Chapter 37

medium, Helene S......--very unlike others, who are satisfied with forecasts of the future, disclosures of unknown past events, counsel, prognosis, evocation, etc., without creating anything, in the proper sense--is the author of three or four novels, one of which, at least, is invented out of whole cloth--revelations in regard to the planet Mars, its countries, inhabitants, dwellings, etc. Although the descriptions and pictures of Helene S. are found on comparison to be borrowed from our terrestrial globe, and transposed and changed, as Flournoy has well shown, it is certain that in this "Martian novel," to say nothing of the others, there is a richness of invention that is rare among mediums: the creative imagination in its subliminal (unconscious) form encloses the other in its eclat. We know how much the cases of mediums teach us in regard to the unconscious life of the mind. Here we are permitted, as an exceptional case, to penetrate into the dark laboratory of romantic invention, and we can appreciate the importance of the labor that is going on there.

FOOTNOTES:

[158] See Part I, Chapter III.

[159] _Mental Physiology_, Book II, chapter 13.

[160] This expression is put in quotation marks because in American and English usage "sensation" is defined in terms of consciousness, and such an expression as "unconscious sensation" is paradoxical, and would lead to futile discussion. (Tr.)

[161] For the detailed criticism of unconscious cerebration, see Boris Sidis, _The Psychology of Suggestion: A research into the subconscious nature of Man and Society_, New York, Appletons, 1898, pp. 121-127. The author, who assumes the coexistence of two selves--one waking, the other subwaking, and who attributes to the latter all weakness and vice (according to him the unconscious is incapable of rising above mere association by contiguity; it is "stupid," "uncritical," "credulous," "brutal," etc.) would be greatly puzzled to explain its role in creative activity.

APPENDIX C

COSMIC AND HUMAN IMAGINATION[162]

For Froschammer, _Fancy_ is the original principle of things. In his philosophical theory it plays the same part as Hegel's _Idea_, Schopenhauer's _Will_, Hartmann's _Unconscious_, etc. It is, at first, objective--in the beginning the universal creative power is immanent in things, just as there is contained in the kernel the principle that shall give the plant its form and construct its organism; it spreads out into the myriads of vegetable and animal existences that have been succeeded or that still live on the surface of the Cosmos. The first organized beings must have been very simple; but little by little the objective imagination increases its energy by exercising it; it invents and realizes increasingly more complex images that attest the progress of its artistic genius. So Darwin was right in asserting that a slow evolution raises up organized beings towards fulness of life and beauty of form.

Step by step, it succeeds in becoming conscious of itself in the mind of man--it becomes subjective. Generative power, at first diffused throughout the organism, becomes localized in the generative organs, and becomes established in sex. "The brain, in living beings, may form a pole opposed to the reproductive organs, especially when these beings are very high in the organic scale." Thus changed, the generative power has become capable of perceiving new relations, of bringing forth internal worlds. In nature and in man it is the same principle that causes living forms to appear--objective images in a way, and subjective images, a kind of living forms that arise and die in the mind.[163]

This metaphysical theory, one of the many varieties of _mens agitat molem_, being, like every other, a personal conception, it is superfluous to discuss or criticise its evident anthropomorphism. But, since we are dealing with hypotheses, I venture to risk a comparison between embryological development in physiology, instinct in psychophysiology, and the creative imagination in psychology. These three phenomena are creations, i.e., a disposition of certain materials following a determinate type.

In the first case, the ovum after fertilization is subject to a rigorously determined evolution whence arises such and such an individual with its specific and personal characters, its hereditary influences, etc. Every disturbing factor in this evolution produces deviations, monstrosities, and the creation does not attain the normal. Embryology can follow these changes step by step. There remains one obscure point in any event, and that is, the nature of what the ancients called the _nisus formativus_.

In the case of instinct, the initial moment is an external or internal sensation, or rather, a representation--the image of a nest to be built, in the case of the bird; of a tunnel to be dug, for the ant; of a comb to be made, for the bee and the wasp; of a web to be spun, for the spider, etc. This initial state puts into action a mechanism determined by the nature of each species, and ends in creations of special kinds. However, variations of instinct, its adaptation to various conditions, show that the conditions of the determinism are less simple, that the creative activity is endowed with a certain plasticity.

In the third case, creative imagination, the ideal, a sketched construction, is the equivalent of the ovum; but it is evident that the plasticity of the creative imagination is much greater than that of instinct. The imagination may radiate in several very different ways, and the plan of the invention, as we have seen,[164] may arise as a whole and develop regularly in an embryological manner, or else present itself in a fragmentary, partial form that becomes complete after a series of attractions.

Perhaps an identical process, forming three stages--a lower, middle, and higher--is at the root of all three cases. But this is only a speculative hypothesis, foreign to psychology proper.

FOOTNOTES:

[162] See above, Part One, Chapter IV.

[163] Those who, not having the courage to read the 575 pages of Froschammer's book, want more details, may profitably consult the excellent analysis that Seailles has given (_Rev. Philos._, March, 1878, pp. 198-220). See also Ambrosi, _Psicologia dell' immaginazione nella storia della filosofia_, pp. 472-498.

