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If asked how we know it does, our answer is, because we see it do so, which is more than mind imaginers can say of their 'prime mover. They tell us mind moves matter; but none save the third sighted among them ever saw mind, and if they never saw mind, they never could have seen matter pushed about by it.
There are also great imaginers who, having passed through a period of insanity, have strongly regretted it "as a state in which the soul, more exalted and more refined, perceives invisible relations and enjoys spectacles that escape the material eyes." Such was Gérard de Nerval. As for Charles Lamb, he would assert that he should be envied the days spent in an insane asylum.
According to general opinion the great imaginers are found only in the first two classes, which is, in the strict sense of the word, true; in the full sense of the word false. As long as it remains "outline," or even "fixed," the constructive imagination can reign as supreme mistress.
If asked how we know it does, our answer is, because we see it do so, which is more than mind imaginers can say of their 'prime mover. They tell us mind moves matter; but none save the second sighted among them ever saw mind; and if they never saw mind, they never could have seen matter pushed about by it.
So-and-so, one of our neighbors, plays in a dream an odious rôle; we may have a feeling of repulsion or spite toward him persisting throughout the day. But this triumph of the image, accidental and ephemeral in normal man, is frequent and stable in the imaginers of the second class. Many among them have asserted that this internal world is the only reality.
We create for ourselves a Nero or a Cleopatra, a Washington or a Molly Pitcher, from the gossip of enemies or friends or imaginers, and we can be sure of only one thing that we do not know the true truth. But we also do wrong to hold gossip in too much discredit. It gives life fascination, makes the most stupid neighbors interesting.
If these two tendencies exist together, or, as happens, are grafted one on the other, without anything to counterbalance them, the abstract spirit attains its perfect form. Midway between these two groups are the imaginers in whom the internal life predominates in the form of combinations of images, which fact distinguishes them clearly from the abstractors.
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