finitely varied. Now the book could be placed in a mustard-seed; now it would fill a church. You may give many illustrations.

2. Self, as imagination, creates and destroys. Creation is used in the sense of making new wholes out of materials given. Imagination creates no new elements. Far out beyond the bounds of all worlds I create a new world and people it with new orders of intelligent beings. Not satisfied, I destroy my creation and make another vastly more magnificent. Try it.

3. Self, as imagination, projects the future. Napoleon fought his battles in imagination many times before he led his battalions to victory. The lover proposes again and again in imagination before he ventures his fate. Demosthenes addressed a thousand imaginary audiences before he captivated the Athenians. Often, in imagination, the teacher organizes and conducts her school before she enters the school-room. The youth lives many lives in imagination before he achieves success. The bride-elect goes through her part in the marriage-ceremony many times before the wedding-day.

4. Self, as imagination, creates ideals. This is preeminently the office of imagination. The painter determines to portray a noble heroism. This is the idea. As an object, he pictures a brave young man battling with oppression and misfortune in his heroic efforts to become a pre-eminent benefactor. The picture in his mind is his ideal. Now with pencil and brush he toils. Now he sees on the canvas his ideal realized, embodied. Ideals are the working-models for inventors, artists, poets, and character-builders. Our highest ideal is perfect manhood, realized only in Christ.

"Lives of great men all remind us

We can make our lives sublime."

From all noble lives we gather materials for the crea tion of our ideal life. Then, by every act, thought, and emotion, we struggle to realize and embody this ideal. This is character-building.

Characteristics of Imagination. Certain peculiarities mark imagination as a distinct faculty.

1. Imagination is our power purposely to represent our acquisitions in new forms. Out of its cognitions, immediate and remembered, the soul intentionally constructs new forms. Inventors, artists, poets, educators, and scientists are gifted with vigorous imaginations.

2. Imagination is the intentional picturing power. All its products are individual and have a material basis. We call our capability to purposely make images, imagination. The successful student uses his imagination almost as much as he uses his reason.

3. Imagination is the creative power of the soul. In its highest form, it virtually creates. Its creations are new because experiences are set in new lights. "Poetry is truer than history." A fable may contain more truth than a biography, because the permanent meaning of things is set in general forms. Because they represent universal human nature, the creations of Homer and Plato and Shakespeare and Emerson will continue to live through the centuries.

Limits of Imagination.-Lofty as are his flights, self, as imagination, works within well-defined limits.

1. As to physical phenomena, imagination is limited to sense-percepts. I can place in my creations only

what I have experienced. The creations of the blind are colorless; of the deaf, soundless; of those destitute of smell, odorless.

2. As to psychical phenomena, imagination is limited to conscious-percepts. I endow my rational creations with my own conscious powers. I can do no more. My angels simply know, feel, and will. God knows infinitely, feels infinitely, wills infinitely, but it is impossible for me to endow even Deity with additional powers, though convinced that His capabilities are infinite in number as in degree.

3. As to noumena, imagination is limited to noumenal percepts. The creations of Homer and Shakespeare are limited to matter, mind, space, time, and cause; but, within the charmed circle, what wonders are wrought! Imagination, "bounded in a nut-shell, is king of infinite space."

4. Imagination is limited to the concrete and the individual. I think vertebrate, but my ideal is a beautiful gazelle. I think triangle, but my image is a specific equilateral triangle. Triangle can not be imagined, because it would have to be at once right-angled, equilateral, and isosceles. You can think the abstract and the general, but you can imagine only the concrete and the particular.

Imagination defined.—Self, as imagination, out of his experiences constructs new wholes. Because you are endowed with this power you can make an original essay, a new invention, or a new poem. The ideas in Hamlet are old, but the play is new. Imagination is our capability to purposely make new combinations.

1. Imagination is the power of self purposely to

put his experiences into new forms. Self, as memory, recalls the experiences out of which he creates his ideals. As the creative activity predominates, this form of representation is called imagination.

2. Original. You may now use your imagination in constructing an original definition of this power. Try to make clear distinctions between memory and imagination, and between phantasy and imagination.

3. Various Definitions.—BASCOM: Imagination is the power of the mind to present to itself vividly new phenomenal forms. SULLY: Imagination is the power to work up our experiences into new forms. GARVEY: Imagination is the power to make new combinations. HOPKINS: Imagination is the capability of the mind to rearrange its acquisitions and create new wholes. PORTER: Imagination is the power to recombine and construct anew materials furnished by experience. DAY: Imagination is the faculty of form, and is the power to construct ideals. WHITE: Imagination is the power to modify and recombine the products of memory. DEWEY: Imagination is the capability to embody an idea in an image.

Products of Imagination-Ideals. We recognize memories as representing real experiences, as when the maiden recalls the parting scene with her lover. Phantasms seem to be objective realities, as when heartbreaking sobs awaken the maiden as she dreams of her lover untrue. But self intentionally creates ideals and cognizes them as his own workmanship, as when the maiden plans a reception-party for her returning friend.

1. Ideals are creations of self, as imagination. Any new form into which we purposely put our experiences is termed an ideal. The architect plans a model schoolbuilding; his plan is his ideal. The lady plans her flower-garden; her plan is her ideal. You plan an oration; your plan is your ideal. The artist plans a pict

ure; his plan is his ideal. The teacher plans a model school; his plan is his ideal. You plan a noble life; your plan is your ideal.

2. Ideals are creations in which ideas and objects blend in harmony. An ideal embraces three elements: ideas, objects, and the blending act. The sculptor's idea is injured innocence; his object is a pure but slandered maiden. In imagination, he so blends the idea and the object as to arouse indignation toward her traducers and sympathy for herself. He now embodies his ideal in marble.

3. Ideals are intentional creations. Milton's Satan was not an accident, nor was Edison's ideal electric lamp. Inspiration and hard work are intimately associated. We work up to higher and still higher ideals. Purposely we embody ideas in images, and call the products ideals.

Imagination and other Faculties. -Each mental power is supplemented by all the other faculties of the soul. Self, in all his capabilities, is present in each intentional act. Thus memory supplies materials, thought suggests and criticises, emotion stimulates, will concentrates effort, determines and executes, but imagination is the master workman in constructing ideals.

1. Memory supplies materials. Self, as memory, opens up the store-house of past acquisitions. Immediate percepts also seem to enter into our creation. Out of these materials, self, as imagination, constructs ideals. Because the imagining activity predominates, this form of representation is termed imagination.

2. Thought keeps imagination within bounds. The idea and the object must blend in harmony. No law