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Here we come away from the vague forms; the diffluent imagination becomes substantial and asserts itself through its permanence. At bottom this fantastic form is the romantic spirit tending toward objectification.
And, in general, works of art arouse but offer no personal occasions for feeling, and therefore absorb it into themselves. The process of objectification may, however, go further. It often happens in the aesthetic experience that feelings are not objectified alone, but carry with them the idea of the self I come to feel myself as joyous or despairing in the sounds.
Such undiscriminating formulas are either the mere objectification of a mood, of some unusual period of ecstasy or sorrow, a blind outcry of thanksgiving or of bitterness, or they are the clumsy expression of some practical truth, as, the wisdom of acquiescence, and the futility of preoccupation with evil.
Nor is it hard to find the ground of this survival in the sense of beauty of an objectification of feeling elsewhere extinct.
But as to the nature of these psychic states there are only two solutions possible one, naturalistic, that we shall indicate; the other, supernatural, which most theologians hold, and which regards these phenomena as valid and true revelation. In either case, the mystic imagination seems to us naturally tending toward objectification.
Edgar Poe, pure and simple. Don't pick holes in my originality until you have mended those in your own. Conscience. I was Poe's inspiration; he is eternal, being of me. But your inspiration springs from the flesh, and is therefore ephemeral even as the flesh. If you had read Schopenhauer you would know that the flesh is not ephemeral, but the eternal objectification of the will to live.
The imagination is subjective, personal, anthropocentric; its movement is from within outwards toward an objectification. The understanding, i.e., the intellect in the restricted sense, has opposite characteristics it is objective, impersonal, receives from outside. For the creative imagination the inner world is the regulator; there is a preponderance of the inner over the outer.
Of all things, the "Too late" and the "Might have been" are the most sorrowful, and the divine possibility, cruelly realised too late, gives the sharpest edge to Othello's mental agony, when the whole truth of Desdemona's life an "objectification" of loyalty, love, and purity is only revealed to him as she lies there dead before him, killed by his own hand.
The transcendental and functional secret of such hypostases, however, is seldom appreciated by the headlong mind; so that the ebb no less than the flow of objectification goes on blindly and impulsively, and is carried to absurd extremes. An age of mythology yields to an age of subjectivity; reason being equally neglected and exceeded in both.
The man who constantly sees and thinks of himself as unsuccessful and down-trodden is very apt to grow ideals of thought forms of these things until his whole nature is dominated by them, and his every act works toward the objectification of the thoughts.
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