[164] See above, Part II, chapter IV.

APPENDIX D

EVIDENCE IN REGARD TO MUSICAL IMAGINATION[165]

The question asked above,[166] Does the experiencing of purely musical sounds evoke images, universally, and of what nature and under what conditions? seemed to me to enter a more general field--the affective imagination--which I intend to study elsewhere in a special work. For the time being I limit myself to observations and information that I have gathered, picking from them several that I give here for the sake of shedding light on the question. I give first the replies of musicians; then, those of non-musicians.

1. M. Lionel Dauriac writes me: "The question that you ask me is complex. I am not a 'visualizer;' I have infrequent hypnagogic hallucinations, and they are all of the auditory type.

"... Symphonic music aroused in me no image of the visual type while I remained the amateur that you knew from 1876 to 1898. When that amateur began to reflect methodically on the art of his taste, he recognized in music a power of suggesting:

"1. Sonorous, non-musical images--thunder, clock. Example, the overture of _William Tell_.

"2. Psychic images--suggestion of a mental state--anger, love, religious feeling.

"3. Visual images, whether following upon the psychic image or through the intermediation of a programme.

"Under what condition, in a symphonic work, is the visual image, introduced by the psychic image, produced? In the event of a break in the melodic web (see my _Psychologie dans l'Opera_, pp. 119-120). Here are given, without orderly arrangement, some of the ideas that have come to me:

"Beethoven's _symphony in C major_ appears to me purely musical--it is of a sonorous design. The _symphony in D major_ (the second) suggests to me visual-motor images--I set a ballet to the first part and keep track altogether of the ballet that I picture. The _Heroic Symphony_ (aside from the funeral march, the meaning of which is indicated in the title) suggests to me images of a military character, ever since the time that I noticed that the fundamental theme of the first portion is based on notes of perfect harmony--trumpet-notes and, by association, military. The _finale_ of this symphony, which I consider superior to other parts, does not cause me to see anything. _Symphony in B flat major_--I see nothing there--this may be said without qualification. _Symphony in C minor_--it is dramatic, although the melodic web is never broken. The first part suggests the image, not of Fate knocking at the gate, as Beethoven said, but of a soul overcome with the crises of revolt, accompanied by a hope of victory. Visual images do not come except as brought by psychic images."

F. G., a musician, always sees--that is the rule, notably in the _Pastoral_, and in the _Heroic Symphony_. In Bach's _Passion_ he beholds the scene of the mystic lamb.

A composer writes me: "When I compose or play music of my own composition I behold dancing figures; I see an orchestra, an audience, etc. When I listen to or play music by another composer I do not see anything." This communication also mentions three other musicians who see nothing.

2. D......, so little of a musician that I had some trouble to make him understand the term "symphonic music," never goes to concerts. However, he went once, fifteen years ago, and there remains in his memory very clearly the principal phrase of a minuet (he hums it)--he cannot recall it without seeing people dancing a minuet.

M. O. L...... has been kind enough to question in my behalf sixteen non-musical persons. Here are the results of his inquiry:

Eight see curved lines.

Three see images, figures springing in the air, fantastic designs.

Two see the waves of the ocean.

Three do not see anything.

FOOTNOTES:

[165] See Part Three, Chapter II.

[166] _Ibid._, IV.

APPENDIX E

THE IMAGINATIVE TYPE AND ASSOCIATION OF IDEAS[167]

I have questioned a very great number of imaginative persons, well known to me as such, and have chosen preferably those who, not making a profession of creating, let their fancy wander as it wills, without professional care. In all the mechanism is the same, differing scarcely more than temperament and degree of culture. Here are two examples.

B......, forty-six years of age, is acquainted with a large part of Europe, North America, Oceania, Hindoostan, Indo-China, and North Africa, and has not passed through these countries on the run, but, because of his duties, resided there some time. It is worthy of remark, as will be seen from the following observation, that the remembrance of such various countries does not have first place in this brilliant, fanciful personage--which fact is an argument in favor of the very personal character of the creative imagination.

"In a general way, imagination, very lively in me, functions by association of ideas. Memory or the outer world furnishes me some data. On this data there is not always, though there should be, imaginative work proper, and then things remain as they are, without end.

"But when I meet a construction--it matters little whether ancient or in the course of erection--the formula, 'That ought to be fixed,' is one that rises mechanically to my mind in such a case; often it happens that I think aloud and say it, although alone. When going away from the architectural subject[168] under consideration, I make up infinite variations upon it, one after another. Sometimes the things start from a reflex...."

After having noted his preference for the architecture of the Middle Ages, B...... adds (here he touches on the unconscious factor):

"Were I to explain or attempt to explain how the Middle Ages have such an attraction for my mind, I should see therein an atavistic accumulation of religious feeling fixed in my family, on the female side no doubt, and of religiousness in ecclesiastical architecture--these touch.

