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Thus, you see, that an image may be reproduced in Imagination, but not recognized or identified with any particular object previously experienced. Likewise, it may be reproduced in Imagination without being “localized” according to time and place. Thus true reproductive imaginative images may exist without involving the third and fourth essential elements of Memory. In short, while Memory involves the four respective elements of Retention, Reproduction, Recognition, and Localization, the process of Reproductive Imagination involves but two of these elements, viz., Retention and Reproduction, respectively. The representative stream of MemoryImagination divides into two streams just before the third stage (i. e., Recognition) is reached by Memory, and quite a bit before the fourth stage (i. e., Localization) is neared.
But though the stream of Imagination lacks the two additional elements of Memory, it takes on new and more complex powers of its own—powers lacking in the case of Memory. As the stream flows on, Reproductive Imagination may become transformed into what is known as “Constructive Imagination”: this by the exercise of certain powers inherent in the nature of Imagination. Constructive Imagination is that phase of the imaginative activities which is generally regarded as being typical of Imagination in general; in fact, it is the only phase of Imagination known as “Imagination” to most persons.
CATEGORIES OF IMAGINATION. The imaginative processes are classified into two respective categories, as follows, (1) Reproductive Imagination, and (2) Constructive Imagination.
Reproductive Imagination, which we have just considered, consists merely of mental reproduction of images of past experiences—an exercise of reminiscent imaging power, differing little if any from the representative or reproductive activities of Memory. Constructive Imagination, on the contrary, consists of (a) reproductive imaginative images, (b) subjected to the additional process of reconstruction, recombination, and re-adaptation.
Reproductive Imagination represents merely the images corresponding to particular past experience. Constructive Imagination, on the contrary, represents images of past experience—not in their original form, however, but instead recombined, rearranged, reconstructed, and readapted, thus forming a composite or complex mental image of things not previously experienced as “wholes” by the mind producing them; and often even of things having no actual existence as “wholes” in the external world. Thus, Constructive Imagination may form a mental image of a house, bridge, railway system, ship, etc., not yet built; or it may form a mental image of centaurs, wingedsteeds, mermaids, wingedangels, Satanic forms with hoofs, horns and tails—which are entirely out of the realm of actual human experience.
In Constructive Imagination we have a most important element of the constructive intellectual work performed by the mind of man. Without it certain phases of reasoning would be impossible. Without it, the psychological processes of association would not be manifested. Without it, the inventive faculties could not function. Without it, there could be no artistic creation. Without it, there could be no progress, no improvement, no discovery of new relations, no creative thought, no adaptation of old things to new uses and new ends. As Halleck says: “The products of the ConstructiveImagination have been the only steppingstones for material progress. The Constructive Imagination of primeval man, aided by thought, began to conquer the world. The chimney, the stagecoach, the locomotive, are successive milestones, showing the progressive march of the Imagination.”
Constructive Imagination may be said to have two phases, viz., (1) Passive Construction, or the employment of the constructive powers of the imagination along the lines of pure fancy, or idle “day dreaming”; and (2) Active Construction, or employment of the constructive powers of the imagination along the lines of definite, purposeful, creative effort.
In Passive Construction, the Imagination may dally with the reminiscent images of past experiences, rearranging and recombining them into new forms—picturing idly the “might have been” aspects of those experiences, and indulging in imaginative fancyings in which the past experiences are transformed into other experiences of a more agreeable or more exciting nature. Or, in the same way the Imagination may project itself into the future of the life of the individual, indulging in “day dreams” in which are anticipated or “imagined” the possible experiences of that future. Or, again, it may passively permit the stream of “imaginative images”—the movingpicture film of Fancy—to pass before its vision, picturing (as in a play or story) the various movements of actors, the various scenes, actions, voices, situations of the imaginative play or story; here the whole picture is composed of a series of separate though connected pictures (as in the movingpicture connected film), seen as an actual continuous movement.
This Passive Construction has about it many of the characteristic qualities of the dreamstates, in which the Imagination “runs itself” without any special direction. Many cases of its activity have well been called “daydreams”, for they, indeed, are practically composed of “the stuff that dreams are made of.” The imaginative stream flows along, obeying merely the law of association, and lacking direction or voluntary guidance. Or, stating it otherwise, the boat of Imagination is allowed to drift along, aimlessly, without the use of the helm—the pilot being wrapped in sleep or reverie.
Those who can see in Constructive Imagination merely the passive phases just noted, are perhaps justified in their sneers at “mere imagination”—for they judge only by what they see in that category. Those, on the other hand, who realize the tremendous importance of Active Constructive Imagination in the intellectual life of the individual, may well be pardoned for indignantly refuting the charges of the firstnamed critics, and for terming them “ignorant and thoughtless critics of that with which they have never met in their own experience.” Each is right according to his own viewpoint—but the viewpoints are as far apart as the poles. Yet the two poles of anything, at the last, are perceived to be necessary parts of a unified whole.
Let us endeavor to illustrate the case of Imagination by reference to the betterknown phases of Will—here we shall find a surprising analogy—one not generally recognized. We ask you to give careful attention and thought to what follows.
Ribot says: “Which among the various modes of mindactivity offers the closest analogy to the Creative Imagination? I unhesitatingly answer, the voluntary activity of the Will. Imagination, in the realm of the intellect, is the equivalent of Will in the realm of movements.”
The analogy between Imagination and Will manifests from the very beginning of each of these mental processes. In voluntary action, there is gathered together the raw materials of instinctive, involuntary and reflex movements: the Will coordinates and associates these in order to proceed. In the same way, Active Constructive Imagination gathers together the raw materials of Reproductive Imagination and Passive Constructive Imagination—the various images existing in those fields of mentality—in order that it may proceed further.
Then again, the movement in both instances is from the inner mental state toward the outer expression. Will begins with vague feelings and emotions, these rising to more or less definite desire; this in turn proceeds to actual outward expression in actions. So Active Constructive Imagination begins with the inner images of Memory or Reproductive Imagination, these then rising to the rank and character of the images of Passive Constructive Imagination; these in turn rising to the rank and character of definite outward expression in the images of Active Constructive Imagination.
Again, in Will rising to its higher stages, we always find present a more or less definite movement toward a certain end to be attained. The same more or less definite object to be attained is present in the rising processes of Active Constructive Imagination. The Will always proceeds toward the attainment of some thing desired, something tending to satisfy some inner want. In Active Constructive Imagination there is always present the urge toward the invention, creation, or construction of something more or less clearly perceived. As Ribot says: “We are always inventing for an end—whether in the case of a Napoleon imagining a plan of campaign, or a cook making up a new dish. In both cases