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In this paper, Richard Parish aims at rasping the essential part of the poetic status of some fragments of the Pensées. After looking for criteria of poeticity in the proposals of Paul Valéry, Paul Claudel and Gabriel Brunet published on the occasion of the tercentenary of 1923, he studies the "manuscript of the Recueil original" in the light of those criteria highlightened by Claudel: "An idea isolated by blank [...] an intelligible and permanent sonority." I.e. graphically, the relationship between typographic isolation, the lack of prosaic links between sentences and formulas, and thus their resonance. The attention paid to the collection allows us to discover four categories of spatial separation, some totally independent of the author's intention, others, on the contrary, revealing a new one which is more or less easy to recognise, according to the case; what is important is that, for those who look at this manuscript and read it, "the silent spaces that frighten Pascal are not in the sky, they are on the page."