In discoursing of its analysis on memory, Bachelard tececrticas the Bergson, accusing it with reducionista, metafrico, and of not superaodo hermeneutic arc. This critical one mainly is centered in chapter III' ' The drawer, the safes and the closets, ' ' where Bachelard says that aspalavras fulfills a craft in the daily one, but does not lose the poetical one. The palavrasso used for Bergson of one forms metafrica ' ' in Bergson, metforasso abundant e, in the end of the accounts, the images are very rare. (…) pareceque the imagination is metafrica.' ' (BERGSON, 1990, p.246) the soapenas words appearance, ' ' (…) they are small houses with bilge and attic. Sentidocomum inhabits in the level of the ground, always close to the foreign commerce, in the mesmonvel of outrem, (…) Subir the stairs in the house of the word is, step emdegrau, to abstract. To go down to the bilge is to dream (…) ' '.

(BERGSON, 1990, p.293) Differentiating image and metaphor, Bachelard places that ametfora it cannot be object of fenomenolgico study, therefore does not have this value, that is, it is only a direction, it does not create. Thus, the metaphor is demim, (I give sensible to the things that is of me) but does not obtain to apprehend asua essence, when present the metaphor, is the imagination that is not maisatuando. In this direction, the metaphor is a false image that is utilizadapara to state the insufficience of a philosophy of the concept. In contraposition Bergson that it uses concepts, Bachelard says that the concepts are as asgavetas that they serve to classify the knowledge as well as science modernao makes. The knowledge it is placed in drawers, compartimentadas to paraclassificar the thoughts, that is, the rationalism places everything in drawers, masesquece the basic mobile o (the human being). The memory in turn, is as a closet of souvenirs, masno is a daily furniture, does not confide every day, is not the place where the images of the past seguardam, therefore it does not have drawers in the memory.