Imagination, n.
Etymology: [OE. imaginacionum, F. imagination, fr. L. imaginatio. See Imagine.]
1. The imagine-making power of the mind; the power to create or reproduce ideally an object of sense previously perceived; the power to call up mental imagines. Our simple apprehension of corporeal objects, if present, is sense; if absent, is imagination. Glanvill. Imagination is of three kinds: joined with belief of that which is to come; joined with memory of that which is past; and of things present, or as if they were present. Bacon.
2. The representative power; the power to reconstruct or recombine the materials furnished by direct apprehension; the complex faculty usually termed the plastic or creative power; the fancy. The imagination of common language -- the productive imagination of philosophers -- is nothing but the representative process plus the process to which I would give the name of the "comparative." Sir W. Hamilton. The power of the mind to decompose its conceptions, and to recombine the elements of them at its pleasure, is called its faculty of imagination. I. Taylor. The business of conception is to present us with an exact transcript of what we have felt or perceived. But we have moreover a power of modifying our conceptions, by combining the parts of different ones together, so as to form new wholes of our creation. I shall employ the word imagination to express this power. Stewart.
3. The power to recombine the materials furnished by experience or memory, for the accomplishment of an elevated purpose; the power of conceiving and expressing the ideal. The lunatic, the lover, and the poet Are of imagination all compact . . . The poet's eye, in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven, And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes, and gives to airy nothing A local habitation and a name. Shak.
4. A mental image formed by the action of the imagination as a faculty; a conception; a notion. Shak.
1 more senses
Syn. -- Conception; idea; conceit; fancy; device; origination; invention; scheme; design; purpose; contrivance. -- Imagination, Fancy. These words have, to a great extent, been interchanged by our best writers, and considered as strictly synonymous. A distinction, however, is now made between them which more fully exhibits their nature. Properly speaking, they are different exercises of the same general power -- the plastic or creative faculty. Imagination consists in taking parts of our conceptions and combining them into new forms and images more select, more striking, more delightful, more terrible, etc., than those of ordinary nature. It is the higher exercise of the two. It creates by laws more closely connected with the reason; it has strong emotion as its actuating and formative cause; it aims at results of a definite and weighty character. Milton's fiery lake, the debates of his Pandemonium, the exquisite scenes of his Paradise, are all products of the imagination. Fancy moves on a lighter wing; it is governed by laws of association which are more remote, and sometimes arbitrary or capricious. Hence the term fanciful, which exhibits fancy in its wilder flights. It has for its actuating spirit feelings of a lively, gay, and versatile character; it seeks to please by unexpected combinations of thought, startling contrasts, flashes of brilliant imagery, etc. Pope's Rape of the Lock is an exhibition of fancy which has scarcely its equal in the literature of any country. -- "This, for instance, Wordworth did in respect of the words `imagination' and `fancy.' Before he wrote, it was, I suppose, obscurely felt by most that in `imagination' there was more of the earnest, in `fancy' of the play of the spirit; that the first was a loftier faculty and gift than the second; yet for all this words were continually, and not without loss, confounded. He first, in the preface to his Lyrical Ballads, rendered it henceforth impossible that any one, who had read and mastered what he has written on the two words, should remain unconscious any longer of the important difference between them." Trench. The same power, which we should call fancy if employed on a production of a light nature, would be dignified with the title of imagination if shown on a grander scale. C. J. Smith.
