亘乇 賵夭卮 賳爻蹖賲鈥屬囏й� 噩賵丕賳蹖 賲賳 (95)
丕蹖賳 亘賴鬲乇蹖賳 賲孬丕賱蹖鈥屫池� 讴賴 賲蹖鈥屫堌з� 丿乇 鬲賵囟蹖丨 丕爻鬲丨丕賱踿 賮囟丕 賵 乇丕亘胤踿 丕賳爻丕賳 亘丕 賮囟丕 賲胤乇丨 賳賲賵丿.
丿乇 丕蹖賳 丕禺鬲 卮丿賳 亘丕 賮囟丕 賵 賮囟丕爻丕夭蹖貙 賲賴賲鈥屫臂屬� 毓賳氐乇蹖 讴賴 倬丕 亘賴 毓乇氐賴 賵噩賵丿 賲蹖鈥屭柏ж必� 芦鬲禺蹖賱禄 丕爻鬲. 卮丕毓乇 賵賯鬲蹖 丕夭 賵丕賯毓蹖鬲鈥屬囏� 毓亘賵乇 賲蹖鈥屭┵嗀� 亘賴 賲乇夭賴丕蹖 卮毓乇 賳夭丿蹖讴 賲蹖鈥屫促堌�. 丕亘鬲丿丕 亘丕蹖丿 丕賵 丿乇 丕鬲賴丕賲 賯乇丕乇 亘诏蹖乇丿 鬲丕 亘鬲賵丕賳丿 夭賲蹖賳賴鈥屫й� 賲賳丕爻亘 亘乇丕蹖 鬲禺蹖賱 禺賵丿 賮乇丕賴賲 讴賳丿. 芦卮丕毓乇丕賳 丕睾賱亘 賲丕 乇丕 亘賴 噩賴丕賳 丌賵丕賴丕蹖 賳丕賲賲讴賳 賮乇丕 賲蹖鈥屫堌з嗁嗀� 丌賳鈥屬傌� 賳丕賲賲讴賳 讴賴 丿乇 丨賯蹖賯鬲 賳賵蹖爻賳丿賴 丌賳鈥屬囏� 賲賲讴賳 丕爻鬲 賲鬲賴賲 亘賴 丌賮乇蹖賳卮 禺蹖丕賱蹖 卮賵丿 讴賴 毓賱丕賯賴鈥屫й� 亘乇賳賲蹖鈥屫з嗂屫藏�. 丌丿賲蹖 賲蹖鈥屫嗀� 賵 亘賴 乇丕賴 禺賵蹖卮 賲蹖鈥屫辟堌�. 丕賲丕 亘丕夭 卮丕毓乇 亘蹖卮鈥屫� 賵賯鬲鈥屬囏� 卮毓乇 禺賵蹖卮 乇丕 爻亘讴 賳賲蹖鈥屫促呚ж必� 賵 爻爻鬲蹖 賵 丨爻丕爻蹖鬲蹖 禺丕氐 亘乇 丕蹖賳 禺蹖丕賱鈥屬囏� 丨讴賵賲鬲 賲蹖鈥屭┵嗀�.禄 (225)
**
乇囟丕 亘乇丕賴賳蹖 丿乇 讴鬲丕亘 讴蹖賲蹖丕 賵 禺丕讴 丕卮丕乇賴 鈥屫й� 亘賴 丕蹖賳 讴鬲丕亘 丿丕卮鬲賴 賵 诏賮鬲賴 讴賴 蹖丿丕賱賱賴 乇賵蹖丕蹖蹖 丿乇 禺賱賯 噩乇蹖丕賳 卮毓乇 丨噩賲 亘賴 丕蹖賳 讴鬲丕亘 賳馗乇 丿丕卮鬲賴 丕爻鬲. 亘賴 丕丨鬲賲丕賱 亘爻蹖丕乇 夭蹖丕丿 賳蹖夭 丕蹖賳鈥屭堎嗁� 亘賵丿賴 丕爻鬲 賵 賲蹖鈥屫堌з� 丕蹖賳 讴鬲丕亘 乇丕 賴丿蹖賴鈥屫й� 禺賵亘 賵 亘賴鈥屬堎傌� 亘乇丕蹖 丕丿亘蹖丕鬲 丕蹖乇丕賳 丿丕賳爻鬲.
99/07/07
Read
January 20, 2024Odd bedfellows, I suppose, but in The Poetics of Space Gaston Bachelard marries philosophy to poetry, quoting all manner of poetic lines in support of his arguments. For the most part, the poetry he cites is not that great, but in his defense he could not just scan the poetry world for great lines, he had to scan it for pieces that support his philosophical feints in the following chaptered categories:
1. The House from Cellar to Garret (The Significance of the Hut)
2. House and Universe
3. Drawers, Chests, and Wardrobes
4. Shells
5. Corners
6. Miniature
7. Intimate Immensity
8. The Dialectics of Outside and Inside
9. The Phenomenology of Roundness
See what I mean? Space. Starting with the one we all go back to our daydreams -- our childhood homes. For lucky ones like me, it's a refuge of happiness, a place I go not only in DAYdreams but many nighttime ones as well. For others, who perhaps had unpleasant childhoods, the house of their dreams undergo reconstruction, post and beam, until the daydream is as they like it (or as it should have been).
Some quotes work out nicely. Rilke is often cited. Here's one I kind of liked:
"Oh night without objects. Oh window muffled on the outside, oh, doors carefully closed; customs that have come down from times long past, transmitted, verified, never entirely understood. Oh silence in the stairwell, silence in the adjoining rooms, silence up there, on the ceiling. Oh mother, oh one and only you, who faced all this silence, when I was a child."
Make your way through all the "oh's" and you see there's something to this, especially with the introduction of the mother who, only now, the speaker realizes saw the gentle childhood home in different ways.
Thoughtful, deep, slow trekking, but worthwhile. I'd stop for weird things and say, "Hmn. That's true," like when he talked about bird nests and how a tree with a nest was set apart because of it in our minds -- not just any tree, but a tree more special than all the others in our yard because it had been selected (blessed) by birds who constantly returned to it just like we return to childhood homes in our daydreams.
1. The House from Cellar to Garret (The Significance of the Hut)
2. House and Universe
3. Drawers, Chests, and Wardrobes
4. Shells
5. Corners
6. Miniature
7. Intimate Immensity
8. The Dialectics of Outside and Inside
9. The Phenomenology of Roundness
See what I mean? Space. Starting with the one we all go back to our daydreams -- our childhood homes. For lucky ones like me, it's a refuge of happiness, a place I go not only in DAYdreams but many nighttime ones as well. For others, who perhaps had unpleasant childhoods, the house of their dreams undergo reconstruction, post and beam, until the daydream is as they like it (or as it should have been).
Some quotes work out nicely. Rilke is often cited. Here's one I kind of liked:
"Oh night without objects. Oh window muffled on the outside, oh, doors carefully closed; customs that have come down from times long past, transmitted, verified, never entirely understood. Oh silence in the stairwell, silence in the adjoining rooms, silence up there, on the ceiling. Oh mother, oh one and only you, who faced all this silence, when I was a child."
Make your way through all the "oh's" and you see there's something to this, especially with the introduction of the mother who, only now, the speaker realizes saw the gentle childhood home in different ways.
Thoughtful, deep, slow trekking, but worthwhile. I'd stop for weird things and say, "Hmn. That's true," like when he talked about bird nests and how a tree with a nest was set apart because of it in our minds -- not just any tree, but a tree more special than all the others in our yard because it had been selected (blessed) by birds who constantly returned to it just like we return to childhood homes in our daydreams.
September 14, 2008
My hopes for an intelligent reading of intimate and public spaces were squashed by Bachelard's constant quoting of Rilke and endless pages about snails in their shells. The constant comparisons between psychology, psychoanalysis and phenomenology became tedious as soon as I realized phenomenology would always win. I know this is a classic, but it read like a drunk man monopolizing conversation at dinner.
December 31, 2012
It's one of those great books with the rare ability to put into words everything I've always known.
* Wittgenstein says "About what one can not speak, one must remain silent." Of course, as a philosopher, he was right. But what is unspeakable is also exactly where poets must venture forth a primitive utterance. Not to fill it up brashly with idle talk, but to consecrate it with voices which will increase the silence. This is why phenomenology as practiced by Bachelard, though a branch of philosophy, is more akin to poetry. He whispers to you everything you've always known, intimate knowledge that we all share wordlessly, yet he increases its mystery by speaking about it in a hush of clarity that does not defile the subject matter as psychologists, philosophers, or psychoanalysts do. It makes sense then
that he uses poets and writers as the basis for his study of intimate spaces. More specifically, the poet's image, which arises purely, in a realm before thought or language, springing forth without history or context or reason. The image is Bachelard's tool for studying the essence of safe places in which (and for which) daydreaming takes place, like the house, the drawer, and the shell. The phenomenologist, like the poet, is interested entirely in the of a thing, which often has only weak ties to the actual physical reality of a thing. Since I also live almost entirely in the imagination,
this book had the odd effect of feeling at once familiar and new. For once, someone does not miss the whole point! Bachelard does not analyze. What he does instead is set the tongues of these various images to ringing at harmonic frequencies, then invite you in to hear the resonances. It's like going to church. There is awe here, and play, and love that comes only after intense immersion. Many of my own poems are rooted in this same seeing/hearing, especially my In the Sea, There Are a Million Things in There poems and my chapbook (yes, shameless self promotion!), both of which start with the inextricably linked worlds of large and small as a realm for daydreaming.
* Wittgenstein says "About what one can not speak, one must remain silent." Of course, as a philosopher, he was right. But what is unspeakable is also exactly where poets must venture forth a primitive utterance. Not to fill it up brashly with idle talk, but to consecrate it with voices which will increase the silence. This is why phenomenology as practiced by Bachelard, though a branch of philosophy, is more akin to poetry. He whispers to you everything you've always known, intimate knowledge that we all share wordlessly, yet he increases its mystery by speaking about it in a hush of clarity that does not defile the subject matter as psychologists, philosophers, or psychoanalysts do. It makes sense then
that he uses poets and writers as the basis for his study of intimate spaces. More specifically, the poet's image, which arises purely, in a realm before thought or language, springing forth without history or context or reason. The image is Bachelard's tool for studying the essence of safe places in which (and for which) daydreaming takes place, like the house, the drawer, and the shell. The phenomenologist, like the poet, is interested entirely in the of a thing, which often has only weak ties to the actual physical reality of a thing. Since I also live almost entirely in the imagination,
this book had the odd effect of feeling at once familiar and new. For once, someone does not miss the whole point! Bachelard does not analyze. What he does instead is set the tongues of these various images to ringing at harmonic frequencies, then invite you in to hear the resonances. It's like going to church. There is awe here, and play, and love that comes only after intense immersion. Many of my own poems are rooted in this same seeing/hearing, especially my In the Sea, There Are a Million Things in There poems and my chapbook (yes, shameless self promotion!), both of which start with the inextricably linked worlds of large and small as a realm for daydreaming.
December 24, 2013
" 噩賲丕賱賷丕鬲 丕賱賲賰丕賳 "
賱賱賮賷賱爻賵賮 丕賱賮乇賳爻賷 / 睾丕爻鬲賵賳 亘丕卮賱丕乇
鬲乇噩賲丞 / 睾丕賱亘 賴賱爻丕
毓賳丿賲丕 賷禺乇噩 乇噩賱 賮賱爻賮丞 丕賱毓賱賵賲 賲賳 噩賱丿賴 賱賷賵賯馗 毓丕賱賲 鬲睾賱亘 毓賱賷賴 爻亘丕鬲賴 賵 賳爻賷 兀賳 賰賱 丕賱賲丕丿賷丞 丕賱鬲賷 賷鬲毓丕胤賶 賲毓賴丕 ( 亘丨賰賲 丕毓鬲賷丕丿賴 毓賱賷賴丕 ) 賱丕夭丕賱鬲 鬲丨賲賱 亘購毓丿 賮賳賷 睾丕賲囟 賷丨鬲丕噩 賱賮賱爻賮丞 賲購賱丨賾丞 鬲亘乇夭 賮賳賷鬲賴 賵 丕賱鬲賷 鬲購睾賳賷 賲丕丿賷鬲賴 亘丿賵乇賴丕 貙 賴匕丕 丕賱亘購毓丿 - 丕賱賲丕丿賷 - 賲賵噩賵丿 -賮賷賳丕- 賱賰賳 鬲賵賯賮 賳賲賵賴 亘毓丿 丕賱丿賴卮丞 丕賱兀賵賱賶 丕賱鬲賷 賱丕夭賲鬲賳丕 丨賷賳 丕賱鬲毓乇賮 毓賱賷賴 賵丕賱丕丨鬲賰丕賰 亘賴 兀賵賱 賲乇丞貙 亘丕卮賱丕乇 亘毓賷賳賴 丕賱賳丕賯丿丞 賵 孬賳丕卅賷丞 丕賱鬲賮賯賴 丕賱卮毓乇賷 賵 賳夭毓丞 丕賱鬲賮爻賷乇 丕賱賮賱爻賮賷丞 丕賱賲丨丕賷丿丞 賷丿賱賳丕 毓賱賶 爻亘亘 鬲睾賷賷乇 鬲賵噩賴賴 丕賱賮賱爻賮賷 丕賱毓賱賲賷 賳丨賵 丕賱禺賷丕賱賷 毓亘乇 賰鬲丕亘賴 " 丿乇丕爻丞 丕賱鬲丨賱賷賱 丕賱賳賮爻賷 賱賱賳丕乇 " 丕賱匕賷 丕賳胤賱賯 亘賴 賳丨賵 兀鬲賵賳 丕賱禺賷丕賱 .. 賮賱賰 兀賳 鬲鬲禺賷賱 丕賱丌賳 賰賲 賲賳 丕賱亘爻丕賱丞 賷丨鬲丕噩 亘丕卮賱丕乇 賴賳丕 賱賱禺乇賵噩 賳丨賵 丕賱禺賷丕賱 丕賱賲丨囟 賲賳 丕賱賵丕賯毓 丕賱亘丨鬲 丿賵賳 爻丨亘 亘爻丕胤 丕賱兀賴賲賷丞 賲賳 鬲丨鬲賴 .. 廿賷 乇丐賷丞 廿爻鬲孬賳丕卅賷丞 賵 亘氐賷乇丞 賵廿丿乇丕賰 ( 丨爻賷 賵 丨丿爻賷 )賰丕賳 賷賲賱賰賴 賴匕丕 丕賱賮賷賱爻賵賮 .