"Another example illustrating the role of association of ideas in the same matter. One Sunday night I left Noumea in the carriage of Dr. F...... who was going to visit a nunnery five leagues from there. At the moment of our arrival the doctor asked what time it was. 'Half-past two,' I said, looking at my watch. As we stopped in the convent court in front of the chapel I _heard_ the lusty conclusion of a psalm. 'They are singing vespers,' I remarked to the doctor. He commenced to laugh. 'What time are vespers sung in your town?' 'At half-past two,' I answered. I opened the chapel door in order to show the doctor that vespers had just been held: the chapel was vacant. As I stood there, somewhat non-plussed, the doctor remarked, 'Cerebral automatism.'

"I may add here, _by association_ of ideas. The doctor had seen through me, and had with fine insight perceived _why_ I had _heard_ the end of the psalm. The incident made a great impression on me, all the more as ever since the age of eight my memory testifies to a like hallucination, but of sight in place of hearing. It was at L...... that on Good Friday they rang at the cathedral with all their might. It was the very moment before the bells remain silent for three days, and it is known that this silence, ordained in the liturgy, is explained to children by telling them that during these two days the bells have flown to Rome. Naturally I was treated to this little tale, and as they finished telling it, I _saw_ a bell flying at an angle that I could still describe.

"But this transforming power of my imagination is not present in me to the same extent as regards all things. It is much more operative in relation to Romano-Gothic architecture, mystic literature, and sociological knowledge than in relation, for instance, to my memories of travels. When I see again, in the mind's eye, the Isle of Bourbon, Niagara, Tahiti, Calcutta, Melbourne, the Pyramids and the Sphinx, the graphic representation is intellectually perfect. The objects live again in all their external surroundings. I feel the _Khamsinn_, the desert wind that scorched me at the foot of Pompey's Column; I hear the sea breaking into foam on the barrier reef of Tahiti. But the image does not lead to evocation of related or parallel ideas.

"When, on the other hand, I take a walk over the Comburg moor, the castle weighs upon me in all its massiveness; the recollections of the _Memoires d'Outre-tombe_ besiege me like living pictures. I see, like Chateaubriand himself, the family of great famished lords in their feudal castle. With Chateaubriand I return in the twinkling of an eye to the Niagara that we have both seen. In the fall of the waters I find the deep and melancholy note that he himself found; and after that I think of that dark cathedral of Dol that evidently suggested to the author his _Genie du Christianisme_.

"In literature, things are very unequally suggestive to me. Classic literature has only few paths outwards for me--Tacitus, Lucretius, Juvenal, Homer, and Saint-Simon excepted. I read the other authors of this class partly for themselves, without making a comparison. On the other hand, the reading of Dante, Shakespeare, St. Jerome's compact verses on the Hebrew, and Middle Age prose excites within me a whole world of ideas, like Wagner's music, _canto-fermo_, and Beethoven. Certain things form a link for me from one order of ideas to another. For example, Michaelangelo and the Bible, Rembrandt and Balzac, Puvis de Chavannes and the Merovingian narratives.

"To sum up: There are in me certain _milieux_ especially favorable to imagination. When any circumstance brings me into one of them, it is rare that an imaginative network does not occur; and, if one is produced, association of ideas will perform the work. When I give myself up to serious work, I have to mistrust myself: and in this connection I shall surprise people when I say that in the class of ideas above indicated the subject exciting the most ideas in me is sociology."

M......, sixty years of age, artistic temperament. Because of the necessities of life, he has followed a profession entirely opposite to his bent. He has given me his "confession" in the form of fragmentary notes made day by day. Many are _moral_ remarks on the subject of his imagination--I leave them out. I note especially the unconquerable tendency to make up little romances and some details in regard to visual representation, and a dislike for numbers.

"It happens that I experience sharp regret when I see the photograph of a monument, e.g., the Pantheon, the proportions of which I have constructed according to the descriptions of the monument and the idea that I had of the life of the Greeks. The photograph mars my dream.

"From the seen to the unknown. In the S. G. library. A slender young woman, smartly dressed--spotless black gloves--between her fingers a small pencil and a tiny note-book. What business has this affectation this morning in a classic and dull building, in a common environment of poor workmen? She is not a servant-maid, and not a teacher. Now for the solution of the unknown. I follow the woman to her family, into her home, and it is quite a task.

"In the same library. I want to get an address from the _Almanach Bottin_. A young man, perhaps a student, has borrowed the ridiculous volume. Bent over it, his hands in his hair, he turns the leaves with the sage leisure of a scholar looking for a commentary. From the empty dictionary he often draws out a letter. He must have received this letter this morning from the country. His family advises him to apply to so-and-so. It is a question of money and employment. He must locate the people who, provincial ignorance said, are near him. And so goes the wandering imagination.

"When I feel myself drawn to anyone, I prefer seeing images or portraits rather than the reality. That is how I avoid making unforeseen discoveries that would spoil my model.