Shades of meaning
The old psychology treated of the Reproductive Imagination, which simply reproduces the images that the mind has in any way acquired, and the Productive Imagination which modifies and combines mental images so as to produce what is virtually new. To this Reproductive Imagination President Noah Porter and others have given the name of phantasy or fantasy (many psychologists preferring the former spelling). Phantasy or fantasy, so understood, presents numerous and varied images, often combining them into new forms with exceeding vividness, yet without any true constructive power, but with the mind adrift, blindly and passively following the laws of association, and with reason and will in torpor; the mental images being perhaps as varied and as vivid, but also as purposeless and unsystematized as the visual images in a kaleidoscope; such fantasy (often loosely called imagination) appears in dreaming, reverie, somnambulism, and intoxication. Fantasy in ordinary usage simply denotes capricious or erratic fancy, as appears in the adjective fantastic. Imagination and fancy differ from fantasy in bringing the images and their combinations under the control of the will; imagination is the broader and higher term, including fancy; imagination is the act or power of imaging or of reimaging objects of perception or thought, of combining the products of knowledge in modified, new, or ideal forms--the creative or constructive power of the mind; while fancy is the act or power of forming pleasing, graceful, whimsical, or odd mental images, or of combining them with little regard to rational processes of construction; imagination in its lower form. Both fancy and imagination recombine and modify mental images; either may work with the other's materials; imagination may glorify the tiniest flower; fancy may play around a mountain or a star; the one great distinction between them is that fancy is superficial, while imagination is deep, essential, spiritual. Wordsworth, who was the first clearly to draw the distinction between the fancy and the imagination, states it as follows:
To aggregate and to associate, to evoke and to combine, belong as well to the imagination as to the fancy; but either the materials evoked and combined are different; or they are brought together under a different law, and for a different purpose. Fancy does not require that the materials which she makes use of should be susceptible of changes in their constitution from her touch; and where they admit of modification, it is enough for her purpose if it be slight, limited, and evanescent. Directly the reverse of these are the desires and demands of the imagination. She recoils from everything but the plastic, the pliant, and the indefinite. She leaves it to fancy to describe Queen Mab as coming:
'In shape no bigger than an agate stone On the forefinger of an alderman.'
Having to speak of stature, she does not tell you that her gigantic angel was as tall as Pompey's Pillar; much less that he was twelve cubits or twelve hundred cubits high; or that his dimensions equalled those of Teneriffe or Atlas; because these, and if they were a million times as high, it would be the same, are bounded. The expression is, 'His stature reached the sky!' the illimitable firmament!--When the imagination frames a comparison, ... a sense of the truth of the likeness from the moment that it is perceived grows--and continues to grow--upon the mind; the resemblance depending less upon outline of form and feature than upon expression and effect, less upon casual and outstanding than upon inherent and internal properties.[B]
Poetical Works, Pref. to Ed. of 1815, p. 646, app. [T. & H. '51.]
So far as actual images are concerned, both fancy and imagination are limited to the materials furnished by the external world; it is remarkable that among all the representations of gods or demigods, fiends and demons, griffins and chimaeras, the human mind has never invented one organ or attribute that is not presented in human or animal life; the lion may have a human head and an eagle's wings and claws, but in the various features, individually, there is absolutely nothing new. But imagination can transcend the work of fancy, and compare an image drawn from the external world with some spiritual truth born in the mind itself, or infuse a series of images with such a spiritual truth, molding them as needed for its more vivid expression.
The imagination modifies images, and gives unity to variety; it sees all things in one.... There is the epic imagination, the perfection of which is in Milton; and the dramatic, of which Shakspeare is the absolute master.
COLERIDGE Table Talk June 23, '34.
Fancy keeps the material image prominent and clear, and works not only with it, but for it; imagination always uses the material object as the minister of something greater than itself, and often almost loses the object in the spiritual idea with which she has associated it, and for which alone she values it. Fancy flits about the surface, and is airy and playful, sometimes petty and sometimes false; imagination goes to the heart of things, and is deep, earnest, serious, and seeks always and everywhere for essential truth. Fancy sets off, variegates, and decorates; imagination transforms and exalts. Fancy delights and entertains; imagination moves and thrills. Imagination is not only poetic or literary, but scientific, philosophical, and practical. By imagination the architect sees the unity of a building not yet begun, and the inventor sees the unity and varied interactions of a machine never yet constructed, even a unity that no human eye ever can see, since when the machine is in actual motion, one part may hide the connecting parts, and yet all keep the unity of the inventor's thought. By imagination a Newton sweeps sun, planets, and stars into unity with the earth and the apple that is drawn irresistibly to its surface, and sees them all within the circle of one grand law. Science, philosophy, and mechanical invention have little use for fancy, but the creative, penetrative power of imagination is to them the breath of life, and the condition of all advance and success. See also fancy; idea.
[B] The whole discussion from which the quotation is taken is worthy of, and will well repay, careful study.