" 兀賳 丕賱賲賷夭丞 丕賱賵丨賷丿丞 丕賱賱丕夭賲丞 賱鬲氐亘丨 賮賷賱爻賵賮丕賸 賴賷 兀賳 鬲賳丿賴卮." 噩賵爻鬲丕賷賳 睾丕乇丿乇 貙 毓丕賱賲 氐賵賮賷
" 賵賱賰賳 賯亘賱 丕賳 賷氐亘丨 丕賱胤賮賱 賯丕丿乇丕賸 毓賱賶 丕賱鬲賰賱賲 亘卮賰賱 氐丨賷丨 鈥� 賵賯亘賱 兀賳 賷鬲毓賱賲 丕賱鬲賮賰賷乇 亘胤乇賷賯丞 賮賱爻賮賷丞 鈥� 賷賰賵賳 丕賱賰賵賳 兀氐亘丨 毓丕丿丞." 噩賵爻鬲丕賷賳 睾丕乇丿乇 貙 毓丕賱賲 氐賵賮賷
賯丿 鬲賰賵賳 丿賴卮丞 賲賳 丕禺鬲乇毓 丕賱賴丕鬲賮 / 賵丕丨丿丞 / 賵 賱賰賳 丿賴卮鬲賷 賵丿賴卮鬲賰 賵丿賴卮丞 丌賱丕賮 丕賱亘卮乇 丨賷賳 賳噩乇賷 兀賵賱 賲賰丕賱賲丞 鬲氐賱賳丕 亘毓丕賱賲 賱丕 賲乇卅賷鬲賴 賱丕 鬲賳賮賷 賵丕賯毓賷鬲賴 丕賱鬲賷 賳鬲噩丕賵夭賴丕 賱賳賳胤賱賯 賮賷 毓丕賱賲 禺賷丕賱賷 賷賯賵賲 毓賱賶 賵丕賯毓 丕賱賲丕丿丞 貙 鬲賱賰 丕賱丿賴卮丕鬲 鬲爻鬲丨賯 丕賱鬲賵賯賮 貙 賵賴賷 亘丕丿卅 匕賷 亘丿亍 丕賱賲乇賰亘 賲賳 ( 丕賱禺賵賮 賵丕賱丿賴卮丞 ) 賱禺賵囟 睾賲丕乇 兀賷 鬲噩乇亘丞 噩丿賷丿丞 .
賱丕 丕賱亘丨孬 丕賱賮賱爻賮賷 丕賱毓賱賲賷 丕賱賯丕卅賲 毓賱賶 兀爻丕爻 賵賲亘丿兀 賮賱爻賮賷 賲鬲毓丕乇賮 毓賱賷賴 賵賱丕 丕賱鬲兀賲賱 丕賱賮賱爻賮賷 爻賷爻毓賮賳丕 賱賱鬲賵氐賱 賱賮賱爻賮丞 丕賱卮毓乇 賵 丕賱賮賳 賮賮賱爻賮鬲賴賲 丕賱丕賳胤賵賱賵噩賷丞 賮賷 噩賵賴乇賴丕 賰丕賱賯氐賷丿丞 賵 丕賱氐賵乇丞 丕賱卮毓乇賷丞 賱鬲賳卮賯 賲賳 賮囟丕亍 丕賱賯氐賷丿丞 賵 鬲賮乇夭 賴賵賷鬲賴丕 丕賱禺丕氐丞 丕賱賲爻鬲禺賱氐丞 賲賳 胤夭丕噩鬲賴丕 丕賱鬲賷 賱丕 鬲禺囟毓 賱爻亘亘賷丞 鬲丨鬲丕噩 賮囟丕亍 賲賳賰賵賮爻賰賷 鬲胤賮賵 賮賷賴 賵 賷鬲爻賷丿/ 夭賲賰丕賳賴 賵 賮毓賱賳丕 / 賯賵丕賲 丕賱氐賵乇丞 丕賱卮毓乇賷丞 丕賱噩丿賷丿丞 貙 氐賵乇鬲賳丕 丕賱卮毓乇賷丞 賱賷爻鬲 乇賳賷賳 賯氐賷丿丞 賲丕 亘賯丿乇 賲丕賴賷 鬲乇噩賷毓 匕丕鬲賴丕 賵鬲乇丿丿 廿亘丿丕毓 賱丕賵毓賷賴丕 丕賱禺丕氐 .
" 丕賱卮毓乇丕亍 賷鬲丨丿孬賵賳 毓賱賶 毓鬲亘丞 丕賱賵噩賵丿" 亘丕卮賱丕乇
賷賯氐丿 亘丕卮賱丕乇 兀賳賴賲 賴賲 丕賱匕賷賳 賷爻鬲卮毓乇賵賳 賯丿爻賷丞 丕賱賵噩賵丿 賵賷丨鬲乇賲賵賳 賲噩乇丿 丕賱鬲賵睾賱 賱賱賵噩賵丿 賵賷卮毓賱賵賳賴 賱賷丨氐賱賵丕 毓賱賶 匕丕鬲賴賲 丕賱禺丕氐丞 廿賳 氐丨 丕賱鬲毓亘賷乇 .
" 丕賱卮丕毓乇 賱丕 賷賲賳丨賳賷 賲丕囟賷 氐賵乇鬲賴 賵賱賰賳 賴匕賴 丕賱氐賵乇丞 鬲鬲噩匕乇 賮賷 丿丕禺賱賷 "亘丕卮賱丕乇
" 丕賱卮毓乇 賴賵 馗丕賴乇丕鬲賷丞 丕賱乇賵丨 兀賰孬乇 賲賳 賰賵賳賴 馗丕賴乇丕鬲賷丞 丕賱毓賯賱 " 亘丕卮賱丕乇
" 丕賱卮毓乇丕亍 賵丕賱乇爻丕賲賵賳 馗丕賴乇丕鬲賷賵賳 亘丕賱賮胤乇丞 " 賮丕賳 丿賳 亘賷乇睾
亘丕卮賱丕乇 賷賯賵丿賳丕 亘鬲卮噩賷毓賴 賱賮毓賱 丕賱賯乇丕亍丞 賱賰賱 丕賱卮毓乇賷丞 賮賷 丕賱賲賵噩賵丿丕鬲 賵 噩賲丕賱賷鬲賴丕 賵賷毓乇賮賳丕 毓賱賶 賲禺鬲賱賮 兀賳賵丕毓 丕賱賯乇丕亍 賵賷丨丿丿 爻亘亘 丕禺鬲賱丕賮賴賲 賵 丕賮囟賱賷鬲賴賲 貙 賮賴賳丕賰 毓賱賲丕亍 丕賱賳賮爻 賵 賲丨賱賱賵賳 賳賮爻賷賵賳 賵 賳丕賯丿 賵賯丕乇卅 毓丕丿賷 賵賯丕乇卅 馗丕賴乇丕鬲賷 .
賵 賷丨丿孬賳丕 毓賳 丕禺鬲賱丕賮 鬲賲丨賵乇 丕賱馗丕賴乇丕鬲賷丞 丨賵賱 賰賱 賲賳 丕賱賮賳 賵丕賱卮毓乇 貙 賮丕賱賮賳 賲賳 丕賱賮賳賵賳 丕賱鬲賷 鬲賲賵賴 賱賳丕 廿賰鬲賮丕卅賴丕 丕賱匕丕鬲賷 賵鬲賳胤賱賯 賮賷 賮囟丕亍 噩賲丕賱賷 兀乇丨亘 鬲禺丕賱賮 賮賷賴 鬲賵賯毓賳丕 賵賴賵 賮囟丕亍 馗丕賴乇丕鬲賷 賴賷賳 賱賱賮賴賲 賲賯丕乇賳丞 亘丕賱卮毓乇 丕賱匕賷 賷丨賰賲賴 賳爻賷丕賳 丕賱賲毓乇賮丞 亘賯丿乇 賲鬲爻丕賵賺 賲毓 丕賱賲毓乇賮丞 ( 丕賱賳爻賷丕賳 賮賷 丕賱卮毓乇 丨丕賱丞 兀氐賱賷丞 ) 賯賱賷賱丞 賴賷 丕賱氐賵乇 丕賱卮毓乇賷丞 丕賱鬲賷 鬲鬲丨乇乇 賲賳 賱丕賵毓賷賳丕 賮賵乇 亘夭賵睾賴丕 賮兀賰孬乇賴 賳賳爻丕賴 賯亘賱 兀賳 賳鬲乇噩賲賴 賵乇賯賷丕賸 .
賮賱爻賮丞 丕賱賮賳 丕賱鬲賷 鬲亘賳丕賴丕 丕賱馗丕賴乇丕鬲賷 亘丕卮賱丕乇 鬲毓鬲賲丿 毓賱賶 廿亘乇丕夭 賯賷賲丞 丕賱賲賰丕賳賷丞 丕賱噩賲丕賱賷丞 賱廿賳 賲賳 賷賮鬲賯丿 丕賱賲賰丕賳賷丞 賷賮鬲賯丿 禺氐賵氐賷鬲賴 賵 兀氐丕賱鬲賴 賮 賲賰丕賳賷丞 廿賷 賳氐 卮毓乇賷 兀賵 毓賲賱 賮賳賷 賴賷 賯賵賲賷鬲賴 賵賲賳 賲賳丕 賱丕 賷乇睾亘 兀賳 賷丨丕賮馗 毓賱賶 賯賵賲賷鬲賴 責
馗丕賴乇丕鬲賷丞 亘丕卮賱丕乇 賴匕賴 鬲胤賵賷乇 賱馗丕賴乇丕鬲賷丞 " 丕賱賮賷賱爻賵賮 廿丿賲賵賳丿 賴賵爻乇賱 " 丕賱鬲賯賱賷丿賷丞 丕賱鬲賷 鬲賰鬲賮賷 亘丕賱賲賵囟賵毓 賰禺賷丕賱 卮賰賱賷 賲賳丨氐乇 賮賷 丕賱賴賳丿爻丞 丕賱禺丕乇噩賷丞 賱賮賰乇丞 丕賱賲賵囟賵毓 ( 丕賱賵毓賷 ) 賵 賷禺鬲賱賮 亘賴匕丕 毓賳 馗丕賴乇賷丞 亘丕卮賱丕乇 貙 賮馗丕賴乇丕鬲賷丞 亘丕卮賱丕乇 鬲鬲噩丕賵夭 丕賱賮賰乇丞 賱鬲毓丕賷卮 禺賷丕賱賴丕 丕賱賲丕丿賷 丕賱亘丿丕卅賷 丕賱賵噩賵丿 賱鬲賰賵賷賳 鬲噩乇亘丞 賵毓賷 禺賱丕賯 丕賱鬲賷 賷鬲睾丕賮賱賴丕 廿賷 賵毓賷 爻丕匕噩 貙 亘丿丕卅賷丞 丕賱禺賷丕賱 丕賱賲丕丿賷 賷鬲丨賰賲 亘賴丕 丕賱禺賵賮 ( 丕賱賯賵賯毓丞 賲孬賱丕賸 卮賰賱賴丕 丕賱賴賳丿爻賷 賷丨賰賲賴丕 禺丕乇噩賷賸丕 賮賴賵 賲鬲賯賳 氐賳毓鬲賴 丕賱胤亘賷毓丞 亘卮賰賱 ( 乇睾賲 鬲賳賵毓賴 賱丕 賷賯亘賱 丕賱噩丿賱 賮賷 賴賳丿爻鬲賴 / 鬲丨乇賾賷丕賸 賱賱丿賯丞 ) 賵 賴賳丕 賯丿 賷賰鬲賮賷 亘賴賳丿爻丞 丕賱賯賵賯毓丞 丕賱賲卮丕賴丿 賵 賮賷 賴匕丕 丕賱賲孬丕賱 鬲鬲噩賱賶 賮賱爻賮丞 賴賵爻乇賱 .. 賮丕賱禺丕乇噩 賴匕丕 賰賰賱 丕賱賲禺乇噩丕鬲 賱丕 賷夭丕賱 賷鬲噩丕丿賱 賲毓 丕賱丿丕禺賱 .. 賮賱賵 賮賰乇賳丕 兀賳 丕賱乇禺賵賷丕鬲 丿丕禺賱 丕賱賯賵賯毓丞 賴賷 丕賱鬲賷 鬲賮乇夭 賯賵賯毓鬲賴丕 亘賴賳丕亍丞 賵 丨賲丕賷丞 丕賱賲兀賵賶 賰( 賮賱爻賮丞 兀賵賱賷丞 ) 爻鬲賰賵賳 賲乇丕乇丞 丕賱禺賵賮 丕賱匕賷 賷賰鬲賳賮賴丕 賲賳 丕賱禺丕乇噩 丕賱賰賵賳賷 ( 賮賱爻賮丞 孬丕賳賵賷丞 ) 亘丕卮賱丕乇 賴賳丕 賷乇賰夭 毓賱賶 丕賱賮賱爻賮丞 丕賱賵噩賵丿賷丞 丕賱兀賵賱賷丞 亘 ( 廿賷噩丕亘賷丞 賲兀賵賶 丕賱賲禺賱賵賯 丕賱丨賲賷賲賷丞 ) 賲毓鬲乇囟賸丕 毓賱賶 賮賰乇丞 丕賱賵噩賵丿賷丞 丕賱賲鬲卮丕卅賲丞 丕賱鬲賷 鬲賯賵賱 亘廿賳賳丕 / 賳賱賯賶 賮賷 丕賱賵噩賵丿 賲賳賮賷賷賳 貙 賮賷 毓丕賱賲 賲毓丕丿賺 .. 賵丕賱賲毓丕丿 賴賳丕 賲卮鬲賯 賲賳 丕賱毓丿丕卅賷丞 賵 賲毓丕丿 賰賲賮賴賵賲 賲爻鬲賴賱賰 賱丕 賷噩丿乇 亘賳丕 丕爻鬲賴賱丕賱 賵噩賵丿賳丕 亘賴 .. 馗丕賴乇丕鬲賷丞 亘丕卮賱丕乇 鬲噩毓賱 丕賱廿賳爻丕賳 賲賷丿丕賳 鬲丨賱賷賱 丕賱賲丕丿丞 賵賱賷爻 丕賱毓賰爻 賮 丕賱賯賷賲 丕賱噩賲丕賱賷丞 丕賱鬲賷 亘賲賯丿賵乇 丕賱廿賳爻丕賳 鬲夭賵賷丿 丕賱丨賷丕丞 亘賴丕 鬲乇賯賶 毓賱賶 賰賱 丕賱賲賵丕丿 亘禺賷丕賱賴丕 賮賴賵 賳賲胤 鬲乇丕鬲亘賷 鬲禺囟毓 賱賴丕 賯賷賲丞 丕賱賲賵丕丿 賲鬲睾丕囟賷丞 毓賳 廿孬亘丕鬲 賵 賳賮賷 賵噩賵丿賴丕 賱鬲氐賱 賱賲丕賴賷鬲賴丕 賲鬲噩丕賵夭丞 丕賱賲賵丕丿 賱鬲賰賵賳 賲爻鬲賯賱丞 亘匕丕鬲賴丕 賰 ( 賯賷賲 噩賲丕賱賷丞 ) 賮賱爻賮賷丞 賱賱賮賳賵賳 .
