Rubens Martins the Da Silva This text centers its inferences in the delineations to synthecize, under the Critical bias of the Literary one, parts of the bachelardiana workmanship ‘ ‘ Air and the Sonhos’ ‘ , namely: ‘ ‘ The dream of voo’ ‘ , ‘ ‘ The poetical one of asas’ ‘ ‘ ‘ The works of Robert Desoille’ ‘. In this context, objective to point, of general form where and as the studies of Bachelard they contribute for the absorption of the onirismo, by means of its contribution for the reading, the search, and the artistic contemplation of the literary one. In philosophical recitals for Tales de Mileto (approx 624? 556 B.C.), Anaximenes (588-525 B.C.), Heraclitus (approx 540 B.C. – 470 B.C.), Empdocles (495/490 – 435/430 a.C), perceives it formation and studies of the four basic elements, for which it covers the life: fire, water, air, land. Had its influences, these elements have special implications, therefore ‘ ‘ each one is imagined in its dynamism especial’ ‘ (Bachelard, 2001, P. 8).

In this the onrico flight finds its nesting in the element air, which sends the reader to reach the artistic one, the beauty and the singular contained in the reading of the artistic one. The direction of the flight in the conception of its context formed for the element air rescues the dimension of its invisibilidade and non-observance, however observvel in its effect. One sees that air bases the existence of the proper life, bringing force and sustentation to the being in its terrena existence. ‘ ‘ formed Mr. Deus the man of the dust of the land, and blew in its nostrils the breath of the life; the man was made living soul ‘ ‘. ‘ ‘ sopro’ ‘ it loads in itself the air, which gave life to the creature formed for God, being this formed by supernatural the inexplicable one.