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
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. Perhaps the name, “Creative Composition” fits it as well as any, so we shall employ it here. “Composition” means: “The act of composing, putting together, joining together, uniting, associating, correlating.” “Creative Composition,” then, means: “The act of recomposing, recombining, readapting, rearranging, or newly putting together the mental imageideas of Man or of Nature, in the process of Constructive Imagination proceeding toward the achievement of a Definite Purpose and the realization of a Definite Ideal.”
In Creative Composition, you begin with the building materials of mental imageideas which you have gathered together and arranged according to a convenient and efficient classification. For the purpose of a familiar illustration of the scientific principle involved, let us ask you to think of these building materials of mental imageideas as resembling the familiar buildingblocks of childhood.
You have the general idea of your Definite Purpose and Definite Ideal before you. You perceive clearly the obstacle which you wish to overcome; the new means to an old end, or new ends for old means; the bridge which you wish to build over the space separating the two sides of the stream of Ideas. How shall you proceed to accomplish these ends by means of your imaginative buildingblocks? The answer is: Simply as the child proceeds when he wishes to build the structure which he has in mind, i. e., by taking up the various buildingblocks of various sizes and forms, and experimenting with them. The child puts this block alongside of that block, and finding that the combination will not answer, he continues to make new and still newer combinations, until at last he discovers the combination that will work.
If you will examine the history of inventions and scientific discoveries, you will find that the great triumphs in these respective fields have been made in just this way. The two terms “Experiment” and “Experience” are closely connected; both have the same origin—both spring from the Latin word “experior,” meaning, “to try.” Experiment is a trial or test made with the hopes of discovery. Experience is the knowledge gained from experiments. All inventions, all scientific discoveries, all results of Constructive Imagination, proceed along the line of Experiment, trial, tests, “putting this and that together” to “discover how it will work.” This is the whole story, told in a few words.
In working toward the achievement of your Definite Purpose and Definite Ideal through the Constructive Imagination, you must “put this and that together,” along the lines of experiment, trial and test. You must arrange your imaginative buildingblocks, first in this new combination, and then in that one; you must at times even break apart some of the blocks, using portions of them to add to others, and thus to form new combinations. You must proceed with the idea that: “Somewhere in these blocks there abides the certainty of a successful combination; and it is ‘up to me’ to find it.” In your imaginative buildingblocks there is hidden the secret of the exact combination for which you are seeking; you can discover this only by experiment; and if you continue to experiment faithfully and intelligently you will surely discover the solution of the problems.
Here is the process reduced to a familiar illustrative formula: You have twentysix imaginative “alphabet blocks” before you for your experiment, each block having a letter of the alphabet stamped on its face, from “A” to “Z,” inclusive. You start by taking the “A” block and combining it with the “B” block, then the “C” block, and so on until the “Z” block is reached. If the desired combination is not reached in this way, you begin with the “B” block and test it with all the blocks from “C” on to the end of the list. Then try the combination of the “C” block with all the others, in turn, from “D” downward. By continuing this process sufficiently long, you will exhaust the possibilities of the twoletter combinations.
If necessary, you may then proceed to experiment with the threeletter combinations,