丕賱廿賳爻丕賳 亘卮丕毓乇賷丞 賲噩爻丕鬲賴 丕賱賮賰乇賷丞 賷鬲噩丕賵夭 ( 賲賵賯賮 丕賱賲賵囟賵毓 ) 亘賰丕賲賱 賵毓賷賴 賱賷鬲毓丕賷卮 賲毓 丕賱禺賷丕賱 丕賱匕賷 鬲爻鬲丿乇噩賴 賱賴 賯賷賲丞 丕賱賲賵囟賵毓 / 賴賳丕 賴賵 賷爻丨賯 丨丿賵丿 丕賱兀賳丕 賵 丕賱賱丕 兀賳丕 / 賮 丕賱禺賷丕賱 丕賱匕賷 賷賴丿賮 賱賴 亘丕卮賱丕乇 賰 丨賱賲 丕賱賷賯馗丞 賱賷爻 賱丕 賵毓賷 ! 亘賱 賴賵 廿噩鬲賲丕毓 賵 賲夭丕賵噩丞 丕賱賵毓賷 賵丕賱賱丕 賵毓賷 << 賰賲孬丕賱 鬲賯乇賷亘賷 兀鬲賲賳賶 兀賳 賷賵氐賱 丕爻鬲賳鬲丕噩賷 亘丿賯丞 << 賷禺賱賯 丕賱賱賴 毓夭賾 賵 噩賱 丕賱兀乇賵丕丨 賮賷 丨丕賱丞 賱丕 賵毓賷 賵 賷爻鬲乇噩毓賴丕 丨賷賳 禺鬲丕賲 兀噩賱賴丕 賲賳 丨丕賱丞 丕賱賱丕賵毓賷 兀賷囟賸丕 賰 乇賵丨 貙 賴賳丕 丕賳丨氐乇 丕賱噩爻丿 賰 ( 鬲胤亘賷賯 賵丨賷丿) 賱丨丕賱丞 丕賱賵毓賷 ( 賵噩賵丿 丕賱賵毓賷 賴賳丕 賰乇賵丨 賵噩爻丿 賴賵 賵毓賷 爻丕匕噩 賮賷 兀亘爻胤 丨丕賱丕鬲賴 ) 丕賱賰賵賳 丨賵賱賳丕 賲賲賱丐 亘丕賱賲賵丕丿 " 乇賮賷賯丕鬲 乇賷賱賰賴 賮賷 丕賱賵噩賵丿 " 丨賷賳 賳賰鬲賮賷 亘丕賱賯乇丕亍丞 丕賱鬲賯賱賷丿賷丞 賱賴賳丿爻丞 丕賱賲賵丕丿 丕賱禺丕乇噩賷丞 賰馗丕賴乇丞 鬲爻鬲丨賯 丕賱鬲兀賲賱 賮賳丨賳 馗丕賴乇丕鬲賷賷賳 鬲賯賱賷丿賷賳 亘賷賳賲丕 鬲噩丕賵夭 丕賱賯乇丕亍丞 賵 丕賱鬲毓賲賯 賮賷賴丕 ( 賲乇丨賱丞 鬲毓賱賷賯 丕賱賯乇丕亍丞 丕賱匕賷 賴賵 亘賲孬丕亘丞 賳賮賯 丕賱禺賷丕賱 丕賱賲鬲丿丕禺賱 賲毓 廿賷 賯乇丕亍丞 ) 賷噩毓賱 賵毓賷賳丕 丕賱爻丕匕噩 賵毓賷 丨丕賱賲 賵 禺賱賾丕賯 賷賯馗 賵賲賳鬲亘賴 賱賱賯賷賲 丕賱噩賲丕賱賷丞 毓賱賶 丨爻亘 賯賵丞 賲禺賷賱鬲賳丕 丕賱鬲賷 賱丕 賷賯賵賶 丕賱賵毓賷 毓賱賶 賯賲毓賴丕 賵鬲丨丿賷丿 兀胤乇賴丕 貙 賮賷 賲乇丨賱丞 賵毓賷賳丕 亘賲爻丕毓丿丞 丕賱賲乇賵乇 亘丨丕賱丞 鬲毓賱賷賯 丕賱賯乇丕亍丞 賮賯胤 賳丨賳 賳夭丕賵噩 亘賷賳 賵毓賷賳丕 賵賱丕 賵毓賷賳丕 ( 賮丕氐賱 廿賱賴丕賲賷 ) 賵匕賱賰 賲丕 賱賷爻 亘賲賯丿賵乇 丕賱噩賲賷毓 毓賲賱賴 廿賱丕 丕賱賯賱丞 賲賲賳 賳爻賲賷賴賲 亘丕賱卮毓乇丕亍賴賲 丕賱毓賲丕賱 丿賵賳 兀夭丕賲賷賱賴賲 丕賱賲丕丿賷丞 賵 賲賴賲鬲賴賲 丕賱卮毓乇賷丞 賲毓丕賷卮丞 丕賱氐賵乇 丕賱卮毓乇賷丞 賵鬲噩丿賷丿賴丕 賱亘賳丕亍 氐賵乇丞 卮毓乇賷丞 賲賳毓夭賱丞 卮禺氐賷丞 鬲丨賲賱 噩賷賳丕鬲賳丕 賮賳丨賳 賳賲賱賰賴丕 賵賱乇亘賲丕 賳鬲賮賵賯 毓賱賶 丕賱賯氐賷丿丞 賳賮爻賴丕 丕賱鬲賷 丕賳亘孬賯鬲 賲賳賴丕 丕賱氐賵乇丞 丕賱卮毓乇賷丞 / 丕賱爻丐丕賱 賴賵 賴賱 丨丕賱丞 丕賱廿賱賴丕賲 丕賱賱丕賵毓賷 丕賱賲爻鬲丨丿孬丞 賴匕賴 賲爻鬲賯賱丞 亘匕丕鬲賴丕 毓賳 丕賱賱丕賵毓賷 丕賱乇賵丨賷 丕賱賯丿賷賲 丕賱匕賷 爻亘賯 丕賳丿賲丕噩賳丕 賲毓 丕賱噩爻丿 ..賰賲丕 賴賷 賲賳賮氐賱丞 賳爻亘賷丕賸 毓賳 賵毓賷 丕賱噩爻丿 責 賴賱 賷毓賯賱 兀賳 丕賱卮丕毓乇亘廿賱賴丕賲賴 賵 亘丕賱鬲爻丕賲賷 毓賱賶 賵毓賷賴 丕賱丌賳賷 賷賰賵賳 賲賯鬲亘爻賸丕 賲賳 賱丕賵毓賷賴 賰乇賵丨 鬲丕卅賴丞 賰丕賳鬲 鬲賳鬲馗乇 噩爻丿賸丕 << 匕賱賰 賷賯賵丿賳賷 賱賱鬲丨乇賷 賵 丕賱鬲賮賰賷乇 毓賳 丕賱賲毓賳賶 丕賱賲賳胤賯賷 賱賱廿賱賴丕賲 賵賴賱 賷賳丿乇噩 丕賱廿賱賴丕賲 鬲丨鬲 胤丕卅賮丞 丕賱鬲賱賯賷賳 賵 賴賱 丕賱廿賳爻丕賳 賮賷 丕賱賯丿乇 丕賱匕賷 乇爻賲賴 丕賱賱賴 賱賴 賱丕 賷毓丿賵 賰賵賳賴 賮丕氐賱 廿賱賴丕賲賷 乇亘丕賳賷 賷賯賵賲 亘賮賵丕氐賱 廿賱賴丕賲賷丞 氐睾乇賶責 亘毓賷丿賸丕 毓賳 爻胤丨賷丞 賯囟賷丞 丕賱禺丕賱丿 賵丕賱賮丕賳 賮賴賳丕賰 賯囟賷丞 兀賰孬乇 毓賲賯丕 賵鬲賲乇賰夭賴丕 氐賱亘 丕賱賲賵囟賵毓 亘丕賱賳爻亘丞 賱賷 賵賴賷 賯囟賷丞 丕賱亘氐賷乇丞 亘爻乇賷丕賱賷鬲賴丕 貙 賯丿 賷賰賵賳 囟賵亍 丕賱亘氐賷乇丞 丕賱丿丕禺賱賷丞 賱丕 賷賯賱丿 賵賱丕 賷丨丕賰賷 賵 賱丕賷鬲賲丕賴賷 賲毓 賲丕 丨賵賱賴 賰賲丕 賷卮賷乇 亘丕卮賱丕乇 賵賱賰賳 鬲爻丕賲賷賴 賷卮賯 毓氐丕 丕賱胤丕毓丞 毓賱賶 丕賱賲兀賱賵賮.. 鬲爻丕賲賷賴 賮賷 丨丿 匕丕鬲賴 賱睾夭 賰賵賳賷 ! ( 賱賲 兀噩丿 噩賵丕亘 卮丕賮賺 賮賷 丕賱賰鬲丕亘 丕賱匕賷 禺賱賯鬲 毓亘孬賷鬲賴 丿丕禺賱賷 丕賱賰孬賷乇 賲賳 丕賱兀爻卅賱丞 .
卮賵亘賳賴丕賵乇 " 丕賱毓丕賱賲 賴賵 禺賷丕賱賷 兀賳丕 "
" 丕賱亘賷鬲 賴賵 乇賰賳賳丕 賮賷 賴匕丕 丕賱毓丕賱賲 貙 賴賵 賰賵賳賳丕 丕賱兀賵賱 " 乇賰賳 丕賱亘賷鬲 丕賱賲兀賴賵賱 賴賵 丕賱丿丕禺賱 丕賱兀賲賵賲賷 丕賱丨賲賷賲 賵 賲賴丿 丕賱兀賱賮丞 賱賴 兀賱賵丕賳賴 賵 兀氐賵丕鬲賴 丕賱賲丨丕賷丿丞 賵 賴賵 賷丨賰賲賳丕 亘丕爻鬲丿丕乇鬲賴 丨賵賱賳丕 賵 賴賵 賷賯亘毓 亘賰購賱賷鬲賴 亘賲賯丕亘賱 賰賵賳 賮爻賷丨 兀亘賵賷 賲爻鬲丿賷乇 丨賵賱 丕賱亘賷鬲 丕賱賲爻鬲丿賷乇 丨賵賱賳丕 .. 賮賰賷賮 賱賳丕 兀賳 賳鬲賴賲 賲孬賱 賴匕丕 丕賱賰賵賳 亘丕賱毓丿丕卅賷丞 !
賴賳丕賰 賲賯丕賵賲丞 睾丕賲囟丞 亘賷賳 丕賱丿丕禺賱 賵丕賱禺丕乇噩 丕賱亘賷鬲 丕賱丨賯賷賯賷 賵丕賱賰賵賳 賵 廿鬲賴丕賲賳丕 賱賱賰賵賳 亘丕賱鬲卮亘毓 亘丕賱毓丿丕亍 賲丕賴賵 廿賱丕 賳丕鬲噩 噩賴賱賳丕 亘賴 賰丕賱賰丕亘賵爻 丿賵賲賸丕 毓丿丕卅賷鬲賴 賲鬲賵賯毓丞 賵賲丐噩賱丞 貙 賳丨賳 賮賯胤 丨賷賳 賳丿乇賰 匕丕鬲 丕賱卮賷亍 賵 丨賯賷賯鬲賴 亘丕爻鬲乇禺丕亍 亘賲賯丿賵乇賳丕 丕賱鬲賱賮鬲 丨賵賱賳丕 賱賲賱丕丨馗丞 丕賱賰賵賳 亘胤乇賷賯丞 丨賷賵丕賳賳丕 丕賱亘丿丕卅賷 丕賱賰丕賲賳 禺賱賮 賰賱 鬲胤賵乇賳丕 賵 亘乇丿賵丿 兀賮毓丕賱賴 賳禺丕賮 賵賳噩賮賱 賵賳鬲兀賯賱賲 賵賳鬲兀賲賱 .
丕賱賴賳丕亍丞 賮賷 丕賱乇賰賳 賲賳 丕賱亘賷鬲 賰賲賮賴賵賲 賴賷 賴賳丕亍丞 鬲賮氐賱 丕賱賵噩賵丿 毓賳 丕賱毓丿賲 賮賴賷 賮賷 兀氐賱賴丕 賰丕卅賳 賵賴賲賷 賵 賴賷 鬲兀鬲賷 賲賳 賰賵賳賴丕 丕賱丨氐賳 賵 丕賱丨賲丕賷丞 賵丕賱爻賱丕賲 賮賷賴 賳噩丿 賲鬲毓丞 賵噩賵丿賳丕 賵 鬲賳囟噩 丕賳賮毓丕賱丕鬲賳丕 賵賱丕 賷卮鬲乇胤 毓賱賷賳丕 兀賳 賳賲丕乇爻 - 丕賱爻毓丕丿丞 - 賮賷 賴丿賵亍 賴匕丕 丕賱乇賰賳 賮賴賷 賲噩乇丿 廿噩丕亘丞 鬲亘爻賷胤賷丞 賱賲賮賴賵賲 丕賱賴賳丕亍丞 !
賮賳丨賳 乇亘賲丕 賳賲丕乇爻 毓亘丕丿鬲賳丕 兀賵 鬲兀賲賱賳丕 兀賵 丨鬲賶 丕賱鬲亘丕賰賷 毓賱賶 賮卮賱賳丕 兀賵 囟噩乇賳丕- 賮丨爻亘 - 賰賲丕 賰丕賳 丿賵賲丕 賷賮毓賱 賵丨賷賳 鬲爻兀賱賴 賵丕賱丿鬲賴 : 賲丕賱匕賷 賷亘賰賷 丿賵賲丕 責 賷噩賷亘賴丕 賲賳 乇賰賳賴 : 丿賵賲丕 賷亘賰賷 賱兀賳 賱丿賵賲丕 丿賲賵毓賸丕.