"If I make numerical calculations, in the absence of concrete factors, the imagination goes afield, and the figures group themselves mechanically, harkening to an inner voice that arranges them in order to get the sense.

"There may be an imagination devoted to arithmetical calculations--forms, beings intrude, even the outline of the figure 3, for example; and then the addition or any other calculation is ruined.

"I revert to the impossibility of making an addition without a swerve of imagination, because plastic figures are always ready before the calculator. The man of imagination is always constructing by means of plastic images.[169] Life possesses him, intoxicates him, so he never gets tired."

THE END

FOOTNOTES:

[167] See Conclusion, II, above.

[168] B...... is not an architect.

[169] We see that the speaker is a visualizer.

INDEX.

Absent images, Association of, 94.

Abstraction, 15; Late appearance of, 146.

Abulics, 11.

Activity, normal end of imagination, 11.

Adaptation of means to end, 264.

Advance plans in commerce, 288.

Adventure, Eras of, 287.

Affective states, Role of, 8.

Alcoholic liquors, 74.

Alembert, d', 87.

Alexander, 138, 142, 143.

Alfieri, 56.

Allen, 150.

Americans, change occupations, 257.

Analogy, 299; Abuse of, 305; based on qualitative resemblance, 26; essential to creative imagination, 25; not trustworthy in science, 27; Role of, in primitive life, 125; Thinking by, 117.

Anatomical conditions, 65.

Anger, 34.

Animal fancy, 97.

Animals, Association fibers or centers, lacking in, 100; Discoveries of, 98; Imagination in, 93, 94; Usefulness of, to man, 274.

Animism, 107, 189; of primitives, 123.

Anticipations of later inventions, 277.

Apollo, 50.

Apperception, Importance of, 16.

_Apprehensio simplex_, a logical figment, 110.

Arago, 145.

Aristotle, vi, 134, 141.

Art, Indefiniteness of modern, 203; Realistic, 250; Various theories of, 46.

Artificial motors, Use of, a late development, 275.

Aryan race, 129.

Association, 22, 23; Forms of, 196; Laws of, 23; of ideas, 59, 353; of ideas, Criticism of the term, 23; of ideas, Discovery depends on, 250; suggests cause, 261.

Associational systems, 67.

Astral influences, 261.

Asyllogistic deduction, 283.

Attention, 86.

Australians, 285.

Automatisms, 71.

Azam, 325.

Bach, 69, 214, 216.

Bacon, Roger, 245, 303 n.

Baillarger, Dr., 324.

Baldwin, 104.

Barter, 286.

Baudelaire, 39, 55.

Beethoven, 52, 71, 148, 218.

Bernard, Claude, 52; _idee directrice_ of, 250.

Binet, 340.

Bipartite division of the brain, 67.

Bismarck, 271.

Blood circulation, Importance of, 70.

Boehme, Jacob, 335.

Bonnal, 298 n.

Borgia, Lucretia, 139.

Bossuet, 225.

Boulogne, De, 283.

Bourdeau, L., 272.

Brain- development and abstraction, 100; regions, Development of, 67; weights, 66.

Bramwell, 343.

Breguet, 277.

Brown-Sequard, 77.

Buddha, Life of, 301.

Buffon, 52, 73.

Byron, 145.

Cabalists, 234.

Cabalistic mysticism, 226.

Cabanis, 78.

Campanella, 303.

Carlyle, 150, 186.

Carpenter, 284, 339.

Carthage, 282.

Categories of images, 16.

Causality, Search for, 260.

Charcot, 6.

Charlemagne, 138.

Chateaubriand, 76.

Chatterton, 145.

Cherubini, 145.

Child, Adult misinterpretation of, 104; Creative imagination in the, 103 ff.; Exaggeration of his intelligence, 115; Oscillation of belief and doubt in the, 113; Stages of development, 105.

Child-study, Difficulties of, 104.

Chopin, 52, 215.

Chorea, 101.

Cid, The, 140.

Classes of discoverers, 249.

Classification, 181.

Coleridge, 37.

Colored hearing, 38.

Columbus, Christopher, 89.

Commerce, Combative element in, 295.

Commercial imagination, Conditions of, 281; development due to increasing substitution, 287; development, Stages of, 285.

Common factor in comparison, 40.

Complementary scientists, 246.

Complete images impossible, 16.

Comte, 146.

Condillac, 243.

Confucius, 300.

Confusion of impressions, 18.

Conjecture, beginning of science, 245.

Conscious imagination, a special case, 58.

Constellation, 59, 126.

Constitutions by philosophers, 309.

Contiguity and resemblance, 24.

Contrapuntists, 214.

Contrast, Association by, 40.

Cooperation, 309; of intellect and feeling, 43.

Copernicus, 246.

Counter-world, 304.

Creation hindered by complete redintegration, 22; in physiological inhibition, 6; Motor basis of, 258; Physiological and imaginative, 76; versus repetition, 5.

Creative imagination, a growth, 9; Composite character of, 12; conditioned by knowledge, 173; either esthetic or practical, 44; implies feeling, 32; Neglect of, by writers on psychology, vii; Reasons for, 313.

