An imaginal language filled with metaphors, metonymy, and figures of speech pushes the meaning universe of conventional everyday language into the background, while attempting to fill the resulting void with sensations and emotions that the symbolic suppresses or displaces. Thus, imaginal language erodes the meaning represented by everyday signifiers over independent signifieds. By distancing itself from common and widespread interpretations, signifiers oriented toward feeling establish affect in unconventional and new relations. Imaginal language attempts to open gaps and cracks within the language that bears the laws and prohibitions of the symbolic. Such a language, as seen in Refik Halit’s lines, is not the symbolic language of law and prohibition, but the imaginal language of desire. The imaginal language observed in Refik Halit’s works—where the signifier is detached from the signified and conventional language is structurally fractured—did not arise by chance but is a deliberate narrative choice of the author. Karay’s imaginal language should not be simplistically reduced to “making comparisons.” In the sentences where Refik Halit employs such imaginal language, he uses expressions like “sanki” (as if), “gibi” (like), and “benzetiyordum” (I compared) to indicate that he diverges from a psychotic language in which signifiers flow endlessly over signifieds. Thus, he does not completely sever from reality to enter a hallucinatory realm. Instead, he establishes a psychological dialectic that places the poles of reality and imagination on an equal plane.