丕賱氐賵乇丞 丕賱卮毓乇賷丞 賮賷 亘丿丕卅賷鬲賴丕 賴賷 賰賰賱 丕賱氐賵乇
爻丕賰賳丞 賵 賱賰賳賴丕 亘丕賱賲賯丕亘賱 賷噩亘 兀賳 鬲丿賮毓 丕賱兀賮毓丕賱 賮賷賳丕 廿賱賶 丕賱丨乇賰丞 賵 廿賱丕 賰賳丕 毓亘賷丿 爻賰賵賳賴丕 貙 賮賳丨賳 賳丿賮毓賴丕 亘賯乇丕亍丞 賲鬲賳丕睾賲丞 賲賳丕 賱賱丨乇賰丞 賵丕賱鬲囟禺賷賲 賮賳賲賳丨賴丕 賲爻賲賷丕鬲 鬲兀賰賷丿賸丕 毓賱賶 禺氐賵氐賷鬲賴丕 賱鬲睾丿賵 賰丕卅賳賸丕 胤賱賷賯 賷賳鬲丕亘賴 丕賱賲乇丨 丕賱賰賵賳賷 賷賯鬲賳氐 氐賵乇賴 丕賱賲乇鬲噩賱丞 丕賱禺丕氐丞 丿賵賳 丕賱丕爻鬲毓丕賳丞 亘賰賲 丕賱賲毓乇賮丞 丕賱爻丕亘賯丞 丕賱鬲賷 爻鬲噩乇噩乇 賳賮爻賴丕 賮賷 兀匕賷丕賱賴 亘賱 亘廿賱丨丕丨賷丞 丿賴卮鬲賴丕 丕賱賲亘丕睾鬲丞 賵 丕賱賲鬲賵孬亘丞 亘毓賷丿丕賸 毓賳 兀賷 鬲胤賵乇 孬賯丕賮賷 貙 廿匕丕 賮丕賱賵丕賯毓 賷鬲囟禺賲 賮賷 丕賱禺賷丕賱 賮賰賵賳 丕賱睾丕亘丞 丕賱賮爻賷丨 賱丕 賷賲賰賳 鬲禺賷賱 廿賷噩丕亘賷鬲賴 丿賵賳 爻賱亘賷鬲賴 賮賴賵 賲鬲囟丕乇亘 賮賷 丕賱禺賷丕賱 禺氐亘 賵 賲乇毓亘 貙 賵丕賯毓 丕賱睾丕亘丞 賳丕胤賯 賲爻鬲賯賱 賮賷 / 賮賷賱賲 賲丕 / 賵賲鬲賳丕賴賷 丕賱賰亘乇 賱丕賷賲賰賳 兀賳 賷毓胤賳丕 丕賳胤亘丕毓 丕賱睾丕亘丞 禺賱賮賷丞 丕賱賲夭賵乇丞 賮賷 丕賱丕爻鬲丿賷賵 賲孬賱丕賸 貙 賴匕丕 賷賮爻丿 丨丿丞 丕賱匕賴賳賷丞 賵 賷賯鬲賱 丕賱賲禺賷賱丞 !
賱賵賷賳丕乇丿賵 丿丕賮賳卮賷 丨賷賳 賷賳氐丨 丕賱乇爻丕賲賷賳 丕賱匕賷賳 賮賯丿賵丕 丕賱廿賱賴丕賲 亘鬲兀賲賱 卮賯 賮賷 噩丿丕乇 賴賵 賷丿乇賰 兀賳 賯賵丞 丕賱賲禺賷賱丞 鬲睾丕賱胤 丕賱賲鬲賳丕賴賷 賮賷 丕賱氐睾乇 賵 丕賱賲鬲賳丕賴賷 賮賷 丕賱賰亘乇 毓賳 丨丿賵丿賴賲丕 丕賱賮賷夭賷丕卅賷丞 賵鬲丿丕禺賱賴賲丕 丕賱賵丕賯毓賷 賵 丕賱兀孬賷乇賷 賴賷 鬲胤丕賱亘 亘賴賳丕亍丞 丕賱丕賳禺乇丕胤 賮賷 賰賵賳賴賲丕 賱賷爻 廿賱丕 .
兀丨賱丕賲 丕賱賷賯馗丞 丕賱鬲賷 鬲毓亘乇 賳丨賵 賵噩賵丿賴丕 賲賳 禺賱丕賱 賵噩賵丿賳丕 鬲亘賯賶 丨鬲賶 賵廿賳 鬲賱丕卮賷賳丕 賵賴賷 賱丕 鬲丨鬲丕噩 賱卮乇賵丨丕鬲 兀賰丕丿賷賲賷丞 賵 賳賲胤 賲賳胤賯賷 賵賯丿 鬲賰賵賳 賲禺賷賮丞 賱賲賳 賷丨丕賵賱 丕賱鬲賮爻賷乇 賵 丕賱鬲毓丕胤賷 賲毓 廿爻鬲孬賳丕卅賷鬲賴丕 賮鬲丨賷賱賴賲 賲卮賯丞 鬲丨賱賷賱賴賲 丕賱賳賮爻賷 賱賱鬲乇丕噩毓 賱卮禺氐 丕賱丨丕賱賲 賵丕賱鬲睾丕囟賷 毓賳 丕賱丨賱賲 匕丕鬲賴 貙 賴丐賱丕亍賷爻賲賷賴賲 亘丕卮賱丕乇 亘賲賳 " 賷賮爻乇賵賳 丕賱夭賴乇丞 亘丕賱爻賲丕丿 " 賯丿 賷爻丕亍 鬲賮爻賷乇 兀丨賱丕賲 丕賱賰孬賷乇 賲賳 丕賱卮毓乇丕亍 賵 丕賱賲賮賰乇賷賳 賵 睾賷乇賴賲 貙 賷噩亘 鬲噩丕賵夭 丕賱賲賵賯賮 賵賲毓丕賷卮丞 賲賵丕賯賮 丕賱賲賵賯賮 .
"丕賱賰鬲丕亘丞 賲孬賱 丕賱卮毓賵匕丞 : 賱丕賷賰賮賷 廿禺乇丕噩 兀乇賳亘 賲賳 丕賱賯亘毓丞 貙 亘賱 賷噩亘 毓賲賱 匕賱賰 亘兀賳丕賯丞 鬲丕賲丞 賵 胤乇賷賯丞 賲賲鬲毓丞 " 廿賷夭丕亘賷賱 丕賱賱賷賳丿賷
睾丕賱亘 賴賱爻丕 丕賱兀丿賷亘 賵丕賱賲鬲乇噩賲 兀囟丕賮 丕賱賰孬賷乇 賱孬賳丕賷丕 賴匕丕 丕賱賰鬲丕亘 賮賴賵 賰亘丕卮賱丕乇 賷丐賲賳 兀賳 丕賱賲賰丕賳賷丞 賯賵賲賷丞 賵賷兀賲賱 兀賳 鬲爻鬲賯賱 丕賱賲賰丕賳賷丞 丕賱毓乇亘賷丞 賮賷 賮囟丕亍 丕賱兀毓賲丕賱 丕賱兀丿亘賷丞 亘匕丕鬲賴丕 賵鬲丨丿丿 賯賵賲賷鬲賴丕 賲賳 禺賱丕賱 丕賱鬲乇賰賷夭 毓賱賶 噩賲丕賱賷丞 丕賱賲賰丕賳賷丞 丕賱毓乇亘賷丞 丕賱鬲賷 鬲賳丿孬乇 賲賳 禺賷丕賱賳丕 丨丕賱賲丕 鬲亘毓丿 毓賳 丕賱賵丕賯毓 賰噩賲丕賱賷丞 丕賱噩丕賲毓 賵丕賱賲卅匕賳丞 .
毓卮乇丞 賮氐賵賱 賲孬賷乇丞 賵氐毓亘丞 丕賱鬲賱賯賷 賯丕丿乇丞 毓賱賶 鬲卮賰賷賰 亘賯丿乇鬲賰 丕賱丨賰賲賷丞 賵 賯胤毓 兀賷 賲丿丿 賱賱賵毓賷 爻鬲丨丕賵賱 丕賱丕爻鬲睾丕孬丞 亘賴丕 貙 賮丨賷賳 鬲賰賵賳 賮賷 亘丨乇 賮賱爻賮丞 亘丕卮賱丕乇 賵 兀賲賵丕噩賴 丕賱毓丕鬲賷丞 鬲鬲賱丕胤賲 亘賰 賷噩丿乇 亘賰 丕賱丕爻鬲睾丕孬丞 賮 / 賮購賱賰賰 / 賲孬賯賵亘 賵賴丕賱賰 賱丕 賲丨丕賱丞 .
丕賱賮氐賵賱:
佟- 丕賱亘賷鬲 賲賳 丕賱賯亘賵 賱賱毓賱賷丞 ( 丿賱丕賱丞 丕賱賰賵禺 )
佗- 丕賱亘賷鬲 賵丕賱賰賵賳
伲- 丕賱兀丿乇丕噩 賵 丕賱氐賳丕丿賷賯 賵 禺夭丕卅賳 賱賲賱丕亘爻
伽- 丕賱廿毓卮丕卮
佶- 丕賱賯賵丕賯毓
佴- 丕賱兀乇賰丕賳
侑- 丕賱賲鬲賳丕賴賷 賮賷 丕賱氐睾乇
侉- 兀賱賮丞 丕賱賲鬲賳丕賴賷 賮賷 丕賱賰亘乇
侃- 噩丿賱 丕賱丿丕禺賱 賵丕賱禺丕乇噩
佟贍 - 馗丕賴乇丕鬲賷丞 丕賱廿爻鬲丿丕乇丞
賰鬲丕亘 賵丿丿鬲 賯乇丕卅鬲賴 賲爻亘賯丕賸 ..!..
"丕賱廿賳爻丕賳 賵噩賵丿 賳氐賮 賲賮鬲賵丨 "
亘丕卮賱丕乇
April 20, 2025
That's a beautiful text, sometimes provocative, and in any case, as inspired by poetry as it must have been. Bachelard speaks here of phenomenology, in a sense all the more flexible for the time in that he does not oppose it to metaphysics (any more than he favored idealism, rationalism, empiricism, or materialism in epistemology). As you will have understood, his goal is not to access the psychological or psychoanalytic origin of poetic images. It is to grasp the meaning of the poetic image in its creativity, in all its depth. This depth requires an incessant transfer between the poem and philosophy, but such a transfer is not in the mode of simple analogy, for the poet delivers from being. This essay is, above all, a poetic ontology, for no word is to be underestimated.
September 14, 2022
Review, Second Read (September 2022)
Even dreamier the second time around! I feel grateful for the strange beauty of this book. Bachelard has changed how I think about my home, how I care for it and transform it.
---------------------------------
Review, First Read (September 2014)
I have been waiting for years to read this little book. Finally, after acknowledging that my public library was probably never going to stock it, I bought a battered old copy online. In this charming and surprisingly readable text, the French philosopher Gaston Bachelard talks about the intersection between poetry, imagination, and buildings 鈥� and does it in such a way that makes you want to constantly scope your surroundings for hidden meaning. He draws inspiration from nature, dreams, Rilke, Baudelaire, a great deal of less well-known French literature, smatterings of Thoreau, and his own experience. (As an aside, I wonder if Wes Anderson has read this book; I think he would find it very meaningful, with his clear love for portraying space, color, and form, the dollhouse-like glimpses into buildings, etc. Bachelard鈥檚 chapter on miniatures especially made me think of him and his films.)
I am often intimidated by philosophy, but here Bachelard fashions it into a welcoming arena. Nothing is too minor or mundane for him. As he says, 鈥淚 am moreover convinced that the human psyche contains nothing that is insignificant.鈥� Images, after all, are simple; we experience them every second and no weighty scholarship can improve their reception. Bachelard is concerned with this topic, how the imagination processes space and transfers it to memory, to art, to awareness.
It鈥檚 a beautiful book, and upon finishing it, I wish I had read it more slowly.
Even dreamier the second time around! I feel grateful for the strange beauty of this book. Bachelard has changed how I think about my home, how I care for it and transform it.
---------------------------------
Review, First Read (September 2014)
鈥淚t is on the plane of the daydream and not on that of facts that childhood remains alive and poetically useful within us. Throughout this permanent childhood, we maintain the poetry of the past. To inhabit oneirically the house we were born in means more than to inhabit it in memory; it means living in this house that is gone, the way we used to dream in it.鈥�
I have been waiting for years to read this little book. Finally, after acknowledging that my public library was probably never going to stock it, I bought a battered old copy online. In this charming and surprisingly readable text, the French philosopher Gaston Bachelard talks about the intersection between poetry, imagination, and buildings 鈥� and does it in such a way that makes you want to constantly scope your surroundings for hidden meaning. He draws inspiration from nature, dreams, Rilke, Baudelaire, a great deal of less well-known French literature, smatterings of Thoreau, and his own experience. (As an aside, I wonder if Wes Anderson has read this book; I think he would find it very meaningful, with his clear love for portraying space, color, and form, the dollhouse-like glimpses into buildings, etc. Bachelard鈥檚 chapter on miniatures especially made me think of him and his films.)
I am often intimidated by philosophy, but here Bachelard fashions it into a welcoming arena. Nothing is too minor or mundane for him. As he says, 鈥淚 am moreover convinced that the human psyche contains nothing that is insignificant.鈥� Images, after all, are simple; we experience them every second and no weighty scholarship can improve their reception. Bachelard is concerned with this topic, how the imagination processes space and transfers it to memory, to art, to awareness.
It鈥檚 a beautiful book, and upon finishing it, I wish I had read it more slowly.
鈥淎ll memory has to be reimagined. For we have in our memories micro-films that can only be read if they are lighted by the bright light of the imagination.鈥�
November 24, 2007
I can understand why so many people consider The Poetics of Space to be such an important book, but I found it rather uneven. The most interesting section, far and away, is the introduction. Bachelard begins the book by laying out his theory of the poetic image. Unlike metaphor, which is merely an intellectual comparison, the true poetic image causes a deep resonance in the reader. Upon glancing a poetic image for the home, for example, all of the homes of the reader's past well up in his imagination. The poetic image makes reading active - experiencing poetry is the mapping of your own memories onto the poet's text. As such, Bachelard's favorite word in the book is "daydreaming" - the course that your mind is set on after reading a particularly resonant image.
