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Poets and critics agree that the imagination is something different from the mere memory-image; that by a process of selection and combination and re-presentation of images something really new comes into being, and that we are therefore justified in using the term constructive, or creative imagination.
If, however, it is part of a perception, say of some familiar person, we may say that the person perceived is an object of consciousness. For in this case the sensation is a SIGN of the perceived object in much the same way in which a memory-image is a sign of a remembered object.
For the present, however, we shall do well to forget the problems concerning theory of knowledge, and concentrate upon the purely psychological problem of memory. Between memory-image and sensation there is an intermediate experience concerning the immediate past.
The feeling of reality is a feeling akin to respect: it belongs PRIMARILY to whatever can do things to us without our voluntary co-operation. This feeling of reality, related to the memory-image, and referred to the past by the specific kind of belief-feeling that is characteristic of memory, seems to be what constitutes the act of remembering in its pure form.
But it is, nevertheless, the possibility of a memory-image in the child and an imagination-image in the hearer that makes the essence of the narrative "meaning" of the words. In so far as this is absent, the words are mere counters, capable of meaning, but not at the moment possessing it. Yet this might perhaps be regarded as something of an overstatement.
The prototype of our memory-image did fit into a physical context, while our memory-image does not. This causes us to feel that the prototype was "real," while the image is "imaginary." But the answer to our second question, namely as to what we are feeling when we say a thing "occurs" or is "real," must be somewhat different.
The content expressed in words is best represented by the words "the existence of this," since these words do not involve tense, which belongs to the belief-feeling, not to the content. Here "this" is a vague term, covering the memory-image and anything very like it, including its prototype.
For the present we must content ourselves with the fact that the memory-image can be explained by habit. As regards the memory-belief, we must, at least provisionally, accept Bergson's view that it cannot be brought under the head of habit, at any rate when it first occurs, i.e. when we remember something we never remembered before.
I am inclined to think that it consists merely in the knowledge that no one individual is represented, so that what distinguishes a general idea from a vague idea is merely the presence of a certain accompanying belief. If this view is correct, a general idea differs from a vague one in a way analogous to that in which a memory-image differs from an imagination-image.
But for this purpose it is necessary to revert to image-propositions instead of word-propositions. Let us take again the illustration of a memory-image of a familiar room, and let us suppose that in the image the window is to the left of the door.
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