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incidental.”

      You will readily see that here, as in many other cases, the truth of the matter is found only in the reconciliation of the two opposing sides; each side voices a half­truth—the whole truth is found by uniting the two halves. It is true that the Imagination must do its work by employing the materials of perception, apperception, and experience; but there is the marvelous “combining power” required to “put together” these elements, factors, and parts of the material so furnished. A child has the necessary twenty­six letters plainly marked on its alphabet building­blocks; but it might try for eternity to compose a “Paradise Lost,” one of Shakespeare’s Plays, a Synthetic Philosophy, an Emerson’s Essay, or a work on the Higher Mathematics, by means of an accidental “putting together” of those letters! It needs that “something else” to accomplish the task; and that “something else” is the discriminating, selecting, combining faculties and powers of the efficient Constructive Imagination!

      Finally, there is another element usually involved in the higher products of the Constructive Imagination. In the processes of the Constructive Imagination, just as in many of Nature’s subtle processes, the work of “creation” is accomplished, not by the mere more or less purposive “setting in place” of separate bits of material, as, for example in the building of a toy­house with the materials of building­blocks, or of a card house with a pack of playing cards; there is often, rather, a “fusing” of material and its subsequent hardening, as, for instance, in the fusing of copper, tin and zinc, into the “new” metal called bronze; or the crystallization of the particles of water into ice. Water is “created” from particles of oxygen and hydrogen, but these two elements become fused by chemical action, and really form a new substance, not merely a “put together” mixture. Thus, things may be put together in such a subtle way as to constitute a new thing differing from either of its constituents.

      A thing is often more than “the mere sum of its parts”—to this sum must be added the new element of “mutual relation” or “working relation.” This new element figures largely in the creative processes of Constructive Imagination. Thus, King Milanda’s Chariot, in the ancient Buddhist story, consisted not alone of its several parts, but also of the arrangement, mutual relations, and working unity of those parts—these last­mentioned elements being supplied by the Constructive Imagination of the designer of the chariot. Again, the color, Green, is composed of Yellow and Blue—yet Green is a true color, differing from either of its compositive parts, or from both of them when not united.

      Ribot says: “All creation whatever, great and small, shows an organic character; it implies a unifying, synthetic principle.” Colozza says: “We know nothing of a complex psychic production that remains simply the sum of its component elements, each preserving its own character, with no modifications. The natures of the components disappear in order to give birth to a novel phenomenon that has its own and particular features. The construction of the imaginative ideal is not a mere grouping of past experiences; in its totality it has its own individual characteristics, among which we no more see the composing lines than we see the components, oxygen and hydrogen, in water.” Wundt says: “In no scientific or artistic production does the whole appear as made up of its parts, like a mosaic.” Mill says that imaginative creations are cases of “mental chemistry”; the facts bear him out in the statement.

      Neither should it be forgotten that a very high order of mental activity is manifested in every process of true Constructive Imagination. The mental powers of Comparison, Discrimination, Deliberation, Judgment, and Selection are involved in the higher processes of Constructive Imagination. The imaging powers produce and exhibit a great number of images, each of which is a candidate for the office which Constructive Imagination is striving to fill properly and adequately. Here we have another instance of the “struggle for existence,” and the “survival of the fittest.” Here, “Many are called, but few are chosen.” Image after image is produced, examined, tested, and then either rejected or else either tentatively or permanently accepted.

      The processes of Comparison, Deliberation, Discrimination, Selection, and Judgment are manifested in Constructive Imagination as truly as in the processes of the Will. Constructive Imagination selects its material quite as truly as does the builder of houses or bridges. Imperfect material is rejected, and doubtful material is subjected to a test or experiment. Constructive Imagination is not at the disposal of every image that appears in its field of mental vision: instead, it exercises its power and prerogative of choice and decision, as truly as do Reason and Will.

      In fact, the presence of Logical Thought is manifest in the higher processes of Constructive Imagination, the two classes of mental activities being so closely interwoven in many cases that it is quite difficult to distinguish between them. Reason scrutinizes closely the images which present themselves as candidates for admission to the inner chambers of the mind. Many appear, but few are accepted. Only those are admitted which comparison determines to be fitted for the requirements of the purpose occupying the field of attention.

      As a writer says: “The inventor never thinks harder than when he is comparing his images with each other, and rejecting the unfit. Thought also enables him to change an image in conformity with a certain plan.” Another says: “The predominance of the exact logical processes establishes from the outset the difference between the ‘imaginative dreamers’ and the ‘imaginative thinkers’.” Wundt, indeed, goes still further, when he lays down the rule that: “Imagination is, in reality, a thinking in particular sense ideas; as such it is the source of all logical or conceptual thought.” And a leading teacher says: “The man who does not think in images will never be a clear thinker, and those who are compelled to follow him are to be pitied!’

      Thus, you see, that just as in your Logical Thought you should avail yourself of the powers of Constructive Imagination, so in the processes of Constructive Imagination you should always endeavor to coordinate the powers of Logical Thought with those of the strictly imaginative faculties.

      VII

       CREATIVE COMPOSITION

       Table of Content

      THE GENERAL Rule tells you to: “Weigh the various factors one against the other, taking into consideration the associated and related values of each in the general idea, plan or purpose. Determine in this way which are the primary factors involved; which are the secondary; and which are the lesser values. Concentrate on the prime factors, and make these the central points in your process of Constructive Imagination—the focal centres around which you purpose grouping the associated factors or elements.”

      The General Rule also tells you then to: “Experiment by tentatively placing the secondary factors in association with and relation to the prime factors, regardless of how improbable and incongruous at first may seem such association and relation. Around the letter “A” build alphabet­block combinations of the letters B, C, D, E, F, G, etc., blocks, to see if they make sense, or if they suggest anything of rational meaning to you. Discard all combinations that seem lacking in utility—but only after actually making the test and experiment. When there are several apparently satisfactory, or fairly promising combinations, weigh these one against the other to determine their comparative values, discarding the lesser values, and retaining the greater, until you have secured the survival of the fittest. Then proceed to test out the lesser factors in the same way, working out all the details of the plan.”

      In the above­stated principles of the General Rule there is condensed the statement of the general methods employed by Man in all of his inventive processes, from past time to the present—and in fact, the methods seemingly employed by nature herself. There is, therefore, nothing entirely new in the method. The “newness,” however, is there: it consists of the fact that Man has discovered how to apply this method consciously, deliberately, systematically and scientifically, instead of blindly, instinctively, hap­hazardly, and in a hit­or­miss manner. Modern psychology has simply harnessed this mental process, and now drives it under perfect control. Thus, the old method becomes a new one, because applied in a new way.

      The old-­new method has been given several names.

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