Creative instinct, non-existent, 42.

Crisis, not essential, 58.

Critical stage of investigation, 252.

Cromwell, 144.

Cumulative inventions, 272.

Curiosity, 99; of primitive man, 45, 131.

Cuvier, 183.

Daedalus, 269.

Dante, 205.

Darwin, 117, 346.

Dauriac, 350.

Deduction, Process of, 283.

Deffant, Madame du, 48.

Deities, Coalescence of, 200; Momentary, 199; Multiplicity of Roman, 125.

Delboef, 342.

DeQuincy, 55.

Descartes, 73, 294.

Determinism, Neglect of, by idealists, 303; of art, 278; of invention, 264.

Dewey, John, 132 n.

_Dialectic_, Hegelian, 254.

Diffluent imagination, 196 ff.

_Dii minores_, 269.

Disinterestedness of the artist, 35.

Dissociation, 15, 268; by concomitant variations, 21; of series, 19.

Double personality, 325.

Dreams, 38; Emotional persistence of, 324.

Drugs, Effect of, 55; Use of, as excitants, 70.

Dualism of Fourier, 306.

Duerer, 145.

Egypt, 135.

Egyptian conception of causality, 260.

Emotion, and sensation, 38; material for imagination, 33; presupposes unsatisfied needs, 32; Realization of, 80.

Emotional abstraction, 196; factor, 31 ff.

Empedocles, 136.

Epic, Rise of the, 138.

Essenes, 307.

Esthetic imagination, contrasted to mechanical, 264; Fixity of, 264.

Ethics, Living and dead, 302.

Euclid, 244, 245.

Eureka, Moment of, 247, 302.

Evolution of commerce, Law's statement of, 294.

Exact knowledge requisite in commerce, 289.

Expansion of self, 314.

Experience requisite for literary invention, 146.

External factors, 21.

Facts and general ideas, 252.

Faith, 112; -cure, 6; highest in semi-science, 241; Role of, 7.

Fancy, 346; in animals, 97; Source of, 260.

Fear, 34.

Fenelon, 303.

Fere, 325, 340.

Fiduciary money, 286.

Fixed ideas, 88, 89.

Flechsig, 67, 68, 100, 103.

Flournoy, 38, 344.

Forel, 96.

Fouillee, 193.

Fourier, 304.

French, not strong in imagination, 193; Revolution, 151.

Fresnel, 145.

Fromentin, 17.

Froschammer, 75, 346.

Fuegians, 285.

Gauss, 69, 183.

Gautier, Theophile, 55, 189, 190.

Gavarni, 187.

Generic image, 18.

Genius, and brain structure, 68; depends on subliminal imagination, 57; exceptional, 149; No common measure of, 143.

Geniuses, of judgment, 142; of mastery over men, and matter, 142.

Gilman, 219 n.

Gnostics, 234.

Goethe, 29, 149, 150, 216.

Gold, Curative powers of, 261.

Goncourt, 74.

Goya, 39, 206.

Greece, 282.

Greek republics, 151.

Gretry, 73.

Grillparzer, 85, 336.

Groos, 35, 47, 99, 227.

Guericke, Otto de, 276.

Habits, 22.

Hamilton, 19, 58, 60.

Handel, 145.

Hanseatic League, 287.

Harrington, 303.

Hartmann, 254, 346.

Hauey, 247.

Haydn, 145.

Hegel, 254, 346.

Heine, 306.

Hellenic imagination, anthropomorphic, 202.

Helmholtz, 20, 87, 142.

Henry IV, 139.

Hephaestos, 269.

Hercules, 137.

Hero, 270.

Herodotus, 260.

Hesiod, 130.

Hindoo imagination, symbolic, 202.

Hindoos, 128.

Hodgson, 35.

Hoeffding, 41.

Hoffman, 39, 206.

_Homo duplex_, 43.

Homonomy, 120.

Howe, 60 n.

Huber, 96.

Hugo, Victor, 188, 189, 216, 229; Animism in, 189.

Human force, beginning of invention, 273.

Hume, 111.

Huyghens, 270.

Hyperaemia, 70.

Hyperesthesia, Temporary, 74.

Hypermnesia, 54.

Hypothesis, 251; Progressive, 244.

Icarus, 269.

Idea and emotion, Equivalence of, 80.

Ideal modified in practice, 306.

Idealistic conceptions, 300.

Idealization, Process of, 38.

Illusion, 107; and legend, 137; Conscious, of mystic, 228.

Illusions, valuable to scientist, 251.

Image, Modification of, 18, 291.

Images, 80; abbreviations of reality, 232; Categories of, 16; Concrete, 222; provoked, 188; sketched type, 81; Symbolic, 222; Visual, provoked by music, 217.

