LITMIR.BIZ

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      This is a new embodiment, certainly, whence he who gains not, for the moment at least, a loftier feeling of death, must be dull either of heart or of understanding. But has Shelley created this figure, or only put together its parts according to the harmony of truths already embodied in each of the parts? For first he takes the inventions of his fellow-men, in glass, in colour, in dome: with these he represents life as finite though elevated, and as an analysis although a lovely one. Next he presents eternity as the dome of the sky above this dome of coloured glass—the sky having ever been regarded as the true symbol of eternity. This portion of the figure he enriches by the attribution of whiteness, or unity and radiance. And last, he shows us Death as the destroying revealer, walking aloft through, the upper region, treading out this life-bubble of colours, that the man may look beyond it and behold the true, the uncoloured, the all-coloured.

      But although the human imagination has no choice but to make use of the forms already prepared for it, its operation is the same as that of the divine inasmuch as it does put thought into form. And if it be to man what creation is to God, we must expect to find it operative in every sphere of human activity. Such is, indeed, the fact, and that to a far greater extent than is commonly supposed.

      The sovereignty of the imagination, for instance, over the region of poetry will hardly, in the present day at least, be questioned; but not every one is prepared to be told that the imagination has had nearly as much to do with the making of our language as with “Macbeth” or the “Paradise Lost.” The half of our language is the work of the imagination.

      For how shall two agree together what name they shall give to a thought or a feeling. How shall the one show the other that which is invisible? True, he can unveil the mind’s construction in the face—that living eternally changeful symbol which God has hung in front of the unseen spirit—but that without words reaches only to the expression of present feeling. To attempt to employ it alone for the conveyance of the intellectual or the historical would constantly mislead; while the expression of feeling itself would be misinterpreted, especially with regard to cause and object: the dumb show would be worse than dumb.

      But let a man become aware of some new movement within him. Loneliness comes with it, for he would share his mind with his friend, and he cannot; he is shut up in speechlessness. Thus

      or the first moment of his perplexity may be that of his release. Gazing about him in pain, he suddenly beholds the material form of his immaterial condition. There stands his thought! God thought it before him, and put its picture there ready for him when he wanted it. Or, to express the thing more prosaically, the man cannot look around him long without perceiving some form, aspect, or movement of nature, some relation between its forms, or between such and himself which resembles the state or motion within him. This he seizes as the symbol, as the garment or body of his invisible thought, presents it to his friend, and his friend understands him. Every word so employed with a new meaning is henceforth, in its new character, born of the spirit and not of the flesh, born of the imagination and not of the understanding, and is henceforth submitted to new laws of growth and modification.

      “Thinkest thou,” says Carlyle in “Past and Present,” “there were no poets till Dan Chaucer? No heart burning with a thought which it could not hold, and had no word for; and needed to shape and coin a word for—what thou callest a metaphor, trope, or the like? For every word we have there was such a man and poet. The coldest word was once a glowing new metaphor and bold questionable originality. Thy very ATTENTION, does it not mean an attentio, a STRETCHING-TO? Fancy that act of the mind, which all were conscious of, which none had yet named,—when this new poet first felt bound and driven to name it. His questionable originality and new glowing metaphor was found adoptable, intelligible, and remains our name for it to this day.”

      All words, then, belonging to the inner world of the mind, are of the imagination, are originally poetic words. The better, however, any such word is fitted for the needs of humanity, the sooner it loses its poetic aspect by commonness of use. It ceases to be heard as a symbol, and appears only as a sign. Thus thousands of words which were originally poetic words owing their existence to the imagination, lose their vitality, and harden into mummies of prose. Not merely in literature does poetry come first, and prose afterwards, but poetry is the source of all the language that belongs to the inner world, whether it be of passion or of metaphysics, of psychology or of aspiration. No poetry comes by the elevation of prose; but the half of prose comes by the “massing into the common clay” of thousands of winged words, whence, like the lovely shells of by-gone ages, one is occasionally disinterred by some lover of speech, and held up to the light to show the play of colour in its manifold laminations.

      For the world is—allow us the homely figure—the human being turned inside out. All that moves in the mind is symbolized in Nature. Or, to use another more philosophical, and certainly not less poetic figure, the world is a sensuous analysis of humanity, and hence an inexhaustible wardrobe for the clothing of human thought. Take any word expressive of emotion—take the word emotion itself—and you will find that its primary meaning is of the outer world. In the swaying of the woods, in the unrest of the “wavy plain,” the imagination saw the picture of a well-known condition of the human mind; and hence the word emotion. [Footnote: This passage contains only a repetition of what is far better said in the preceding extract from Carlyle, but it was written before we had read (if reviewers may be allowed to confess such ignorance) the book from which that extract is taken.]

      But while the imagination of man has thus the divine function of putting thought into form, it has a duty altogether human, which is paramount to that function—the duty, namely, which springs from his immediate relation to the Father, that of following and finding out the divine imagination in whose image it was made. To do this, the man must watch its signs, its manifestations. He must contemplate what the Hebrew poets call the works of His hands.

      “But to follow those is the province of the intellect, not of the imagination.”—We will leave out of the question at present that poetic interpretation of the works of Nature with which the intellect has almost nothing, and the imagination almost everything, to do. It is unnecessary to insist that the higher being of a flower even is dependent for its reception upon the human imagination; that science may pull the snowdrop to shreds, but cannot find out the idea of suffering hope and pale confident submission, for the sake of which that darling of the spring looks out of heaven, namely, God’s heart, upon us his wiser and more sinful children; for if there be any truth in this region of things acknowledged at all, it will be at the same time acknowledged that that region belongs to the imagination. We confine ourselves to that questioning of the works of God which is called the province of science.

      “Shall, then, the human intellect,” we ask, “come into readier contact with the divine imagination than that human imagination?” The work of the Higher must be discovered by the search of the Lower in degree which is yet similar in kind. Let us not be supposed to exclude the intellect from a share in every highest office. Man is not divided when the manifestations of his life are distinguished. The intellect “is all in every part.” There were no imagination without intellect, however much it may appear that intellect can exist without imagination. What we mean to insist upon is, that in finding out the works of God, the Intellect must labour, workman-like, under the direction of the architect, Imagination. Herein, too, we proceed in the hope to show how much more than is commonly supposed the imagination has to do with human endeavour; how large a share it has in the work that is done under the sun.

      “But how can the imagination have anything to do with science? That region, at least, is governed by fixed laws.”

      “True,” we answer. “But how much do we know of these

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