The travel concept, in fact, and the relationships that a trip can trigger, departs from the principle of the world diversity, of man and of art itself. The romantic writers used real or imaginary travel experience that they have taken previously, but bringing new variants thereof or discovering new spaces opened to explorations. Switching from reality to the imaginary space, from the correctness of the designed itinerary to the affective one, it appears frequently in the work of the same writer.  The man of dreams and the man of reality became two complementary aspects: when the man leaves the reality, he enters into the imaginary world, but the return to the reality gains the same form of evasion or travel. The distinction between the two worlds is given by the spatial elements, the finite opposing to the infinite. What amazes in the opera of Gérard de Nerval is this mixture of religions, characters, places, and of literature and artwork, this assembly sometimes heterogeneous that indisputably leads to a result quite happy: a work of extraordinary depth. The poet Nerval makes use of mythology to repay to the world its poetic mystery, seeking to reveal its original meaning. The permanent return of the gods and this continuing resuscitation of the old beliefs leads to a genuine nervalian syncretism that constitutes the basis of all his literary creation. Almost every page, every line merges between mythologies, between Greco-Roman beliefs, Judeo-Christian beliefs, Egyptian beliefs and his own mythology implemented inside his internal system.