Imagination, and abulia, 11; and foresight, 284; anthropocentric, 10; basis of the cosmic process, 75; Commercial, 281; complete in animals, 95; condensed in common objects, 276; Conditions of, 44; Development of, 167 ff.; Diffluent, 196 ff.; Esthetic, 264; fixed form, 318; in animals, 93; in experimentation, 248; in primitive man, 118; Mechanical and technical, 257; Motives of different sorts of, 251; Musical, 212 ff., 350; Mystic, 221 ff.; Mystical, different from religious, 231; not opposed to the useful, 263; Numerical, 207 ff.; Periods of development of, 144; Plastic, 184 ff.; Poetical, 267; Practical, 256 ff.; present in all activities, viii; Quality of, same in many lives, 265; Scientific, 236 ff.; sketched form, 316; substitute for reason, 29; Varieties of, 180.

Imaginative type, 320.

Imitation, through pleasure, 98.

Imitative music, 214.

Impersonality, 52, 86.

Incomplete images, 18.

Incubation, Periods of, 278.

Individual variations, 179.

Individuality of genius, 149.

Inductive reasoning, 132.

Infantile insanity, 101.

Inhibition by representation, 6.

Initial moment of discovery, 276.

Inspiration, 50, 85; and intoxication, 55; Characteristic of, 57; characterized by suddenness and impersonality, 51; resembles somnambulism, 56; Subjective feeling of, untrustworthy, 59.

Instinct, 75; answer to specific needs, 42; Creative, 313; Resemblance of invention to, 48.

Intellectual factor, 15.

Intuition, 282, 285.

Introspectors, 321.

Intentional combination of images, 95.

Interest, a factor in creation, 82.

Interesting, defined, 36.

Invention arises to satisfy a need, 271; Higher forms of, 140 ff.; in morals, 300; in successive parts, 296; of monopolies, 282; Pain of, 51; Spontaneity of, 51; subjected to tradition, 269.

Inventions, Amplifiers of, 270; largely anonymous, 275; Mechanical, neglected by psychologists, 263; Stratification of, 272.

Inventors deified, 269; Oddities of, 72.

James, William, 21, 25, 37, 83, 112.

Janet, 340.

Jealousy, stimulates imagination, 34.

Jordaens, 145.

Joy, 34.

Kant, 248.

Kepler, 246, 247.

Klopstock, 215.

Kuehn, 129.

Lagrange, 71.

Lamennais, 73.

Lang, 128, 261.

Language, Origin of, 120.

Laplace, 250.

Larvated epilepsy, 141.

Lavoisier, 246.

Law, 294.

Lazarus, 47.

Leibniz, 73, 74, 146, 253, 296 n.

Lelut, 141.

Leurechon, 277.

Liebig, 244.

Linnaeus, 183.

Literal mysticism, 226.

Localization, 65.

Loch Lomond, 58.

Locke, 309.

Lombroso, 141, 142.

Louis XIV, 150.

Love, 34; and hate, 134.

Love-plays, 99.

Machiavelli, 73.

Machines, counterfeits of human beings, 279.

Man and animals, Specific quality of, 273.

Manu, 300.

Mastery, Spirit of, 114.

Materials of imagination, 299.

Maury, A., 6 n.

Mechanic and poet, 279.

Mechanical aptitude, 145.

Mechanical imagination, Ideal of, 268.

Mediate association, 59.

Memory, Predominant tendencies in, 61; untrustworthy, 17.

Men, Great, as makers of history, 150.

Mendelssohn, 145, 213 n., 215, 216.

Mental chemistry, 82.

Merchant sailors, 282.

Metamorphosis, 28; of deities, 129; Regressive, 171.

Metaphysical speculation, 251; thought, Stages of, 252.

Metaphysics, 252 ff.

Methods of invention, 243.

Meynert, 100.

Michaelangelo, 145, 148, 149.

Michelet, 186, 306.

Middle Ages, predominantly imaginative, 174.

Military invention, 295; Conditions of, 297.

Mill, John Stuart, 82, 284.

Milton, 73.

Mimicry, 98.

Mind, Varieties of, 320.

Mission, Consciousness of, 148.

Misunderstanding of the new, 151.

Mobility of inventors, 258.

Monadology, 253.

Money, Invention of, 286; sought as an end, 289.

Monge, 237.

Moses, 300.

More, 303, 309.

Morgan, Lloyd, 99.

Mormons, 307.

Monoideism, 87.

Montgolfier, 277.

Moral geniuses, 301.

Moravian brotherhood, 307.

Mosso, 71, 340.

Motor elements in all representation, 4; elements, Role of, 7; manifestation basis of creation, 9.

Movements, Importance of, in imagination, 3.

Mozart, 73, 145.

Mueller, Max, 120, 129, 130.

Mummy powder, 261.

Muensterberg, 60.

Muses, 50.

Music an emotional language, 220; Precocity in, 144.

Musical imagination, 212, 350.

Musset, Alfred de, 335.

Myers, 342.

Mystic imagination, 221 ff., 335.

Mystics, Abuse of allegory, by, 225; Belief of, 227; Metaphorical style of, 224.

Mysticism by suggestion, 229.