His analysis of the poetic image is unique and, I think, quite beautiful. The rest of the book is an application of this theory to various poetic images - mostly relating, in some way, to the home. While some of his analyses are compelling, his philosophy is heavily grounded in psychoanalysis. As such, he implicitly argues for the universality of image responses - that these poetic images have certain universal resonances. Given the diversity of human experience, particularly in the 20th and 21st century, I just don't buy it. His evidence is various extracts from poetry in which his images seem to be functioning in the same way - but it strikes me that diligent research could probably turn up any number of counter-examples. I'll accept that what he explores is what the images could be, but I won't go any farther than that.
The vast majority of the book is spent in this image analysis, and is pretty hit and miss. The introduction is more than worth reading, but only those who obsessively think about the space of the home should read any further.
His analysis of the poetic image is unique and, I think, quite beautiful. The rest of the book is an application of this theory to various poetic images - mostly relating, in some way, to the home. While some of his analyses are compelling, his philosophy is heavily grounded in psychoanalysis. As such, he implicitly argues for the universality of image responses - that these poetic images have certain universal resonances. Given the diversity of human experience, particularly in the 20th and 21st century, I just don't buy it. His evidence is various extracts from poetry in which his images seem to be functioning in the same way - but it strikes me that diligent research could probably turn up any number of counter-examples. I'll accept that what he explores is what the images could be, but I won't go any farther than that.
The vast majority of the book is spent in this image analysis, and is pretty hit and miss. The introduction is more than worth reading, but only those who obsessively think about the space of the home should read any further.
March 30, 2012
It just goes to show that the transitive property of literary taste isn't very reliable. Michael Pollan liked this book; I like Michael Pollan's books; ergo, I'd like this book. Nope.
It wasn't Bachelard's preoccupation with psychoanalysis, although that hasn't aged very well -- the nattering on about psychoanalytical approaches to phenomenology sounded silly and smelled moldy, and was about as engaging as reading about phrenological approaches (actually, that might have been more interesting). Every book reflects the intellectual fashions of the time, so I was willing to give him a pass on that.
It wasn't even the tossed words salads he threw together on every page. There were enough bits of carrot and chunks of tomato among all the lettuce and parsley to keep me going, albeit in fits and jerks. I liked his discussion of the experience of being drawn into a book or poem, of making it your own; it gave me hope for more.
No, what finally turned me off was the way he blithely extrapolated from his experience growing up in early twentieth-century provincial France to discover profound truths about universal, essential human nature. Almost none of his arguments, none of his conclusions, had any weight with me, since they were all built on assumptions about how we experience space as children that had nothing to do with my own experience, nor the experience of anyone else I knew. After about four chapters, I could no longer see any point continuing on -- I had winnowed out everything there was for me to get from the book, and it wasn't much.
He does have a style that I supposed could be appreciated on purely aesthetic grounds, but serious engagement with psychoanalytical theory takes the joy out of that kind of reading. Mark Leyner did that sort of thing better.
It wasn't Bachelard's preoccupation with psychoanalysis, although that hasn't aged very well -- the nattering on about psychoanalytical approaches to phenomenology sounded silly and smelled moldy, and was about as engaging as reading about phrenological approaches (actually, that might have been more interesting). Every book reflects the intellectual fashions of the time, so I was willing to give him a pass on that.
It wasn't even the tossed words salads he threw together on every page. There were enough bits of carrot and chunks of tomato among all the lettuce and parsley to keep me going, albeit in fits and jerks. I liked his discussion of the experience of being drawn into a book or poem, of making it your own; it gave me hope for more.
No, what finally turned me off was the way he blithely extrapolated from his experience growing up in early twentieth-century provincial France to discover profound truths about universal, essential human nature. Almost none of his arguments, none of his conclusions, had any weight with me, since they were all built on assumptions about how we experience space as children that had nothing to do with my own experience, nor the experience of anyone else I knew. After about four chapters, I could no longer see any point continuing on -- I had winnowed out everything there was for me to get from the book, and it wasn't much.
He does have a style that I supposed could be appreciated on purely aesthetic grounds, but serious engagement with psychoanalytical theory takes the joy out of that kind of reading. Mark Leyner did that sort of thing better.
June 10, 2024
In a TIME when:
- The world is on FIRE
- The truth is the new FICTION
- The situation鈥檚 DIRE
- And information is an ADDICTION
The POETICS OF SPACE is:
- AN INSPIRING PRESCRIPTION
OK.
I鈥檒l stop.
Please pardon the DOGGEREL
I鈥檓 CLEARLY NOT A POET
- But Gaston鈥檚 BURNING CINDER
- Has light my heart AFLAME 馃敟
- His BOOK feels ODDLY HOPFUL
- At a time when HOPE SEEMS LAME
Anyway.
The Poetics of Space is鈥�.
An ABSOLUTELY KEY text in:
- PHENOMENOLOGY
- CRITICAL THEORY
- DEPTH PSYCHOLOGY
Cited AGAIN AND AGAIN by neo-Jungians:
- ROBERT L. MOORE
- JAMES HILLMAN
- STANTON MARLIN
Critical for the NEW ANIMISTIC SPECULATIVE REALISM of:
- GORDON WHITE
- GRAHAM HARMON
- TIMOTHY MORTON
鈥� of which I currently know little, but am curious/learning.
And also evident in the RIGHT BRAINED ORIENTATION of:
- IAN McGILCREST
- ALLAN SCHORE
The Poetics of Space explores SPACE from the MYTHIC, POETIC and PHENOMENOLOGICAL perspective.
Bachelard invites us to 鈥淩ETURN TO THE IMAGE鈥� of the LIVING MYTHOPOETIC IMAGINATION as opposed to reflexively RETREATING TO THE DEAD WORDS of CONCRETE LITERALISM of POSITIVISTIC MATERIALISM.
The goal (at least as I understand it) is not to somehow PRIVILEGE the MYTHOPOETIC over the POSITIVISTIC.
But is rather aimed at UNLOCKING THE WORLD, and LIBERATING DISCOURSE from the confines of a NARROW, REDUCTIONISTIC, DUALISM that has a STRANGLE HOLD on western thought (for better or for worse) but which (despite its CLEAR advantages) MUST NOT be allowed to MURDER the MYTHOPOETIC MIND and ALL OF US ALLONG WITH IT.
SO WHY IS THIS STRANGE BOOK SO HELPFUL/HOPEFUL?
In short.
If we can extend personage beyond people.
To animals, plants, minerals, objects and space.
If we can see the divine/poetic value of our world again.
If we can value the lived experience of ourselves and others.
Regardless of their perceived status in our egocentric view.
- If we can LIVE in THE MYTHOPOETICS of BEING
- In a TRULY RADICAL and TOTALLY AUTHENTIC WAY
- Perhaps we can stop MURDERING EVERYTHING
- And LIVE to SEE ANOTHER DAY
Great EYE OPENING, MIND EXPANDING TEXT.
5/5 STARS 猸愶笍
POST SCRIPT:
The Piano Has Been Drinking (song lyrics by Tom Waits).
The piano has been drinking
My necktie is asleep
And the combo went back to new york
The jukebox has to take a leak
And the carpet needs a haircut
And the spotlight looks like a prison break
And the telephone's out of cigarettes
And the balcony is on the make
And the piano has been drinking
The piano has been drinking
And the menus are all freezing
And the light man's blind in one eye
And he can't see out of the other
And the piano-tuner's got a hearing aid
And he showed up with his mother
And the piano has been drinking
The piano has been drinking
As the bouncer is a sumo wrestler
Cream-puff Casper milktoast
And the owner is a mental midget
With the i.q. of a fence post
Cause the piano has been drinking
The piano has been drinking
And you can't find your waitress
With a Geiger counter
And she hates you and your friends
And you just can't get served without her
And the box-office is drooling
And the bar stools are on fire
And the newspapers were fooling
And the ash-trays have retired
Cause the piano has been drinking
The piano has been drinking
The piano has been drinking
Not me, not me, not me, not me, not me
- The world is on FIRE
- The truth is the new FICTION
- The situation鈥檚 DIRE
- And information is an ADDICTION
The POETICS OF SPACE is:
- AN INSPIRING PRESCRIPTION
OK.
I鈥檒l stop.
Please pardon the DOGGEREL
I鈥檓 CLEARLY NOT A POET
- But Gaston鈥檚 BURNING CINDER
- Has light my heart AFLAME 馃敟
- His BOOK feels ODDLY HOPFUL
- At a time when HOPE SEEMS LAME
Anyway.
The Poetics of Space is鈥�.
An ABSOLUTELY KEY text in:
- PHENOMENOLOGY
- CRITICAL THEORY
- DEPTH PSYCHOLOGY
Cited AGAIN AND AGAIN by neo-Jungians:
- ROBERT L. MOORE
- JAMES HILLMAN
- STANTON MARLIN
Critical for the NEW ANIMISTIC SPECULATIVE REALISM of:
- GORDON WHITE
- GRAHAM HARMON
- TIMOTHY MORTON
鈥� of which I currently know little, but am curious/learning.
And also evident in the RIGHT BRAINED ORIENTATION of:
- IAN McGILCREST
- ALLAN SCHORE
The Poetics of Space explores SPACE from the MYTHIC, POETIC and PHENOMENOLOGICAL perspective.
Bachelard invites us to 鈥淩ETURN TO THE IMAGE鈥� of the LIVING MYTHOPOETIC IMAGINATION as opposed to reflexively RETREATING TO THE DEAD WORDS of CONCRETE LITERALISM of POSITIVISTIC MATERIALISM.
The goal (at least as I understand it) is not to somehow PRIVILEGE the MYTHOPOETIC over the POSITIVISTIC.
But is rather aimed at UNLOCKING THE WORLD, and LIBERATING DISCOURSE from the confines of a NARROW, REDUCTIONISTIC, DUALISM that has a STRANGLE HOLD on western thought (for better or for worse) but which (despite its CLEAR advantages) MUST NOT be allowed to MURDER the MYTHOPOETIC MIND and ALL OF US ALLONG WITH IT.
SO WHY IS THIS STRANGE BOOK SO HELPFUL/HOPEFUL?
In short.
If we can extend personage beyond people.
To animals, plants, minerals, objects and space.
If we can see the divine/poetic value of our world again.
If we can value the lived experience of ourselves and others.
Regardless of their perceived status in our egocentric view.
- If we can LIVE in THE MYTHOPOETICS of BEING
- In a TRULY RADICAL and TOTALLY AUTHENTIC WAY
- Perhaps we can stop MURDERING EVERYTHING
- And LIVE to SEE ANOTHER DAY
Great EYE OPENING, MIND EXPANDING TEXT.
5/5 STARS 猸愶笍
POST SCRIPT:
The Piano Has Been Drinking (song lyrics by Tom Waits).
The piano has been drinking
My necktie is asleep
And the combo went back to new york
The jukebox has to take a leak
And the carpet needs a haircut
And the spotlight looks like a prison break
And the telephone's out of cigarettes
And the balcony is on the make
And the piano has been drinking
The piano has been drinking
And the menus are all freezing
And the light man's blind in one eye
And he can't see out of the other
And the piano-tuner's got a hearing aid
And he showed up with his mother
And the piano has been drinking
The piano has been drinking
As the bouncer is a sumo wrestler
Cream-puff Casper milktoast
And the owner is a mental midget
With the i.q. of a fence post
Cause the piano has been drinking
The piano has been drinking
And you can't find your waitress
With a Geiger counter
And she hates you and your friends
And you just can't get served without her
And the box-office is drooling
And the bar stools are on fire
And the newspapers were fooling
And the ash-trays have retired
Cause the piano has been drinking
The piano has been drinking
The piano has been drinking
Not me, not me, not me, not me, not me
June 3, 2018
亘丕卮賱丕乇 禺丕賳賴 乇丕 丕爻鬲毓丕乇賴 丕蹖 賲蹖禺賵丕賳丿 丕夭 芦禺賵丿禄 亘丕 鬲賲丕賲蹖 夭賵丕蹖丕 賵丨丕卮蹖賴卢賴丕蹖卮. 禺丕賳賴 诏乇蹖夭诏丕賴 乇賵蹖丕倬乇丿丕夭 丕爻鬲 賵 亘賴 丕賵 丕噩丕夭賴 賲蹖丿賴丿 丿乇 丌乇丕賲卮 亘賴 鬲禺蹖賱丕鬲 禺賵丿 卮讴賱 丿賴丿. 丕賵 丿乇 鬲噩夭蹖賴 賵 鬲丨賱蹖賱 倬丿蹖丿丕乇卮賳丕爻蹖 賮囟丕 亘丕 丕卮丕乇賴 亘賴 禺氐賵氐蹖丕鬲 賮蹖夭蹖讴蹖 賽 亘賳丕 賲蹖讴賵卮丿 丕噩夭丕蹖 蹖讴 禺丕賳賴 丕夭 夭蹖乇夭賲蹖賳 鬲丕 丕鬲丕賯 夭蹖乇卮蹖乇賵丕賳蹖 乇丕 賲賳胤亘賯 亘乇 丕賱诏賵蹖 囟賲蹖乇 丕賳爻丕賳 鬲賮爻蹖乇 讴賳丿. 亘丿蹖賳 鬲乇鬲蹖亘 禺丕賳賴 賴賲 倬乇賵乇丿賴 賵 賴賲 夭丕丿诏丕賴 禺蹖丕賱丕鬲 丕賵爻鬲. 亘賴 賯賵賱 亘丕乇鬲 賲毓賲丕乇蹖 賴賲 乇賵蹖丕爻鬲 賴賲 毓賲賱讴乇丿 賴賲 亘蹖丕賳 蹖讴 丌乇賲丕賳 賵 賴賲 賵爻蹖賱賴 蹖 乇丕丨鬲蹖. 禺丕賳賴 丿乇 鬲毓亘蹖乇 乇賵蹖丕 賳賲丕丿 芦禺賵丿禄 丕爻鬲. 禺賵丿蹖 夭賲丕賳賲賳丿 亘乇丌賲丿賴 丕夭 诏匕卮鬲賴 賵 倬蹖卮 乇賵賳丿賴 亘賴 丌蹖賳丿賴.
