Tonal musical language is intrinsically narrative because of the linearity of its harmonic syntax. The disintegration of tonality in the early 20th century has discarded this primary level of narrativity. From this perspective, Scriabin represents a highly interesting case. This paper proposes an analysis and mapping of de-narrativization and compensatory (re-)narrativization processes in his creative evolution. Among the numerous works mentioned, two are discussed in more detail: Poème fantasque op. 45 No. 2 and Poème op. 71 No. 2. According to the hypothesis put forward in the paper, the contradiction between de-narrativization of musical language and persistence of a rhetoric and narrative model of composition in Scriabin’s work would result from a combination of several factors, notably of his propensity for solipsism and passion for occultist theories on the one hand, and his belonging to a culture that favors collectivist values on the other.