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Certainly we desire to see not merely the individual, but, more than this, its vital Idea. But if the artist has seized the inward creative spirit and essence of the Idea, and sets this forth, he makes the individual a world in itself, a class, an eternal prototype; and he who has grasped the essential character needs not to fear hardness and severity, for these are the conditions of life.
That such has been the case, that the sun, either as the actual Creator, or as an emblem of the great energizing force in Nature, has been worshipped by every nation of the globe, there is no lack of evidence to prove; neither do we lack proof to establish the fact that, since the adoption of the sun as a divine object, or perhaps I should say as the emblem of Wisdom and creative power, it has never been wholly eliminated from the god-idea of mankind.
We challenge a definition he gives of the critic. In the seventh volume of the "Causeries," article "Grimm," he says: "When Nature has endowed some one with this vivacity of feeling, with this susceptibility to impression, and that the creative imagination be wanting, this some one is a born critic, that is to say, a lover and judge of the creations of others."
Thus, as one set of laws produced all orbs and their motions and geognostic arrangements, so one set of laws overspread them all with life. The whole productive or creative arrangements are therefore in perfect unity. The general likelihood of an organic creation by law having been shewn, we are next to inquire if science has any facts tending to bring the assumption more nearly home to nature.
For some writers, and writers dear to the circulating libraries too, might, for all that appeals in their works, lie in bed all day, and write by night under the excitement of green tea. Creative art, I suppose, they call this, and it is creative with a vengeance. Not so, Scott.
Imagination fulfills the function of a substitute; it furnishes a subjective, conjectural solution in place of an objective, rational explanation. In the history of science, this is the golden age of the creative imagination, corresponding to the myth-making period already studied.
Paul so often speaks, is the opposition between this broad view of the ultimate Principle of the Creative Law and that narrower view of restriction by particular laws, which prevents us from grasping the Law of Faith; but that he does not deny the Principle of Law, that is the relation between C and E, is clear from his own statement in Rom. viii, where he says: "The Law of the Spirit of Life in Christ Jesus sets me free from the law of Sin and Death;" in other words: the Law of the Good sets us free from the Law of Evil; and for the same reason St.
It ought to be told down to the very bottom, if the purpose be to show the creative force of our hopes, of our wishes, which, when they burst into light, transform the world, overthrow reality. What richer alms could you bestow on these two lovers, when again love will die between them? For this scene is not the last in their double story. They will begin again, like every human being.
The gods whom the sculptors of the fifth century were called upon to represent may have been the gods of Homer, but they were the Homeric gods transformed by the creative imagination of a more reflective age, and purified by a poetic, if not a philosophic, idealism.
Thought allied fearlessly to purpose becomes creative force: he who knows this is ready to become something higher and stronger than a mere bundle of wavering thoughts and fluctuating sensations; he who does this has become the conscious and intelligent wielder of his mental powers. ALL that a man achieves and all that he fails to achieve is the direct result of his own thoughts.
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