倬蹖讴乇賴 蹖 丕氐賱蹖 賲胤丕賱毓丕鬲 亘丕卮賱丕乇 卮毓乇 丕爻鬲 夭蹖乇丕 亘丕卮賱丕乇 賳丕亘 鬲乇蹖賳 鬲氐丕賵蹖乇 乇丕 丿乇 丕卮毓丕乇 丕氐蹖賱 卮丕毓乇丕賳 賵 丿乇 賳馗丕賲 讴賱丕賲蹖 噩爻鬲噩賵 賲蹖讴賳丿 賵 賳爻亘鬲 亘賴 丿蹖诏乇 賴賳乇賴丕 丌卮賳丕蹖蹖 讴賲鬲乇蹖 丿丕乇丿. 亘丕卮賱丕乇 亘蹖卮 丕夭 丕蹖賳讴賴 亘乇 賴乇 賴賳乇蹖 鬲丕讴蹖丿 讴賳丿 亘乇 禺賵丿賽 鬲禺蹖賱 鬲丕讴蹖丿 賲蹖讴賳丿 賵 丿爻鬲丕賵乇丿 倬跇賵賴卮賴丕蹖 禺賵丿 乇丕 亘賴 丿蹖诏乇賴賳乇賴丕 賯丕亘賱 鬲毓賲蹖賲 賲蹖丿丕賳丿 夭蹖乇丕 賴賲賴 蹖 丕蹖賳賴丕 丿丕乇蹖 爻乇卮鬲蹖 賵丕丨丿賳丿 丕賱亘鬲賴 亘丕卮賱丕乇 賳爻亘鬲 亘賴 賳賯丕卮蹖 亘蹖 鬲賵噩賴 賳亘賵丿賴 丕爻鬲. 賲孬賱丕 丿乇 賮氐賱 倬丕蹖丕賳蹖 讴賴 賲蹖禺賵丕賴丿 亘賴 倬丿蹖丿丕乇卮賳丕爻蹖 賽 诏乇丿蹖 亘倬乇丿丕夭丿 丿乇 讴賳丕乇 蹖丕爻倬乇爻 賽 賮蹖賱爻賵賮 賵 賱丕賮賵賳鬲賳 賽 卮丕毓乇 賵賳诏賵诏 賳賯丕卮 乇丕 賴賲 賯乇丕乇 賲蹖卢丿賴丿.
倬丿蹖丿丕乇 卮賳丕爻蹖 鬲禺蹖賱 賲賵囟賵毓 丕氐賱蹖 賲胤丕賱毓丕鬲 倬丿蹖丿丕乇卮賳丕爻丕賳賴 蹖 亘丕卮賱丕乇 賲丨爻賵亘 賲蹖卮賵丿. 丕蹖賳 賲賵囟賵毓 賲賵乇丿 鬲賵噩賴 讴爻丕賳 丿蹖诏乇 賲孬賱 爻丕乇鬲乇 賴賲 亘賵丿賴. 丕賲丕 賳诏丕乇卮 亘丕卮賱丕乇 亘賴 诏賵賳賴 丕蹖 丿蹖诏乇 丕爻鬲. 倬丿蹖丿丕乇卮賳丕爻蹖 亘乇丕蹖 亘丕卮賱丕乇 亘蹖卮 丕夭 賴乇 趩蹖夭 蹖讴 乇賵卮 鬲丨賯蹖賯丕鬲蹖 丕爻鬲 讴賴 丕蹖賳 丕賲讴丕賳 乇丕 亘乇丕蹖 亘丕卮賱丕乇 賮乇丕賴賲 賲蹖 丌賵乇丿 鬲丕 亘鬲賵丕賳丿 丕夭 倬蹖卮丿丕賵乇蹖賴丕蹖蹖 讴賴 氐丿賴丕 爻丕賱 亘乇 賮賱爻賮賴 賵 賮乇賴賳诏 睾乇亘蹖 爻蹖胤乇賴 丿丕卮鬲賴 賵 賲賵噩亘 丨匕賮 鬲禺蹖賱 丕夭氐丨賳賴 蹖 夭賳丿诏蹖 卮丿賳丿 乇賴丕蹖蹖 蹖丕亘丿
倬蹖讴乇賴 蹖 丕氐賱蹖 賲胤丕賱毓丕鬲 亘丕卮賱丕乇 卮毓乇 丕爻鬲 夭蹖乇丕 亘丕卮賱丕乇 賳丕亘 鬲乇蹖賳 鬲氐丕賵蹖乇 乇丕 丿乇 丕卮毓丕乇 丕氐蹖賱 卮丕毓乇丕賳 賵 丿乇 賳馗丕賲 讴賱丕賲蹖 噩爻鬲噩賵 賲蹖讴賳丿 賵 賳爻亘鬲 亘賴 丿蹖诏乇 賴賳乇賴丕 丌卮賳丕蹖蹖 讴賲鬲乇蹖 丿丕乇丿. 亘丕卮賱丕乇 亘蹖卮 丕夭 丕蹖賳讴賴 亘乇 賴乇 賴賳乇蹖 鬲丕讴蹖丿 讴賳丿 亘乇 禺賵丿賽 鬲禺蹖賱 鬲丕讴蹖丿 賲蹖讴賳丿 賵 丿爻鬲丕賵乇丿 倬跇賵賴卮賴丕蹖 禺賵丿 乇丕 亘賴 丿蹖诏乇賴賳乇賴丕 賯丕亘賱 鬲毓賲蹖賲 賲蹖丿丕賳丿 夭蹖乇丕 賴賲賴 蹖 丕蹖賳賴丕 丿丕乇蹖 爻乇卮鬲蹖 賵丕丨丿賳丿 丕賱亘鬲賴 亘丕卮賱丕乇 賳爻亘鬲 亘賴 賳賯丕卮蹖 亘蹖 鬲賵噩賴 賳亘賵丿賴 丕爻鬲. 賲孬賱丕 丿乇 賮氐賱 倬丕蹖丕賳蹖 讴賴 賲蹖禺賵丕賴丿 亘賴 倬丿蹖丿丕乇卮賳丕爻蹖 賽 诏乇丿蹖 亘倬乇丿丕夭丿 丿乇 讴賳丕乇 蹖丕爻倬乇爻 賽 賮蹖賱爻賵賮 賵 賱丕賮賵賳鬲賳 賽 卮丕毓乇 賵賳诏賵诏 賳賯丕卮 乇丕 賴賲 賯乇丕乇 賲蹖卢丿賴丿.
倬丿蹖丿丕乇 卮賳丕爻蹖 鬲禺蹖賱 賲賵囟賵毓 丕氐賱蹖 賲胤丕賱毓丕鬲 倬丿蹖丿丕乇卮賳丕爻丕賳賴 蹖 亘丕卮賱丕乇 賲丨爻賵亘 賲蹖卮賵丿. 丕蹖賳 賲賵囟賵毓 賲賵乇丿 鬲賵噩賴 讴爻丕賳 丿蹖诏乇 賲孬賱 爻丕乇鬲乇 賴賲 亘賵丿賴. 丕賲丕 賳诏丕乇卮 亘丕卮賱丕乇 亘賴 诏賵賳賴 丕蹖 丿蹖诏乇 丕爻鬲. 倬丿蹖丿丕乇卮賳丕爻蹖 亘乇丕蹖 亘丕卮賱丕乇 亘蹖卮 丕夭 賴乇 趩蹖夭 蹖讴 乇賵卮 鬲丨賯蹖賯丕鬲蹖 丕爻鬲 讴賴 丕蹖賳 丕賲讴丕賳 乇丕 亘乇丕蹖 亘丕卮賱丕乇 賮乇丕賴賲 賲蹖 丌賵乇丿 鬲丕 亘鬲賵丕賳丿 丕夭 倬蹖卮丿丕賵乇蹖賴丕蹖蹖 讴賴 氐丿賴丕 爻丕賱 亘乇 賮賱爻賮賴 賵 賮乇賴賳诏 睾乇亘蹖 爻蹖胤乇賴 丿丕卮鬲賴 賵 賲賵噩亘 丨匕賮 鬲禺蹖賱 丕夭氐丨賳賴 蹖 夭賳丿诏蹖 卮丿賳丿 乇賴丕蹖蹖 蹖丕亘丿
January 30, 2013
廿賳 賰賳鬲 爻兀鬲丨丿賾孬 毓賳 賴匕丕 丕賱賰鬲丕亘貙 毓賱賷賾 兀賵賱丕賸: 兀賳 兀賯賵賲 亘毓丿賻賾 丕賱賲乇賾丕鬲 丕賱鬲賷 丕賳鬲卮賷鬲 賮賷賴丕. 毓賱賷賾 賴匕丕貙 賯爻乇賸丕. 賰丕賳 兀賵賾賱 賰鬲丕亘 賲毓 亘丕卮賱丕乇. 廿匕 廿賳賷 賱賲 兀賰賳賾 兀毓乇賮 毓賳賴 賲爻亘賯賸丕 廿賱丕賾 亘囟毓 丕賯鬲亘丕爻丕鬲貙 賵丕賱鬲賷 賰賳鬲購 丕爻鬲丨爻賳賴丕 賮賷 賲賵囟毓賴丕 賵賱賲 兀亘丕丿乇 賵賱賵 賱賲乇賾丞貙 亘丕賱鬲毓乇賾賮 廿賱賷賴貙 廿賱丕賾 毓賳丿賲丕 匕賰乇賴 兀丨丿 丕賱乇賮丕賯 "兀賯賵賱 賴匕丕: 亘丕賲鬲賳丕賳 亘丕賱睾".
賰丕賳鬲 丕賱亘丿丕賷丞 賲亘賴賲丞貙 賱兀賳賾賴 賷丨鬲丕噩 廿賱賶 賯賱賷賱丕賸 賲賳 丕賱噩賴丿 丨鬲賾賶 鬲爻鬲胤賷毓 丕爻鬲賷毓丕亘 賲丕 賷丨丕賵賱 賯賵賱賴貙 賱賰賳 賴匕丕 賮賷 丕賱亘丿丕賷丞 賮賯胤貙 賲毓 丕賱賮氐賵賱 賷鬲賲丕賴賶 賴匕丕 丕賱卮毓賵乇! 賵賷亘丿兀 丕賱丕爻鬲賲鬲丕毓 毓賳丿賲丕 賷鬲禺賱賱 亘賮賱爻賮鬲賴 廿賱賶 賰賱賾 乇賵丕賷丞貙 賯氐賷丿丞貙 乇爻丕賱丞 賵賷賵賲賷賾丕鬲. 賯賱鬲 賲乇賾丞: 亘兀賳 賯乇丕亍鬲賷 賱賳 鬲賰賵賳 賲孬賱 賲丕 賰丕賳鬲 毓賱賷賴 亘毓丿 兀賳 賯乇兀鬲 " 噩賲丕賱賷丕鬲 丕賱賲賰丕賳 " 賵丨丿孬 賴匕丕 賮毓賱丕賸. 亘丕卮賱丕乇 亘噩丕賳亘 賰賱賾 丕賱賮賱爻賮丞 丕賱鬲賷 賷乇賲賷 亘賴丕 廿賱賷賾賰 賷賴亘賰 賳馗乇丞 兀禺乇賶 丕鬲噩丕賴 丕賱兀卮賷丕亍貙 賵賰賲丕 賷賯賵賱賴丕 乇賷賱賰賴: 乇賮賷賯丕鬲賳丕 賮賷 丕賱賵噩賵丿貙 賵賷賴亘 丕賱丨賷丕丞 丨賷丕丞!
賰丕賳鬲 丕賱亘丿丕賷丞 賲亘賴賲丞貙 賱兀賳賾賴 賷丨鬲丕噩 廿賱賶 賯賱賷賱丕賸 賲賳 丕賱噩賴丿 丨鬲賾賶 鬲爻鬲胤賷毓 丕爻鬲賷毓丕亘 賲丕 賷丨丕賵賱 賯賵賱賴貙 賱賰賳 賴匕丕 賮賷 丕賱亘丿丕賷丞 賮賯胤貙 賲毓 丕賱賮氐賵賱 賷鬲賲丕賴賶 賴匕丕 丕賱卮毓賵乇! 賵賷亘丿兀 丕賱丕爻鬲賲鬲丕毓 毓賳丿賲丕 賷鬲禺賱賱 亘賮賱爻賮鬲賴 廿賱賶 賰賱賾 乇賵丕賷丞貙 賯氐賷丿丞貙 乇爻丕賱丞 賵賷賵賲賷賾丕鬲. 賯賱鬲 賲乇賾丞: 亘兀賳 賯乇丕亍鬲賷 賱賳 鬲賰賵賳 賲孬賱 賲丕 賰丕賳鬲 毓賱賷賴 亘毓丿 兀賳 賯乇兀鬲 " 噩賲丕賱賷丕鬲 丕賱賲賰丕賳 " 賵丨丿孬 賴匕丕 賮毓賱丕賸. 亘丕卮賱丕乇 亘噩丕賳亘 賰賱賾 丕賱賮賱爻賮丞 丕賱鬲賷 賷乇賲賷 亘賴丕 廿賱賷賾賰 賷賴亘賰 賳馗乇丞 兀禺乇賶 丕鬲噩丕賴 丕賱兀卮賷丕亍貙 賵賰賲丕 賷賯賵賱賴丕 乇賷賱賰賴: 乇賮賷賯丕鬲賳丕 賮賷 丕賱賵噩賵丿貙 賵賷賴亘 丕賱丨賷丕丞 丨賷丕丞!
December 18, 2013
賲毓 兀賵賱 賰鬲丕亘 兀賯乇兀賴 賱亘丕卮賱丕乇貙 兀噩丿 賳賮爻賷 賮賷 毓丕賱賲 賯乇丕卅賷 賮賱爻賮賷 賮賰乇賷賾 噩丿賷丿貙 兀鬲毓乇賮 毓賱賷賴 賱賱賲乇丞 丕賱兀賵賱賶 賵賷噩匕亘賳賷 廿賱賷賴貙 賵廿賳 丕爻鬲毓氐賶 毓賱賷賾 廿丿乇丕賰 賰賱 兀乇賰丕賳賴 賵賲丨鬲賵賷丕鬲賴...賵兀亘丨孬 毓賳 賲夭賷丿 賲賳 賰鬲亘賴 賵賲賯賵賱丕鬲賴 賵兀賮賰丕乇賴 賵丌乇丕卅賴...賵兀賯乇兀 兀賰孬乇 毓賳 丕賱馗丕賴乇丕鬲賷賾丞 賵賲賮賴賵賲賴丕 毓賳丿 亘丕卮賱丕乇貙 賵賰賷賮 兀爻賯胤賴丕 毓賱賶 賲丕 賷丨賷胤 亘賴貙 賵毓賱賶 丕賱賲賰丕賳 鬲丨丿賷丿丕 賮賷 賴匕丕 丕賱賰鬲丕亘
賷毓丿 亘丕卮賱丕乇 賵丕丨丿丕賸 賲賳 兀賴賲 丕賱賮賱丕爻賮丞 丕賱賮乇賳爻賷賷賳 貙 賵賴賳丕賰 賲賳 賷賯賵賱 兀賳賴 兀毓馗賲 賮賷賱爻賵賮 馗丕賴乇丕鬲賷 貙 賮賯丿 賲孬賱鬲 兀賮賰丕乇賴 廿囟丕賮丕鬲 賲賴賲丞 賱賱賲賳噩夭 丕賱賮賱爻賮賷 丕賱馗丕賴乇丕鬲賷貙 賵賱丕爻賷賲丕 賮賷 丨丿賵丿 丕賳卮睾丕賱賴 亘丕賱賲賰丕賳 賵鬲賰卮賮丕鬲賴 丕賱賯賷賲賷丞 賵丕賱噩賲丕賱賷丞. 賱賯丿 丕爻鬲賵賯賮鬲 亘丕卮賱丕乇 鬲噩賱賷丕鬲 丕賱賲賰丕賳貙 賱賷賰卮賮 賱賳丕 賱丕 毓賳 賵噩賵丿賴 丕賱賵丕賯毓賷貙 亘賱 毓賳 亘毓丿賴 丕賱毓丕胤賮賷 丕賱匕賷 丕賳丿爻 賮賷 賲賵噩賵丿丕鬲賳丕 丕賱卮毓賵乇賷丞 賵丕賱噩賲丕賱賷丞.
