§ 1. Imagination penetrative is concerned, not with the combining, but

ing of things.

CHAPTER III.

OF IMAGINATION PENETRATIVE.

THUS far we have been defining that combining operation of the Imagination, which appears to be in a sort mechanical, yet takes place in the same inexplicable modes, whatever be the order of the apprehend- conception submitted to it, though I choose to illustrate it by its dealings with mere matter before taking cognizance of any nobler subjects of imagery. We must now examine the dealing of the Imagination with its separate conceptions, and endeavour to understand, not only its principles of selection, but its modes of apprehension with respect to what it selects.

§ 2. Milton's

and Dante's description of flame.

When Milton's Satan first "rears from off the pool his mighty stature," the image of leviathan before suggested not being yet abandoned, the effect on the fire-wave is described as of the upheaved monster on the ocean stream:

"On each hand the flames,

Driven backward, slope their pointed spires, and, rolled

In billows, leave i' the midst a horrid vale."

And then follows a fiercely restless piece of volcanic imagery:

"As when the force

Of subterranean wind transports a hill
Torn from Pelorus, or the shattered side
Of thundering Etna, whose combustible
And fuelled entrails thence conceiving fire,
Sublimed with mineral fury, aid the winds,
And leave a singëd bottom all involved

With stench and smoke: such resting found the sole

Of unblest feet."

Yet I think all this is too far detailed, and deals too much with externals: we feel rather the form of the fire-waves than their fury;

we walk upon them too securely, and the fuel, sublimation, smoke, and singeing seem to me images only of partial combustion; they vary and extend the conception, but they lower the thermometer. Look back, if you will, and add to the description the glimmering of the livid flames; the sulphurous hail and red lightning; yet all together, however they overwhelm us with horror, fail of making us thoroughly, unendurably hot. The essence of intense flame has not been given. Now hear Dante:

"Feriami 'l Sole in su l' omero destro,

Che già raggiando tutto l' Occidente
Mutava in bianco aspetto di cilestro.
Ed io facea con l'ombra più rovente
Parer la fiamma.”

That is a slight touch; he has not gone to Etna or Pelorus for fuel; but we shall not soon recover from it, he has taken our breath away and leaves us gasping. No smoke nor cinders there. Pure white, hurtling, formless flame; very fire crystal, we cannot make spires nor waves of it, nor divide it, nor walk on it; there is no question about singeing soles of feet. It is lambent annihilation. Such is always the mode in which the highest imaginative faculty seizes its materials. It never stops at crusts or ashes, or outward images of any kind; it ploughs them all aside, and plunges into the very central fiery heart; nothing else will content its spirituality; whatever semblances and various outward shows and phases its subject may possess go for nothing; it gets within all fence, cuts down to the root, and drinks the very vital sap of that it deals with: once therein, it is at liberty to throw up what new shoots it will, so always that the true juice and sap be in them, and to prune and twist them at its pleasure, and bring them to fairer fruit than grew on the old tree: but all this pruning and twisting is work that it likes not, and often does ill; its function and gift are the getting at the root, its nature and dignity depend on its holding things always by the heart. Take its hand from off the beating of that, and it will prophesy no longer; it looks not in the eyes, it judges not by the voice, it describes not by outward features; all that it affirms, judges, or describes, it affirms from within.1

1 The reader will find in the 86th paper of the Guardian some interesting passages confirmatory of the view above given of the Imagination.

§ 3. The Imagination seizes always by the Innermost point.

It may seem to the reader that I am incorrect in calling this penetrating possession-taking faculty Imagination. Be it so; the name is of little consequence; the faculty itself, called by what name we will, I insist upon as the highest intellectual power of man. There is no reasoning in it; it works not by algebra, nor by integral calculus; it is a piercing pholas-like mind's tongue, that works and tastes into the very rock heart; no matter what be the subject submitted to it, substance or spirit; all is alike divided asunder, joint and marrow, whatever utmost truth, life, principle it has, laid bare, and that which has no truth, life, nor principle, dissipated into its original smoke at a touch. The whispers at men's ears it lifts into visible angels. Vials that have lain sealed in the deep sea a thousand years it unseals, and brings out of them Genii.

Every great conception of poet or painter is held and treated by this faculty. Every character that is so much as touched by men like Eschylus, Homer, Dante, or Shakspeare, is by them held by the heart; and every circumstance or sentence of their being, speaking, or seeming, is seized by process from within, and is referred to that inner secret spring of which the hold is never lost for an instant: so that every sentence, as it has been thought out from the heart, opens for us a way down to the heart, leads us to the centre, and then leaves us to gather what more we may. It is the Open Sesame of a huge, obscure, endless cave, with inexhaustible treasure of pure gold scattered in it; the wandering about and gathering the pieces may be left to any of us, all can accomplish that; but the first opening of that invisible door in the rock is of the imagination only.