Myth, defined, 123; Depersonification of, 133; in Plato, 134; in science, 134; Subjective and objective factors in, 122.

Myths, Significance of, 119; Variations in, 127.

Myth-making activity, viii, 331.

Napoleon, 10, 66, 71, 142; his war practice, 298.

Natural, and human phenomena, 299; law, Uniformity of, opposed to dissociation, 21; motors, Use of, 275.

Naville, 245.

Need of knowing, 314.

Neglect of details in sensation, 20.

Nerval, Gerard de, 229, 324.

Nervous overflow, 71.

New Larnak, 309.

Newbold, 340.

Newcomen, 270.

Newton, 58, 87, 146.

Nietzsche, 150.

_Nomina Numina_, 120, 262.

Nordau, 142.

Numerical imagination, 207 ff.; mysticism, 226; series unlimited, 207.

Objective study of inventors, 71.

Oddities of inventors, 72.

Oelzelt-Newin, 33, 95.

Old age, Effect of, on imagination, 77.

Organic conditions, 65.

Orientation conditioned by individual organization, 48; Personal, 270.

Owen, Robert, 309.

Paradox of belief, 242.

Paralysis by ideas, 6.

Pascal, 146, 244.

Pasteur, 142, 143, 251.

Pathological view of genius, 141.

Pathology and physiology, 74.

Perception, 15; and conception, 184; and imagination, 106.

Perez, B., 115.

Persistence of ideas due to feeling, 79.

Personification, 186; characteristic of aborigines and children, 27; source of myth, 28.

Phalanges, Organization of society into, 305.

Philippe, J., 17 n.

Philosophy, a transformation of mystic ideas, 233.

Phlogiston, 248.

Physiological states, 70.

Physiology and pathology, 74.

Plastic art and mythology, 191; imagination, 184 f.

Plato, 134, 303, 309.

Platonic ideas, 81, 253.

Play, 47, 97; Uses of, for man, 114.

Plotinus, 234.

Poe, 39, 206, 324.

Poet, a workman, 190.

Poetical imagination, general characters, 267; Inspiration in, 268; special characters, 270.

Poetical invention, Stages of, 266.

Polyideism, 87.

Polynomy, 120.

Poncelet, 143.

Positive minds, 318.

Powers of nature, Exploitation of 271.

Practical imagination, Ubiquity of, 254.

Practice, essential in motor creation, 186.

Precocity, 144; in poetry, 145; of mathematicians, 147.

Pre-Raphaelites, 204.

Preyer, 117.

Primitive man, 45; and myth, 118 ff.

Principle of unity, 250.

Progressive stages of imagination, 84.

Prometheus, 269.

Provoked revival, 94.

Pseudo-science, 240.

Psychic atoms, 19; paralysis, 6.

Psychological regressions, 248.

Puberty, Influence of, on imagination, 76.

Pythagoras, 226, 246.

Pythagoreans, 134.

Qualities, Attribution of, to objects, 124.

Raphael, 145.

Rational Metaphysics, 234.

Reason, Objectivity of, 10.

Reciprocal working of scientific and practical discoveries, 249.

Recuperative theory of play, 97.

Redintegration, Law of, 19; Total, 36.

Regis, 54.

Religion, Universality of, 128.

Renaissance, 151, 175.

Reni, Guido, 73.

Repetition versus creation, 5, 23.

Representation and belief inseparable, 110.

Representations, Interchange of, 323; Number of, 322.

Revery, 38, 198, 316.

Reymond, Du Bois, 52.

Reynolds, 6, 325.

Roland, 138.

Roman Republic, 151.

Romans, 125.

Romanes, 94, 95, 96.

Romantic invention, 115.

Roentgen, 142.

Rossini, 73.

Rousseau, 309.

Rubens, 145.

Ruedinger, 69.

Saint-Simonism, 309.

Sand, George, 52, 215.

Satanic literature, 206.

Schelling, 253.

Schematic images, 18, 291.

Schiller, 47, 72, 73, 145.

Schopenhauer, 37, 149, 150, 253, 346.

Schubert, 145.

Schumann, 215.

Science, 45; Conjecture beginning of, 245; prescribes conditions and limits to imagination, 236; Three movements in growth of, 239.

Scientific imagination, 236 ff.

Scripture, 60.

Self-feeling, 35.

Semi-science, 240.

Seneca, 141.

Sensation changed in memory, 17.

Sensorial insanity, 101.

Sexual instinct, 314.

Shakers, 307.

Shakespeare, 143, 186.

Shelly, 56.

Social aims in finance, 294; invention, limited by the past, 308; wants, 314.

Socialism, Utopian and scientific, 310.

Societies for special ends, 307.

Sorrow, 34.

Special modes of scientific imagining, 237.

Specific, not general imagination, 179.

Spencer, 47, 131, 150.

Spinoza, 110, 143, 254.

Spirits, Belief in, 51.

Spontaneity, 296.

Spontaneous revival, 94, 315.

Spontaneous variations, 140.

Stages of passage from percept to concept, 292.