賳氐賷丨丞 賱賲賳 賴賲 賲孬賱賷...賵兀賯氐丿 丕賱賲亘鬲丿卅賷賳 賮賷 賯乇丕亍丞 丕賱賰鬲亘 丕賱賮賱爻賮賷丞...賱丕 鬲噩毓賱 丕賱賲賯丿賲丞 丕賱胤賵賷賱丞 賱賱賰鬲丕亘 鬲賵賯賮賰...賮賲丕 亘毓丿賴丕 丕賱兀噩賲賱...丕胤賱賯 賱禺賷丕賱賰 賵乇賵丨賰 丕賱卮毓乇賷賾丞 丕賱毓賳丕賳 賵丕爻鬲賲鬲毓 亘賰賱 丕賱廿囟丕亍丕鬲 丕賱噩丿賷丿丞 丕賱鬲賷 賷賳賷乇賴丕 賱賰 亘丕卮賱丕乇...賵丕亘賳 毓賱丕賯丞 賲禺鬲賱賮丞 賲毓 丕賱兀賲丕賰賳 賲賳 丨賵賱賰
丕賱亘賷鬲 噩爻丿 賵乇賵丨貙 賵賴賵 毓丕賱賻賲 丕賱廿賳爻丕賳 丕賱兀賵賱. 賯亘賱 兀賳 "賷購賯匕賻賮 丕賱廿賳爻丕賳 賮賷 丕賱毓丕賱賻賲" 賰賲丕 賷丿賻賾毓賷 亘毓囟 丕賱賮賱丕爻賮丞 丕賱賲賷鬲丕賮賷夭賷賯賷賷賳貙 賮廿賳賴 賷噩丿 賲賰丕賳賴 賮賷 賲賴丿 丕賱亘賷鬲. 賵兀賷賻賾丞 賲賷鬲丕賮賷夭賷賯丕 丿賯賷賯丞 賱丕 鬲爻鬲胤賷毓 廿賴賲丕賱 賴匕賴 丕賱丨賯賷賯丞 丕賱亘爻賷胤丞 賱兀賳賴丕 賯賷賲丞 賴丕賲丞貙 賳毓賵丿 廿賱賷賴丕 丿丕卅賲賸丕 賮賷 兀丨賱丕賲 賷賯馗鬲賳丕. 丕賱賵噩賵丿 兀氐亘丨 丕賱丌賳 賯賷賲丞. 丕賱丨賷丕丞 鬲亘丿兀 賮爻賷丨丞貙 賲丨賲賷丞貙 丿丕賮卅丞 賮賷 氐丿乇 丕賱亘賷鬲"
噩賵賱丞 亘丕卮賱丕乇 鬲亘丿兀 賲賳: 丕賱亘賷鬲..賲賳 丕賱賯亘賵 廿賱賶 丕賱毓賱賷賾丞
"丕賱亘賷鬲 賴賵 乇賰賳賳丕 賮賷 丕賱毓丕賱賻賲貙 廿賳賴貙 賰賲丕 賯賷賱 賲乇丕乇賸丕貙 賰賵賳賳丕 丕賱兀賵賱貙 賰賵賳 丨賯賷賯賷 亘賰賱 賲丕 賮賷 丕賱賰賱賲丞 賲賳 賲毓賳賶"
"丨賷賳 賳丨賱賲 亘丕賱亘賷鬲 丕賱匕賷 賵購賱賽丿賳丕 賮賷賴貙 賵亘賷賳賲丕 賳丨賳 賮賷 兀毓賲丕賯 丕賱丕爻鬲乇禺丕亍 丕賱賯氐賵賶貙 賳賳禺乇胤 賮賷 匕賱賰 丕賱丿賮亍 丕賱兀氐賱賷貙 賮賷 鬲賱賰 丕賱賲丕丿丞 賱賮乇丿賵爻賳丕 丕賱賲丕丿賷. 賴匕丕 賴賵 丕賱賲賳丕禺 丕賱匕賷 賷毓賷卮 丕賱廿賳爻丕賳 丕賱賲丨賲賷 賮賷 丿丕禺賱賴. 爻賵賮 賳毓賵丿 廿賱賶 丕賱賲賱丕賲丨 丕賱兀賲賵賲賷丞 賱賱亘賷鬲. 賵兀賵丿 賴賳丕貙 毓丕亘乇賸丕貙 兀賳 兀丐賰丿 丕賲鬲賱丕亍 賵噩賵丿 丕賱亘賷鬲 亘兀丨賱丕賲 賷賯馗丞 鬲賯賵丿賳丕 廿賱賷賴. 賷毓乇賮 丕賱卮丕毓乇 噩賷丿賸丕 兀賳 丕賱亘賷鬲 賷丨賲賱 丕賱胤賮賵賱丞 "亘賷賳 匕乇丕毓賷賴"貙 賷賯賵賱 乇賷賱賰賴:
丕賱亘賷鬲貙 賯胤毓丞 丕賱賲乇噩貙 賷丕 囟賵亍 丕賱賲爻丕亍
賮噩兀丞 鬲賰鬲爻亘 賵噩賴賸丕 賷賰丕丿 賷賰賵賳 廿賳爻丕賳賷賸丕
兀賳鬲 賯乇賷亘 賲賳丕 賱賱睾丕賷丞貙 鬲毓丕賳賯賳丕 賵賳毓丕賳賯賰"
"廿賳 丕賱亘賷鬲 丕賱毓鬲賷賯貙 亘丕賱賳爻亘丞 賱兀賵賱卅賰 丕賱匕賷賳 賷丨爻賳賵賳 丕賱廿氐睾丕亍貙 賴賵 賰賷丕賳 賴賳丿爻賷 賲氐賳賵毓 賲賳 丕賱兀氐丿丕亍. 丨賷孬 鬲亘丿賵 兀氐賵丕鬲 丕賱賲丕囟賷 賲禺鬲賱賮丞 賮賷 丕賱丨噩乇丞 丕賱賰亘賷乇丞貙 毓賳賴丕 賮賷 丨噩乇丞 丕賱賳賵賲 丕賱氐睾賷乇丞貙 賰賲丕 兀賳 氐賵鬲 丕賱賳丿丕亍 賲賳 賮賵賯 丕賱爻賱賲 賲禺鬲賱賮丞 毓賳 賰賱賷賴賲丕貙 賵兀氐毓亘 丕賱匕賰乇賷丕鬲貙 丕賱賲鬲噩丕賵夭丞 賱兀賷丞 賴賳丿爻丞 賷賲賰賳 乇爻賲賴丕貙 賴賵 賲丨丕賵賱鬲賳丕 兀賳 賳爻鬲毓賷丿 賳賵毓賷丞 丕賱囟賵亍貙 孬賲 賷賱賷 匕賱賰 丕賱乇賵丕卅丨 丕賱鬲賷 鬲鬲賱亘孬 賮賷 丕賱丨噩乇丕鬲 丕賱賮丕乇睾丞 賵丕囟毓丞 禺鬲賲賸丕 兀孬賷乇賷賸丕 毓賱賶 賰賱 丨噩乇丞 賲賳 丨噩乇丕鬲 亘賷鬲 丕賱匕丕賰乇丞. 賵賳爻鬲胤賷毓 兀賳 賳爻鬲毓賷丿 賱賷爻 賲噩乇丿 噩乇爻 丕賱氐賵鬲 "鬲賱賰 丕賱丿乇噩丕鬲 丕賱賲鬲睾賷乇丞 賱賱兀氐賵丕鬲 丕賱丨亘賷亘丞 丕賱鬲賷 兀氐亘丨鬲 氐丕賲鬲丞 丕賱丌賳" 亘賱 鬲乇丿丿丕鬲賴 賮賷 賰賱 丨噩乇丞"
孬賲 賷賳鬲賯賱 廿賱賶 丕賱兀丿乇丕噩 賵丕賱氐賳丕丿賷賯 賵禺夭丕卅賳 丕賱賲賱丕亘爻
"廿賳 丕賱禺夭丕卅賳 亘乇賮賵賮賴丕貙 賵丕賱賲賰丕鬲亘 亘兀丿乇丕噩賴丕貙 賵丕賱氐賳丕丿賷賯 亘賯賵丕毓丿賴丕 丕賱賲夭賷賳丞 賴賷 兀丿賵丕鬲 丨賯賷賯賷丞 賱丨賷丕鬲賳丕 丕賱賳賮爻賷丞 丕賱禺賮賷丞. 丿賵賳 賴匕賴 丕賱兀卮賷丕亍 賵賲孬賷賱丕鬲賴丕 賮廿賳 丕賱丨賷丕丞 鬲賮賯丿 賳賲丕匕噩 丕賱兀賱賮丞. 賵賴匕賴 丕賱兀卮賷丕亍 鬲賲鬲賱賰 氐賮丞 丕賱兀賱賮丞 賲孬賱賳丕貙 賵毓亘乇賳丕貙 賵賱兀噩賱賳丕."
"賮賷 丕賱禺夭丕賳丞 鬲賵噩丿 賳賯胤丞 丕賱賳馗丕賲 丕賱賲乇賰夭賷丞 丕賱鬲賷 鬲丨賲賷 丕賱亘賷鬲 亘賰丕賲賱賴 賲賳 丕賱賮賵囟賶 丕賱鬲賷 賱丕 囟丕亘胤 賱賴丕. 賴賳丕 賷爻賵丿 丕賱賳馗丕賲貙 兀賵 毓賱賶 丕賱兀氐丨貙 賴賳丕 丨賰賲 丕賱賳馗丕賲. 賵丕賱賳馗丕賲 賱賷爻 賲噩乇丿 毓賱丕賯丕鬲 賴賳丿爻賷丞 亘賱 賴賵 兀賷囟賸丕 丕賱匕丕賰乇丞 丕賱鬲賷 鬲丨賮馗 鬲丕乇賷禺 丕賱毓丕卅賱丞. 鬲噩賷亍 丕賱匕賰乇賷丕鬲 賲鬲夭丕丨賲丞 丨賷賳 賳乇賶 毓賱賶 乇賮 丕賱禺夭丕賳丞 兀卮乇胤丞 丕賱丿丕賳鬲賷賱丕貙 賵賯胤毓 丕賱丨乇賷乇 丕賱胤亘賷毓賷貙... 賲賵囟賵毓丞 賮賵賯 丕賱兀孬丕孬 丕賱孬賯賷賱. 賰鬲亘 賲賷賱賵夭: "丕賱禺夭丕賳丞 賲賱兀賶 亘囟噩賷噩 丕賱匕賰乇賷丕鬲 丕賱兀禺乇爻"
"賵賱賰賳 丕賱禺夭丕賳丞 丕賱丨賯賷賯賷丞 賱賷爻鬲 賲噩乇丿 賯胤毓丞 毓丕丿賷丞 賲賳 丕賱兀孬丕孬. 賮賴賷 賱丕 鬲賮鬲丨 賮賷 賰賱 賷賵賲貙 賵賴賷 賰丕賱賯賱亘 丕賱匕賷 賱丕 賷亘賵丨 亘兀爻乇丕乇賴 賱兀賷 廿賳爻丕賳貙 賮賲賮鬲丕丨賴丕 賱丕 賷賵噩丿 賮賷 亘丕亘賴丕 丿丕卅賲賸丕"
賵毓賳 "丕賱兀毓卮丕卮" 賷賯賵賱
賱賷爻鬲 賵馗賷賮丞 丕賱馗丕賴乇丕鬲賷丞 賵氐賮 丕賱兀毓卮丕卮 賰賲丕 賴賷 賮賷 丕賱胤亘賷毓丞貙 賮鬲賱賰 賲賴賲丞 毓賱賲 丕賱胤賷賵乇. 廿賳 亘丿丕賷丞 丕賱馗丕賴乇丕鬲賷丞 丕賱賮賱爻賮賷丞 賱賱兀毓卮丕卮 鬲賰賵賳 賮賷 賯丿乇鬲賳丕 毓賱賶 鬲賵囟賷丨 丕賱丕賴鬲賲丕賲 丕賱匕賷 賳胤丕賱毓 亘賴 兀賱亘賵賲賸丕 賷丨鬲賵賷 毓賱賶 氐賵乇 丕賱兀毓卮丕卮貙 兀賵 亘卮賰賱 兀賰孬乇 賵囟賵丨賸丕貙 賯丿乇鬲賳丕 毓賱賶 丕爻鬲毓丕丿丞 丕賱丿賴卮丞 丕賱爻丕匕噩丞 丕賱鬲賷 賰賳丕 賳卮毓乇 亘賴丕 丨賷賳 賳噩丿 毓卮賸丕. 賷毓賵丿 賴匕丕 亘賳丕 廿賱賶 胤賮賵賱鬲賳丕貙 兀賵 廿賱賶 丕賱胤賮賵賱丞 丕賱鬲賷 賰丕賳 賷噩亘 兀賳 鬲賰賵賳 賱賳丕.
"丕賱卮噩乇丞 丕賱鬲賷 賳丕賱鬲 卮乇賮 丕爻鬲囟丕賮丞 丕賱毓卮 丕賳禺乇胤鬲 賮賷 爻乇賴. 賮亘丕賱賳爻亘丞 賱賱胤丕卅乇 兀氐亘丨鬲 丕賱卮噩乇丞 賲賱噩兀."