Hence there is in every word set down by the imaginative mind an awful under-current of meaning, and evidence and shadow upon it of the deep places out of which it has come. It is often obscure, often half-told; for he who wrote it, in his clear seeing of the things beneath, may have been impatient of detailed interpretation: but, if we choose to dwell upon it and trace it, it will lead us always securely back to that metropolis of the soul's dominion from which we may follow out all the ways and tracks to its farthest coasts.

I think the "Quel giorno più non vi leggemmo avante of Francesca di Rimini, and the " He has no children " of Macduff, are

as fine instances as can be given; but the sign and mark of it are visible on every line of the four great men above instanced.

The unimaginative writer on the other hand, as he has never § 6. Absence of Imagination, pierced to the heart, so he can never touch it. If he has to paint how shown. a passion, he remembers the external signs of it, he collects expressions of it from other writers, he searches for similes, he composes, exaggerates, heaps term on term, figure on figure, till we groan beneath the cold disjointed heap: but it is all faggot and no fire; the life breath is not in it; his passion has the form of the leviathan, but it never makes the deep boil; he fastens us all at anchor in the scaly rind of it; our sympathies remain as idle as a painted ship upon a painted ocean.

And that virtue of originality that men so strain after is not newness, as they vainly think (there is nothing new), it is only genuineness; it all depends on this single glorious faculty of getting to the spring of things and working out from that; it is the coolness, and clearness, and deliciousness of the water fresh from the fountain head, opposed to the thick, hot, unrefreshing drainage from other men's meadows.

This freshness, however, is not to be taken for an infallible sign § 7. Distinction between Imagiof imagination, inasmuch as it results also from a vivid operation of nation and fancy, whose parallel function to this division of the imaginative Fancy. faculty it is here necessary to distinguish.

I believe it will be found that the entirely unimaginative mind sees nothing of the object it has to dwell upon or describe, and is therefore utterly unable, as it is blind itself, to set anything before the eyes of the reader.1

The fancy sees the outside, and is able to give a portrait of the outside, clear, brilliant, and full of detail.2

The imagination sees the heart and inner nature, and makes them felt, but is often obscure, mysterious, and interrupted, in its giving of outer detail.

Take an instance. A writer with neither imagination nor fancy, describing a fair lip, does not see it, but thinks about it, and about what is said of it, and calls it well turned, or rosy, or delicate, or

1 Compare Arist. Rhet. iii. 11.

2 For the distinction between fancy and simple conception, see Chap. IV. § 3. VOL. II.

M

lovely, or afflicts us with some other quenching and chilling epithet. Now hear Fancy speak:

"Her lips were red, and one was thin,
Compared with that was next her chin,
Some bee had stung it newly."

The real, red, bright being of the lip is there in a moment. But it is all outside; no expression yet, no mind. Let us go a step farther with Warner, of Fair Rosamond struck by Eleanor:

"With that she dashed her on the lips

So dyed double red;

Hard was the heart that gave the blow,

Soft were those lips that bled."

The tenderness of mind begins to mingle with the outside colour, the Imagination is seen in its awakening. Next Shelley:

"Lamp of life, thy lips are burning

Through the veil that seems to hide them,

As the radiant lines of morning

Through thin clouds ere they divide them."

There dawns the entire soul in that morning; yet we may stop if we choose at the image still external, at the crimson clouds. The imagination is contemplative rather than penetrative. Last, hear Hamlet:

"Here hung those lips that I have kissed, I know not how oft. Where be your gibes now, your gambols, your songs, your flashes of merriment that were wont to set the table on a roar?"

There is the essence of lip, and the full power of the imagination. Again, compare Milton's flowers in Lycidas with Perdita's. In Milton it happens, I think, generally, and in the case before us

1 I take this and the next instance from Leigh Hunt's admirable piece of criticism, "Imagination and Fancy,” which ought to be read with care, and to which, though somewhat loosely arranged, I may refer for all the filling up and illustration that the subject requires. With respect to what has just been said respecting want of imagination, compare his criticism of Addison's Cato, p. 28. I cannot, however, confirm his judgment, nor admit his selection of instances, among painters: he has looked to their manner only and habitual choice of subject, without feeling their power; and has given work to the coarseness, mindlessness, and eclecticism of Guido and the Caracci, which, in its poetical demand of tenderness, might have foiled Pinturicchio, of dignity Leonardo and of colour Giorgione.