Imagination.
The imagination belongs to the general class of mental processes called
the representative faculties, by which is meant the processes in which
there are re-presented, or presented again, to consciousness impressions
previously presented to it.
As we have indicated elsewhere, the imagination is dependent upon memory
for its materials--its records of previous impressions. But imagination
is more than mere memory or recollection of these previously experienced
and recorded impressions. There is, in addition to the re-presentation
and recollection, a process of arranging the recalled impressions into
new forms and new combinations. The imagination not only gathers
together the old impressions, but also _creates_ new combinations and
forms from the material so gathered.
Psychology gives us many hairsplitting definitions and distinctions
between simple reproductive imagination and memory, but these
distinctions are technical and as a rule perplexing to the average
student. In truth, there is very little, if any, difference between
simple reproductive imagination and memory, although when the
imagination indulges in constructive activity a new feature enters into
the process which is absent in pure memory operations. In simple
reproductive imagination there is simply the formation of the mental
image of some previous experience--the reproduction of a previous mental
image. This differs very little from memory, except that the recalled
image is clearer and stronger. In the same way in ordinary memory, in
the manifestation of recollection, there is often the same clear, strong
mental image that is produced in reproductive imagination. The two
mental processes blend into each other so closely that it is practically
impossible to draw the line between them, in spite of the technical
differences urged by the psychologists. Of course the mere remembrance
of a person who presents himself to one is nearer to pure memory than to
imagination, for the process is that of recognition. But the memory or
remembrance of the same person when he is absent from sight is
practically that of reproductive imagination. Memory, in its stage of
recognition, exists in the child mind before reproductive imagination is
manifested. The latter, therefore, is regarded as a higher mental
process.
But still higher in the scale is that which is known as _constructive
imagination_. This form of imagination appears at a later period of
child mentation, and is regarded as a later evolution of mental
processes of the race. Gordy makes the following distinction between the
two phases of imagination: "The difference between reproductive
imagination and constructive imagination is that the images resulting
from reproductive imagination are _copies of past experience_, while
those resulting from constructive imagination are not. * * * To learn
whether any particular image, or combination of images, is the product
of reproductive or constructive imagination, all we have to do is to
learn whether or not it is a copy of a past experience. Our memories, of
course, are defective, and we may be uncertain on that account; but
apart from that, we need be in no doubt whatever."
Many persons hearing for the first time the statement of psychologists
that the imaginative faculties can re-present and re-produce or
re-combine only the images which have previously been impressed upon the
mind, are apt to object that they can, and frequently do, image things
which they have not previously experienced. But can they and do they? Is
it not true that what they believe to be original creations of the
imagination are merely _new combinations_ of original impressions? For
instance, no one ever saw a unicorn, and yet some one originally
imagined its form. But a little thought will show that the image of the
unicorn is merely that of an animal having the head, neck, and body of
a horse, with the beard of a goat, the legs of a buck, the tail of a
lion, and a long, tapering horn, spirally twisted, in the middle of the
forehead. Each of the several parts of the unicorn exists in some living
animal, although the unicorn, composed of all of these parts, is
non-existent outside of fable. In the same way the centaur is composed
of the body, legs, and tail of the horse and the trunk, head, and arms
of a man. The satyr has the head, body, and arms of a man, with the
horns, legs, and hoofs of a goat. The mermaid has the head, arms, and
trunk of a woman, joined at the waist to the body and tail of a fish.
The mythological "devil" has the head, body, and arms of a man, with the
horns, legs, and cloven foot of the lower animal, and a peculiar tail
composed of that of some animal but tipped with a spearhead. Each of
these characteristics is composed of familiar images of experience. The
imagination may occupy itself for a lifetime turning out impossible
animals of this kind, but every part thereof will be found to correspond
to something existent in nature, and experienced by the mind of the
person creating the strange beast.
In the same way the imagination may picture a familiar person or thing
acting in an unaccustomed manner, the latter having no basis in fact so
far as the individual person or thing is concerned, but being warranted
by some experience concerning other persons or things. For instance, one
may easily form the image of a dog swimming under water like a fish, or
climbing a tree like a cat. Likewise, one may form a mental image of a
learned, bewigged High Chancellor, or a venerable Archbishop of
Canterbury, dressed like a clown, standing on his head, balancing a
colored football on his feet, sticking his tongue in his cheek and
winking at the audience. In the same way one may imagine a railroad
running across a barren desert, or a steep mountain, upon which there is
not as yet a rail laid. The bridge across a river may be imaged in the
same way. In fact, this is the way that everything is mentally created,
constructed, or invented--the old materials being combined in a new way,
and arranged in a new fashion. Some psychologists go so far as to say
that no mental image of memory is an exact reproduction of the original
impression; that there are always changes due to the unconscious
operation of the constructive imagination.