"賵賴賰匕丕 賮廿賳賳丕 丨賷賳 賳毓丕賷卮 毓卮賸丕 賳囟毓 兀賳賮爻賳丕 賮賷 丕賱賲賳亘毓 丕賱匕賷 鬲賳亘孬賯 賲賳賴 丕賱孬賯丞 亘丕賱毓丕賱賲貙 賳鬲賱賯賶 亘丿丕賷丞 丕賱孬賯丞 賵丿丕賮毓賸丕 賳丨賵 丕賱孬賯丞 丕賱賰賵賳賷丞. 廿賳 亘賷鬲賳丕 丕賱賲丿乇賰 毓亘乇 廿賲賰丕賳丕鬲賴 丕賱丨賱賲賷丞 賷氐亘丨 毓卮賸丕 賮賷 丕賱毓丕賱賻賲. 廿賳 鬲噩乇亘丞 毓丿丕卅賷丞 丕賱毓丕賱賻賲 鈥� 賵亘丕賱鬲丕賱賷 兀丨賱丕賲賳丕 丕賱丿賮丕毓賷丞 賵丕賱毓丿賵丕賳賷丞 鈥� 鬲兀鬲賷 賮賷 賵賯鬲 賲鬲兀禺乇. 賮丕賱丨賷丕丞 賰賱賴丕 賮賷 亘匕乇鬲賴丕 丕賱兀賵賱賶 賴賳丕亍丞. 丕賱賵噩賵丿 賷亘丿兀 亘賴賳丕亍丞 丕賱賵噩賵丿"
丕賱賯賵丕賯毓
賰鬲亘 卮丕乇亘賵賳賷賴 賱丕爻賷賴:
賰丕賳鬲 丕賱賲丨丕乇丞 亘賯賵賯毓鬲賴丕 丕賱氐賱亘丞 賵丕賱丨賷賵丕賳 丕賱胤乇賷 丕賱匕賷 賮賷 丿丕禺賱賴丕 賴賷 乇賲夭 丕賱賯丿賲丕亍 廿賱賶 丕賱廿賳爻丕賳 噩爻丿賸丕 賵乇賵丨賸丕. 賱賯丿 丕爻鬲毓賲賱 丕賱賯丿賲丕亍 丕賱賯賵賯毓丞 賰乇賲夭 賱賱噩爻丿 丕賱廿賳爻丕賳賷 丕賱匕賷 賷丨賷胤 丕賱乇賵丨 亘睾賱丕賮 禺丕乇噩賷貙 亘賷賳賲丕 丕賱乇賵丨 丕賱鬲賷 鬲賳卮胤 丕賱噩爻丿 賰賱賴 鬲鬲賲孬賱 亘丕賱乇禺賵賷丞. 賵賱賴匕丕 賯丕賱賵丕 廿賳 丕賱噩爻丿 賷賲賵鬲 毓賳丿賲丕 鬲睾丕丿乇賴 丕賱乇賵丨 賲孬賱 丕賱賯賵賯毓丞 丕賱鬲賷 鬲鬲賵賯賮 毓賳 丕賱丨乇賰丞 毓賳丿賲丕 賷睾丕丿乇賴丕 丕賱丨賷賵丕賳 丕賱匕賷 賷毓賷卮 賮賷 丿丕禺賱賴丕.
賵賳丨賳 賳毓賱賲 兀賳 賲毓賳賶 爻賰賳賶 丕賱賯賵賯毓丞 賴賵 兀賳 賳毓賷卮 丕賱賵丨丿丞. 廿賳 賲毓丕賷卮丞 賴匕賴 丕賱氐賵乇丞 鬲毓賳賷 賯亘賵賱賳丕 亘丕賱賵丨丿丞.
兀丨賷丕賳賸丕 鬲賰賵賳 丕賱氐賵乇丞 爻賱亘賷丞貙 賱丕 鬲賰丕丿 鬲馗賴乇貙 賵賱賰賳賴丕 毓賱賶 丕賱乇睾賲 賲賳 匕賱賰 賲丐孬乇丞貙 廿賳賴丕 鬲毓亘乇 毓賳 毓夭賱丞 丕賱廿賳爻丕賳 丕賱賲賳胤賵賷 毓賱賶 賳賮爻賴.
賵賮賷 兀丨賷丕賳 兀禺乇賶 鬲賰鬲爻亘 丕賱氐賵乇丞 賯賵鬲賴丕 賲賳 鬲賲丕孬賱 賰賱 兀賲賰賳丞 丕賱乇丕丨丞貙 賮賷氐亘丨 賰賱 賮乇丕睾 兀賱賷賮 賯賵賯毓丞 賴丕丿卅丞.
丕賱兀乇賰丕賳
"廿賳 賰賱 乇賰賳 賮賷 丕賱亘賷鬲貙 賵賰賱 夭丕賵賷丞 賮賷 丕賱丨噩乇丞貙 賵賰賱 亘賵氐丞 賮賷 丕賱賲賰丕賳 丕賱賲賳毓夭賱 丕賱匕賷 鬲毓賵丿賳丕 丕賱丕禺鬲亘丕亍 賮賷賴貙 兀賵 丕賱丕賳胤賵丕亍 賮賷賴 毓賱賶 兀賳賮爻賳丕貙 賴賵 乇賲夭 賱賱毓夭賱丞 亘丕賱賳爻亘丞 賱賱禺賷丕賱 兀賷 兀賳賴 亘匕乇丞 丕賱丨噩乇丞 賵丕賱亘賷鬲."
丕賱賲鬲賳丕賴賷 賮賷 丕賱氐睾乇
"廿賳 丕賱兀卮賷丕亍 丕賱氐睾賷乇丞 丕賱鬲賷 賳鬲禺賷賱賴丕 亘亘爻丕胤丞 鬲賯賵丿賳丕 廿賱賶 兀賷丕賲 丕賱胤賮賵賱丞貙 廿賱賶 丕賱兀賱賮丞 賲毓 丕賱丿賲賶貙 廿賱賶 丨賯賷賯丞 丕賱丿賲賶."
"賴匕賴 丕賱鬲賮丕丨丞 賰賵賳 氐睾賷乇 亘匕丕鬲賴丕貙 賵亘匕乇鬲賴丕 丕賱鬲賷 賴賷 兀賰孬乇 丨乇丕乇丞 賲賳 兀噩夭丕卅賴丕 丕賱兀禺乇賶 鬲卮毓 丕賱丨乇丕乇丞 丕賱鬲賷 鬲丨丕賮馗 毓賱賶 丕賱賰賵賳貙 賵賴匕賴 丕賱亘匕乇丞 賮賷 乇兀賷賷 賴賷 丕賱卮賲爻 丕賱氐睾賷乇丞 賱匕賱賰 丕賱毓丕賱賲 丕賱氐睾賷乇貙 丕賱鬲賷 鬲丿賮卅 賵鬲睾匕賷 丕賱乇賵丨 丕賱賳亘丕鬲賷丞 賮賷 賴匕賴 丕賱賰鬲賱丞 丕賱氐睾賷乇丞."
丕賱賲鬲賳丕賴賷 賮賷 丕賱賰亘乇
"賰孬賷乇賸丕 賲丕 賷賰賵賳 丕賱丕鬲爻丕毓 丕賱丿丕禺賱賷 賴賵 丕賱匕賷 賷賲賳丨 賲毓賳賶 丨賯賷賯賷賸丕 賱亘毓囟 丕賱鬲毓亘賷乇丕鬲 丕賱賲鬲毓賱賯丞 亘丕賱毓丕賱賻賲 丕賱賲乇卅賷."
"丕賱睾丕亘丞 爻丕亘賯丞 毓賱賷貙 爻丕亘賯丞 毓賱賷賳丕貙 亘賷賳賲丕 亘丕賱賳爻亘丞 賱賱丨賯賵賱 賵丕賱賲乇賵噩 賮賴賷 鬲鬲賵丕賰亘 賮賷 兀丨賱丕賲賷 賵匕賰乇賷丕鬲賷 賲毓 賲禺鬲賱賮 賲乇丕丨賱 丕賱丨乇孬 賵丕賱丨氐丕丿貙 丨賷賳 賷氐亘丨 噩丿賱 丕賱兀賳丕 賵賲丕 賱賷爻 鈥� 兀賳丕 兀賰孬乇 賲乇賵賳丞貙 兀卮毓乇 亘兀賳 丕賱丨賯賵賱 賵丕賱賲乇賵噩 賲毓賷貙 賮賷 賲毓賷鬲賷貙 賵賲毓賳丕. 兀賲丕 丕賱睾丕亘丕鬲 賮廿賳賴丕 鬲爻賷胤乇 毓賱賶 丕賱賲丕囟賷."
"丕賱賲賰丕賳 丕賱賲鬲爻毓 賴賵 氐丿賷賯 丕賱賵噩賵丿."
馗丕賴乇丕鬲賷丞 丕賱丕爻鬲丿丕乇丞
"廿賳 氐賵乇 (丕賱丕爻鬲丿丕乇丞 丕賱賰丕賲賱丞) 鬲爻丕毓丿賳丕 毓賱賶 丕賱鬲賲丕爻賰貙 賵鬲爻賲丨 賱賳丕 兀賳 賳囟賮賷 賲夭丕噩賸丕 賲亘丿卅賷賸丕 毓賱賶 匕賵丕鬲賳丕貙 賵兀賳 賳丐賰丿 賵噩賵丿賳丕 亘丨賲賷賲賷丞 賮賷 丕賱丿丕禺賱 賱兀賳 丕賱賵噩賵丿 丨賷賳 鬲毓丕卮 鬲噩乇亘鬲賴 賲賳 丕賱丿丕禺賱貙 賵賷氐亘丨 禺丕賱賷賸丕 賲賳 賰賱 丕賱賲賱丕賲丨 丕賱禺丕乇噩賷丞 賷賰賵賳 賲丿賵乇賸丕."
"賵亘丕賱賳爻亘丞 賱锟斤拷丨丕賱賲 亘丕賱賰賱賲丕鬲貙 兀賷丞 胤賲兀賳賷賳丞 鬲賵噩丿 賮賷 賰賱賲丞 賲爻鬲丿賷乇丞. 賰賲 賮賷賴丕 賲賳 丕賱爻賱丕賲 丕賱匕賷 賷賱賲爻 丕賱賮賲 賵丕賱卮賮鬲賷賳貙 賮賷氐亘丨 賵噩賵丿 丕賱鬲賳賮爻 賲丿賵乇賸丕"
賰鬲丕亘 噩賲賷賱...兀丨爻亘賴 廿囟丕賮丞 賱賰鬲亘賷 賴匕丕 丕賱毓丕賲...
賯乇兀鬲賴 賲毓 氐丕賱賵賳 丕賱噩賲毓丞...
/topic/show/...
賱賲賳 賷乇睾亘 亘丕賱賲夭賷丿...賴賳丕賰 爻鬲噩丿 丕賱毓丿賷丿 賲賳 丕賱丕賯鬲亘丕爻丕鬲 賵丕賱賳賯丕卮丕鬲
February 9, 2025
What a journey!
September 25, 2008
I was thinking of how to explain why I love reading Bachelard so much, and the best I can come up with for now is my love for his unusually deep way of thinking. This book, like others I have read of his, delves into the poetry of experience. In this book he approached space, as in the places that surround us and that we occupy. In the table of contents: The House: from cellar to garret; House & Universe; Drawers, Chests and Wardrobes; Nests; Shells; Corners; Miniature; Intimate Immensity; Dialectics of Outside and Inside; Phenomenology of Roundness. These are not esoteric overly metaphysical spaces.
I read this book while en route to Las Vegas for a family gathering. Las Vegas is a space I hate with unspeakable disgust- yet, I remember reading the Poetic of Space in this environment and it made the whole incident even more surreal- I copied many passages from the book into my notebook. It is that kind of book, where fragments capture a thought you could never get right into words.
I happened to open the book just now to the chapter about inside & outside and the whole first paragraph gives forth a thread about inside and outside, yes and no, positive and negative, being and nonbeing and so forth. Bachelard brings together philosophers and writers and whole host of dreamers to unfold complicated concepts into an elegant reading moment. 鈥溾€reat dreamers possess intimacy with the world.鈥�- Bachelard
I read this book while en route to Las Vegas for a family gathering. Las Vegas is a space I hate with unspeakable disgust- yet, I remember reading the Poetic of Space in this environment and it made the whole incident even more surreal- I copied many passages from the book into my notebook. It is that kind of book, where fragments capture a thought you could never get right into words.
I happened to open the book just now to the chapter about inside & outside and the whole first paragraph gives forth a thread about inside and outside, yes and no, positive and negative, being and nonbeing and so forth. Bachelard brings together philosophers and writers and whole host of dreamers to unfold complicated concepts into an elegant reading moment. 鈥溾€reat dreamers possess intimacy with the world.鈥�- Bachelard
January 20, 2023
The really worthwhile intellectual work, I think, is in the introduction and the first two chapters, which establish the critical instruments of topoanalysis and the warrants for various claims Bachelard is making about poetic images, metaphor, phenomenology, etc. Close-reading specific spaces later, he draws so heavily on the intuitive and metaphorically built-in鈥攖hat the cottage is cosy and nestlike, that drawers and chests are embodiments of secrecy, that the dialectics of outside and inside are, well, a dialectical interplay of outside and inside etc.鈥攖hat the later chapters can seem much more like mere lists of demonstrative examples from (mostly French) literary texts, and all the dreamlike prose and layered density can feel a bit frustrating when the result often seems like it takes these spatial metaphors not much further than our intuitions about them do.
September 19, 2008
I definitely feel that I got stronger as a writer as a result of the time I put into reading this book. Bachelard claims to, and in most cases succeeds in, examining the "dialectical shadings" of all manner of things associated with home: cabinets, shelves, nooks, crannies, dressers and more. I appreciated the fluent mixing of psychoanalysis and lyrical criticism. My main beef with the book lies in what Bachelard seems to neglect: what about experiences of place that are marked by trauma? Not all of our associations with small spaces need be pleasant and nurturing in their "wombiness." I'm glad Bachelard had a nice childhood, but I wonder how those who have experienced abuse or violence in the home would psychologically experience a box or enclosed image differently.
May 28, 2008
I've never really decided how I really feel about this text. Part of me knows it's total bullshit but another part of me wants to believe in it and enjoy the ridiculous, quasi-academic frenchitude. Maybe they're not mutually exclusive ;)
Displaying 1 - 30 of 699 reviews
Can't find what you're looking for?
Get help and learn more about the design.