Gaston Bachelard’s “The Poetics of Space is a phenomenological questioning of poetry and the spaces occupied within its instance. Introducing the book the author places most emphasis on the interior domestic space and the context around it. He attempts to trace the reception of the poetic image in the subjective realisation holding openness and a focus on the present experience.
He explains his utmost focus on the poetic image for it being the estate of the cleared consciousness, something, which is, unuttered of definite consciousness and more an invention of heart and soul. This direct relation of poetry to reality exaggerates the truth of perceived objects, in this instance them being the house directed further inaugurating future discussions of inside and outside familiar to anyone dealing with the theory of space.
In the final chapter, he talks about metaphysicians who state their views objectively and could be understood contrarily however he states their image to be acknowledged as it is, As Van Gogh wrote “life is probably round.” On the contrary without any knowledge of his writing La Fontaine said
“A walnut makes me quite round.” These proclamations provide indication of the context of life and the irregularity of roundness that is emphasised by all or many writers. Although no claim has evidenced to such physiological beliefs the claim helps the readers accept that we are in the roundness of life like the walnut that becomes round in its own shell.
However the scope of such poetic discussions could be argued ostentatiously and are evidently delivered throughout the chapter, for instance the image allows the thought of the sphere to be phenomenological and analyse by crystal clarity of the entire image and its experience of being spherical and not just the observation of it.
As the passage formulates he gives instances of being, regardless of the absolute image of nature Michelet says, “a bird is almost completely spherical” he uses these metaphors of nature and its isolated existence the holistic complete relativism of life. The word ‘almost’ makes a geometrician wonder the form and concentration of the bird in constant to the dynamics of the form rather than its experience and those wings being the centralisation of life around the roundness of the bird and its protection.
Similarly, for a painter the centralised view of understanding of roundness is a tree, he believes the isolation of a living object being concentrated alone makes it round. For him the tree alone in itself is round, hence to anyone observing the receptive central images of cosmic data descried differently by different poets in multiple fragments of their poem could register the same expression.