Stallo, 134.

State credit, Law's system of, 294.

Stewart, Dugald, 111.

Stigmata, etc., unprecedented in individual's experience, 7.

Stigmatized individuals, 6.

Subjective factors, 20.

Subliminal imagination, 57.

Sully, 21.

_Summa_, 254.

Summary, 330.

Superstition and religion, 259.

Symbolism of Hindoos, 202.

Taine, 18, 111, 117, 129, 150, 200.

Teleological character of will and imagination, 10.

Thales, 134.

Titchener, 83.

Tolstoi, 151.

Tools, 274.

Tours, Moreau de, 55, 78, 141.

Triptolemus, 269.

Tropisms, 75.

Tycho-Brahe, 73, 246, 270.

Tylor, 99, 123, 125, 131, 139.

Tyndall, 238.

Tyre, 282.

Unconscious, Nature of the, 339; physiological theory, 340, 341.

Unconscious cerebration, 53; factor, 50 ff.; factor, not a distinct element in invention, 64.

Units of exchange, 286.

Unity, Principle of, 79.

_Universale post rem_, 84.

Utopias, based on author's _milieu_, 303.

Utopian imagination, 299.

Utopians, indifferent to realization, 309.

Van Dyck, 145.

Vaucanson, 48.

Vedic epoch, 129.

Vesication, 5, 7.

Vicavakarma, 269.

Vico, 174.

Vignoli, 128.

Vinci, Leonardo da, 58, 149.

_Vis a fronte_ and _a tergo_, 11.

Vocation, Change of, 172; Choice of, 144.

Voltaire, 150.

Voluntary activity analogous to creative imagination, 9.

Von Baer, 210.

Von Hartmann, 224.

Wagner, 145.

Wahle, 62.

Wallace, 96, 99.

Wallaschek, 99.

Watch, Evolution of the, 270.

Watt, James, 66, 244, 270.

Wealth, desired from artistic motives, 290.

Weber, E. F., 5, 145, 216.

Weismann, 148.

Wernicke, 100.

Wiertz, 39, 206.

Will, The broad meaning of, 112; a coordinating function, 9; Effect of, on physiological functioning, 5.

Words, Role of, 96.

Wundt, 24, 40, 182.

Zeller, 226.

Ziehen, 61, 62.

Zoroaster, 300.

+--------------------------------------------------------------+ | Transcriber's Notes: | | | | Page 23: Fn. 8: Phychology amended to Psychology | | Page 25: Missing footnote marker in original. Added | | footnote marker after James quote. | | Page 35: casual amended to causal | | Page 38: haphazard amended to haphazardly; grouping amended | | to groupings | | Page 39: subejct amended to subject | | Page 54: vender _sic_ | | Page 56: "Under the influence of alcoholic drinks and of | | poisonous intoxicants attention and will always fall into | | exhaustion." _sic_ Possibly the word "does" or similar | | is missing before "and," or "and" is superfluous. | | Page 55: subtances amended to substances | | Page 75: images amended to image | | Page 84: unisersale amended to universale | | Page 85: The following lines transposed: "which, for the | | time being, should represent the" and "all the forces and | | capacities upon a single point" | | Page 123: fill amended to fills | | Page 151: duplicate "the" removed ("the the deep working of | | the masses") | | Page 155: Section II amended to IV | | Page 163: Section III amended to V | | Page 193: Saxin amended to Saxon | | Page 200: everyone amended to every one | | Page 208: apalling amended to appalling | | Page 213: Missing footnote marker in original. Added | | footnotemarker after last paragraph on page. | | Page 226: caballists amended to cabalists | | Page 229: plant and tree amended to plants and trees | | Page 236: In Chapter IV, "The Scientific Imagination," there | | are sections II, III, IV and V, but no section I. | | Page 250: dyssymetry amended to dyssymmetry | | Page 280: Missing footnote marker in original. Added | | footnote marker after "... inorganic life." | | Page 286: Fn. 132: Evolution amended to Evolution | | Page 292: acording amended to according | | Page 294: managable amended to manageable | | Page 297: opoprtune amended to opportune | | Page 319: or amended to of ("the double of savages") | | Page 321: quintescence amended to quintessence | | Page 338: Footnote marker and number added to note on page. | | Footnote marker added at end of first paragraph. | | Page 348: quivalent amended to equivalent | | Page 351: l'Opera amended to l'Opera | | Page 365: Lammennais amended to Lamennais | | Page 365: Michelangelo amended to Michaelangelo | | | | Part II, Chapter II: The chapter heading in the table of | | contents differs from that shown on page 102. Left as is. | | | | Accented letters, italicisation and the punctuation of | | abbreviations have been standardised. | | | | Where a word is spelt differently and there is an equal | | number of instances, the variant spellings have been left as | | is: Hephaestos/Hephaestos; Jordaens/Jordaens; | | Linnaeus/Linnaeus. | +--------------------------------------------------------------+

End of Project Gutenberg's Essay on the Creative Imagination, by Th. Ribot