The constructive imagination is able to "tear things to pieces" in
search for material, as well as to "join things together" in its work of
building. The importance of the imagination in all the processes of
intellectual thought is great. Without imagination man could not reason
or manifest any intellectual process. It is impossible to consider the
subject of thought without first regarding the processes of imagination.
And yet it is common to hear persons speak of the imagination as if it
were a faculty of mere fancy, useless and without place in the practical
world of thought.
DEVELOPING THE IMAGINATION.
The imagination is capable of development and training. The general
rules for development of the imagination are practically those which we
have stated in connection with the development of the memory. There is
the same necessity for plenty of material; for the formation of clear
and deep impressions and clear-cut mental images; the same necessity for
repeated impression, and the frequent use and employment of the faculty.
The practice of visualization, of course, strengthens the power of the
imagination as it does that of the memory, the two powers being
intimately related. The imagination may be strengthened and trained by
deliberately recalling previous impressions and then combining them into
new relations. The materials of memory may be torn apart and then
re-combined and re-grouped. In the same way one may enter into the
feelings and thoughts of other persons by imagining one's self in their
place and endeavoring to act out in imagination the life of such
persons. In this way one may build up a much fuller and broader
conception of human nature and human motives.
In this place, also, we should caution the student against the common
waste of the powers of the imagination, and the dissipation of its
powers in idle fancies and daydreams. Many persons misuse their
imagination in this way and not only weaken its power for effective work
but also waste their time and energy. Daydreams are notoriously unfit
for the real, practical work of life.
IMAGINATION AND IDEALS.
And, finally, the student should remember that in the category of the
imaginative powers must be placed that phase of mental activity which
has so much to do with the making or marring of one's life--the
formation of ideals. Our ideals are the patterns after which we shape
our life. According to the nature of our ideals is the character of the
life we lead.
Our ideals are the supports of that which we call _character_.
It is a truth, old as the race, and now being perceived most clearly by
thinkers, that indeed "as a man thinketh in his heart so is he." The
influence of our ideals is perceived to affect not only our character
but also our place and degree of success in life. We grow to be that of
which we have held ideals. If we create an ideal, either of general
qualities or else these qualities as manifested by some person living or
dead, and keep that ideal ever before us, we cannot help developing
traits and qualities corresponding to those of our ideal. Careful
thought will show that character depends greatly upon the nature of our
ideals; therefore we see the effect of the imagination in character
building.
Moreover, our imagination has an important bearing on our actions. Many
a man has committed an imprudent or immoral act which he would not have
done had he been possessed of an imagination which showed him the
probable results of the action. In the same way many men have been
inspired to great deeds and achievements by reason of their imagination
picturing to them the possible results of certain action. The "big
things" in all walks of life have been performed by men who had
sufficient imagination to picture the possibilities of certain courses
or plans. The railroads, bridges, telegraph lines, cable lines, and
other works of man are the results of the imagination of some men. The
good fairy godmother always provides a vivid and lively imagination
among the gifts she bestows upon her beloved godchildren. Well did the
old philosopher pray to the gods: "And, with all, give unto me a clear
and active imagination."
The dramatic values of life depend upon the quality of the imagination.
Life without imagination is mechanical and dreary. Imagination may
increase the susceptibility to pain, but it pays for this by increasing
the capacity for joy and happiness. The pig has but little
imagination,--little pain and little joy,--but who envies the pig? The
person with a clear and active imagination is in a measure a creator of
his world, or at least a re-creator. He takes an active part in the
creative activities of the universe, instead of being a mere pawn pushed
here and there in the game of life.
Again, the divine gift of sympathy and understanding depends materially
upon the possession of a good imagination. One can never understand the
pain or problems of another unless he first can imagine himself in the
place of the other. Imagination is at the very heart of sympathy. One
may be possessed of great capacity for feeling, but owing to his lack of
imagination may never have this feeling called into action. The person
who would sympathize with others must first learn to understand them and
feel their emotions. This he can do only if he has the proper degree of
imagination. Those who reach the heart of the people must first be
reached by the feelings of the people. And this is possible only to him
whose imagination enables him to picture himself in the same condition
as others, and thus awaken his latent feelings and sympathies and
understanding. Thus it is seen that the imagination touches not only our
intellectual life but also our emotional nature. Imagination is the very
life of the soul.