This passive faculty, independent of reflection, is the source of our passions and our errors; far from being dependent on the will, the will is determined by it. It urges us towards the objects which it paints before us, or diverts us from them, just according to the nature of the exhibition thus made of them by it. The image of a danger inspires fear; that of a benefit excites desire. It is this faculty alone which produces the enthusiasm of glory, of party, of fanaticism; it is this which produces so many mental alienations and disorders, making weak brains, when powerfully impressed, conceive that their bodies are metamorphosed into various animals, that they are possessed by demons, that they are under the infernal dominion of witchcraft, and that they are in reality going to unite with sorcerers in the worship of the devil, because they have been told that they were going to do so. This species of slavish imagination, which generally is the lot of ignorant people, has been the instrument which the imagination of some men has employed to acquire and retain power. It is, moreover, this passive imagination of brains easily excited and agitated, which sometimes produces on the bodies of children evident marks of the impression received by the mother; examples of this kind are indeed innumerable, and the writer of this article has seen some so striking that, were he to deny them, he must contradict his own ocular demonstration. This effect of imagination is incapable of being explained; but every other operation of nature is equally so; we have no clearer idea how we have perceptions, how we retain them, or how we combine them. There is an infinity between us and the springs or first principles of our nature.
Active imagination is that which joins combination and reflection to memory. It brings near to us many objects at a distance; it separates those mixed together, compounds them, and changes them; it seems to create, while in fact it merely arranges; for it has not been given to man to make ideas—he is only able to modify them.
This active imagination then is in reality a faculty as independent of ourselves as passive imagination; and one proof of its not depending upon ourselves is that, if we propose to a hundred persons, equally ignorant, to imagine a certain new machine, ninety-nine of them will form no imagination at all about it, notwithstanding all their endeavors. If the hundredth imagines something, is it not clear that it is a particular gift or talent which he has received? It is this gift which is called "genius"; it is in this that we recognize something inspired and divine.
This gift of nature is an imagination inventive in the arts—in the disposition of a picture, in the structure of a poem. It cannot exist without memory, but it uses memory as an instrument with which it produces all its performances.
In consequence of having seen that a large stone which the hand of man could not move, might be moved by means of a staff, active imagination invented levers, and afterwards compound moving forces, which are no other than disguised levers. It is necessary to figure in the mind the machines with their various effects and processes, in order to the actual production of them.
It is not this description of imagination that is called by the vulgar the enemy of judgment. On the contrary, it can only act in union with profound judgment; it incessantly combines its pictures, corrects its errors, and raises all its edifices according to calculation and upon a plan. There is an astonishing imagination in practical mathematics; and Archimedes had at least as much imagination as Homer. It is by this power that a poet creates his personages, appropriates to them characters and manners, invents his fable, presents the exposition of it, constructs its complexity, and prepares its development; a labor, all this, requiring judgment the most profound and the most delicately discriminative.
A very high degree of art is necessary in all these imaginative inventions, and even in romances. Those which are deficient in this quality are neglected and despised by all minds of natural good taste. An invariably sound judgment pervades all the fables of Æsop. They will never cease to be the delight of mankind. There is more imagination in the "Fairy Tales"; but these fantastic imaginations, destitute of order and good sense, can never be in high esteem; they are read childishly, and must be condemned by reason.
The second part of active imagination is that of detail, and it is this to which the world distinguishingly applies the term. It is this which constitutes the charm of conversation, for it is constantly presenting to the mind what mankind are most fond of—new objects. It paints in vivid colors what men of cold and reserved temperament hardly sketch; it employs the most striking circumstances; it cites the most appropriate examples; and when this talent displays itself in union with the modesty and simplicity which become and adorn all talents, it conciliates to itself an empire over society. Man is so completely a machine that wine sometimes produces this imagination, as intoxication destroys it. This is a topic to excite at once humiliation and wonder. How can it happen that a small quantity of a certain liquor, which would prevent a man from effecting an important calculation, shall at the same time bestow on him the most brilliant ideas?
It is in poetry particularly that this imagination of detail and expression ought to prevail. It is always agreeable, but there it is necessary. In Homer, Virgil, and Horace, almost all is imagery, without even the reader's perceiving it. Tragedy requires fewer images, fewer picturesque expressions and sublime metaphors and allegories than the epic poem and the ode; but the greater part of these beauties, under discreet and able management, produce an admirable effect in tragedy; they should never, however, be forced, stilted, or gigantic.
Active imagination, which constitutes men poets, confers on them enthusiasm, according to the true meaning of the Greek word, that internal emotion which in reality agitates the mind and transforms the author into the personage whom he introduces as the speaker; for such is the true enthusiasm, which consists in emotion and imagery. An author under this influence says precisely what would be said by the character he is exhibiting.