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To wake the morn and sentinel the night,

        To wrong the wronger till he render right;  To ruinate proud buildings with thy hours,

        And smear with dust their glittering golden towers.”

      To wrong the wronger till he render right. Here is a historical cycle worthy of the imagination of Shakespere, yea, worthy of the creative imagination of our God—the God who made the Shakespere with the imagination, as well as evolved the history from the laws which that imagination followed and found out.

      In full instance we would refer our readers to Shakespere’s historical plays; and, as a side-illustration, to the fact that he repeatedly represents his greatest characters, when at the point of death, as relieving their overcharged minds by prophecy. Such prophecy is the result of the light of imagination, cleared of all distorting dimness by the vanishing of earthly hopes and desires, cast upon the facts of experience. Such prophecy is the perfect working of the historical imagination.

      In the interpretation of individual life, the same principles hold; and nowhere can the imagination be more healthily and rewardingly occupied than in endeavouring to construct the life of an individual out of the fragments which are all that can reach us of the history of even the noblest of our race. How this will apply to the reading of the gospel story we leave to the earnest thought of our readers.

      We now pass to one more sphere in which the student imagination works in glad freedom—the sphere which is understood to belong more immediately to the poet.

      We have already said that the forms of Nature (by which word forms we mean any of those conditions of Nature which affect the senses of man) are so many approximate representations of the mental conditions of humanity. The outward, commonly called the material, is informed by, or has form in virtue of, the inward or immaterial—in a word, the thought. The forms of Nature are the representations of human thought in virtue of their being the embodiment of God’s thought. As such, therefore, they can be read and used to any depth, shallow or profound. Men of all ages and all developments have discovered in them the means of expression; and the men of ages to come, before us in every path along which we are now striving, must likewise find such means in those forms, unfolding with their unfolding necessities. The man, then, who, in harmony with nature, attempts the discovery of more of her meanings, is just searching out the things of God. The deepest of these are far too simple for us to understand as yet. But let our imagination interpretive reveal to us one severed significance of one of her parts, and such is the harmony of the whole, that all the realm of Nature is open to us henceforth—not without labour—and in time. Upon the man who can understand the human meaning of the snowdrop, of the primrose, or of the daisy, the life of the earth blossoming into the cosmical flower of a perfect moment will one day seize, possessing him with its prophetic hope, arousing his conscience with the vision of the “rest that remaineth,” and stirring up the aspiration to enter into that rest:

        “Thine is the tranquil hour, purpureal Eve!

        But long as godlike wish, or hope divine,

        Informs my spirit, ne’er can I believe

        That this magnificence is wholly thine!

        —From worlds not quickened by the sun

        A portion of the gift is won;

        An intermingling of Heaven’s pomp is spread

        On ground which British shepherds tread!”

      Even the careless curve of a frozen cloud across the blue will calm some troubled thoughts, may slay some selfish thoughts. And what shall be said of such gorgeous shows as the scarlet poppies in the green corn, the likest we have to those lilies of the field which spoke to the Saviour himself of the care of God, and rejoiced His eyes with the glory of their God-devised array? From such visions as these the imagination reaps the best fruits of the earth, for the sake of which all the science involved in its construction, is the inferior, yet willing and beautiful support.

      From what we have now advanced, will it not then appear that, on the whole, the name given by our Norman ancestors is more fitting for the man who moves in these regions than the name given by the Greeks? Is not the Poet, the Maker, a less suitable name for him than the Trouvère, the Finder? At least, must not the faculty that finds precede the faculty that utters?

      But is there nothing to be said of the function of the imagination from the Greek side of the question? Does it possess no creative faculty? Has it no originating power?

      Certainly it would be a poor description of the Imagination which omitted the one element especially present to the mind that invented the word Poet.—It can present us with new thought-forms—new, that is, as revelations of thought. It has created none of the material that goes to make these forms. Nor does it work upon raw material. But it takes forms already existing, and gathers them about a thought so much higher than they, that it can group and subordinate and harmonize them into a whole which shall represent, unveil that thought. [Footnote: Just so Spenser describes the process of the embodiment of a human soul in his Platonic “Hymn in Honour of Beauty.”

        “She frames her house in which she will be placed

        Fit for herself....

        And the gross matter by a sovereign might

        Tempers so trim....

        For of the soul the body form doth take;

        For soul is form, and doth the body make.”]

      The nature of this process we will illustrate by an examination of the well-known Bugle Song in Tennyson’s “Princess.”

      First of all, there is the new music of the song, which does not even remind one of the music of any other. The rhythm, rhyme, melody, harmony are all an embodiment in sound, as distinguished from word, of what can be so embodied—the feeling of the poem, which goes before, and prepares the way for the following thought—tunes the heart into a receptive harmony. Then comes the new arrangement of thought and figure whereby the meaning contained is presented as it never was before. We give a sort of paraphrastical synopsis of the poem, which, partly in virtue of its disagreeableness, will enable the lovers of the song to return to it with an increase of pleasure.

      The glory of midsummer mid-day upon mountain, lake, and ruin. Give nature a voice for her gladness. Blow, bugle.

      Nature answers with dying echoes, sinking in the midst of her splendour into a sad silence.

      Not so with human nature. The echoes of the word of truth gather volume and richness from every soul that re-echoes it to brother and sister souls.

      With poets the fashion has been to contrast the stability and rejuvenescence of nature with the evanescence and unreturning decay of humanity:—

        “Yet soon reviving plants and flowers, anew shall deck the plain;

        The woods shall hear the voice of Spring, and flourish green again.

        But man forsakes this earthly scene, ah! never to return:

        Shall any following Spring revive the ashes of the urn?”

      But our poet vindicates the eternal in humanity:—

        “O Love, they die in yon rich sky,

           They faint on hill or field or river:

            Our echoes roll from soul to soul,

              And grow for ever and for ever.

        Blow, bugle, blow, set the wild echoes flying;

        And answer, echoes, answer, Dying, dying, dying.”

      Is not this a new form to the thought—a form which makes us feel the truth of it afresh? And every new embodiment of a known truth must be a new and wider revelation. No man is capable of seeing for himself the whole of any truth: he needs it echoed back to him from every soul in the universe; and still its centre is hid in the Father of Lights. In so far,

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