In this study, the recurring images and forms of imagery in the poems of Ahmet Haşim, one of the founding figures of Turkish literature, are evaluated based on Gaston Bachelard’s concept of poetic reverie in his book The Poetics of Dreaming. In Bachelard’s phenomenology-based approach, literary creation is analyzed as an act of dreaming. The work gains meaning as a poetic dream/poetic dream within the framework of this creation. In this definition, the distinction between the concepts of dream and dream is important. The concept of dream is more in the field of psychology and is evaluated through unconscious. Conversely, just like dreams, dreams that are formed while consciousness is open are also suitable to be analyzed and interpreted in the light of concepts belonging to the unconscious. While analyzing poetic dreams, Bachelard uses C.G. Jung’s archetypal approach and the terms anima and animus. Based on the idea of a duality in every human being, male or female, Jung named the masculine and feminine sides of this duality animus and anima, respectively. The anima and animus approaches offer a reading method to explain the role of the images that make up the text in the reception process. The anima, which represents the feminine, contains archetypal meanings and is based on myths and legends. In parallel to this, Haşim’s poetry deals with the mother figure, childhood, dreaming, and remembering as the basic motifs of poetic imagination. Haşim’s poetics brings a poetry construction and interpretation practice that develops under anima. Haşim sees and interprets existence as a colorful reflection. He presents the outside world as a place of imagination, particularly through images based on nature. Therefore, the act of seeing turns into a form of imagination. Because of this form of imagination, Haşim’s poetry has often been analyzed by likening it to the atmosphere of a dream. In fact, the metaphor of dream in Haşim’s poetry corresponds to dreams, that is, poetic visions, which are seen with open consciousness. His poetry is the poetry of the subject-self, which directly addresses the object and interprets the manifestations of existence through their correspondences in consciousness. In this aspect, it is in harmony with Bachelard’s phenomenology-based reading practice. In this poem, which prioritizes the direct relationship with the object and daily, social, and historical contexts of the outside world are bracketed. The way the subject perceives objects is associated with concepts such as psychology, memory, and archetype, and certain schemes dominated by a highly individual sensibility are created. In Bachelard’s theory, the poet or writer is first and foremost a person who dreams of words. As the main material of the literary work is language, dreams are also constructed with language and words. In other words, dreaming is also an action performed with language and words. Given the nature of language, the semantic  origin of words stems from the duality of masculine and feminine. Bachelard states that as a dreamer of words, the artist’s dreams are reflected in masculinity and femininity specific to the originary existence of language. Among the feminine elements in Haşim’s poetry, the anima manifests distinctly are the images of the mother and the woman who characterizes the lover. The mother remains in the peaceful times of childhood, is remembered as a lost paradise, and is depicted with her sick body and fragile soul. On the contrary, the beloved becomes evident in the narratives of imaginary women who are placed in imaginary places and are mostly referred to with qualifications such as “beloved” or “fairy.” In this sense, there is an esthetics of perception in which love, body, and desire are reinterpreted through phenomenology. The prominent indicators of this are the images of women presented with the metaphor of “angel” and the idealizing state of imagination that emerges in the imaginary spaces that the subject turns to. Anima, while shaping Haşim’s poetry, is a stronger opposition of animus. The prominence of themes related to memory and childhood in Haşim’s poetry also indicates that the anima is active. Bachelard associates the creative process of poets with the dreaming period when the child is alone and becomes the master of his world. The poetic dream presented by the poet is not different from a child’s dreams. As this analogy shows, memory and dreams are intertwined, and often the acts of remembering and dreaming are, by their very nature, intertwined. As there is a bit of memory in every dreaming, remembering can also be considered a form of dreaming. Based on the theory of poetic daydreaming, the theme of daydreaming, designs about the past and the ideal realm, which are intensely observed in Haşim, may lead the reader to experience poetry as conscious daydreaming. Accordingly, the dreams that the subject consciously constructs or imagines in these poems exemplify the poetic reverie conceptualized by Bachelard. Within the scope of the study, the connection of the images constructed through the mother, childhood, and memory with anima and animus in Haşim’s poems is clarified; thus, poetic reverie can be one of the key concepts in evaluating Haşim’s understanding of poetry.