How do people respond to agonistic provocations and participate in popular resistance movements by undergoing self-overcoming in the joining of an assembly? What does that look, smell, feel like? Chapter Three, “The Living Brilliant Poetry of Action,” turns to Hannah Arendt’s recurring engagements with René Char’s wartime poems, Leaves of Hypnos, which were written while leading a French Resistance cell. Char’s dual role as political actor and poet singles him out for special treatment in Arendt’s oeuvre. In particular, Char’s poetry allows Arendt to affirm the pleasure of becoming responsive to worldly plurality in word and deed. I argue that Char’s poetic testament of resistance profoundly informs Arendt’s theory of action and that her treatment of Hypnos allows reading across her major works for an account of action as resistance that is characterized not by formal apparatuses of publicity, but by being conducted on the sly, whose actors wear masks but also “go naked,” and whose intercourse allows participants to find themselves through the sensorial experience of “delight” aroused aromatically when venturing into haphazard spaces of appearance for freedom. For Arendt, Char’s example attests to the “living brilliant poetry” of political action receptively aroused by and exercising sensuous responsivity to worldly plurality.