Mr. Stewart appears not to have understood the real distinction between the use of the words Conception, and Imagination; that the one is the name of a single idea, the other that of a train. He also involves, without seeming to be wholly aware of it, the idea of a train destined to a particular end in the meaning which he bestows on the word Imagination. Imagination is with him, not the name of a train having merely new combinations, but of a train having new combinations, and those destined to some end. But this is not more the character of the trains which belong to the painter and the poet, as his language appears to imply, than it is of the lawyer, or the metaphysician; or, indeed, the professors of many {245} of the vulgar arts; the tailor, for example, and the mantua-maker.[77] [Bain's footnote 77: The foregoing analysis of the Imagination brings to view some of the important points of distinction between it and the other faculties; for example, the circumstance that the trains and constructions of the Imagination are their own ends, and not a means to farther ends, as in the constructions of science and of the industrial arts. All creative originality is not imagination; the steam-engine was not a product of this faculty. The main features that distinguish the Imagination seem to be these three:-- 1. It is a faculty of the CONCRETE, like Perception and Memory, and not of the Abstract, as the scientific faculties. When we imagine a thing, we picture it to the mind, as far as we are able, in its full concrete reality. Our imagination of a scene in the tropics is of the character of an actual perception; it embraces, or should embrace, whatever would strike the view of any one surveying the reality. 2. Imagination rises above Perception and Memory, in being a CONSTRUCTIVE faculty. It alters, re-arranges, puts together the materials of perception and memory to satisfy certain demands of the mind. In this respect, it is more than Conception, which as viewed by the author, is also a faculty of the concrete, but introduces no novelty of combination. Conception may involve a great constructive effort, as when we try to picture to ourselves a poet's creation by the help of his language; nevertheless, the term imagination loses its characteristic force, and leaves an important meaning without a name, if applied to this conceiving or realizing effort. The imaginative stretch belongs to the poet or artist; the power of conceiving is what the reader of a poem brings into exercise. 3. Imagination is swayed by some PRESENT EMOTION. This is another way of expressing the author's view that it is an end in itself. If we were to use the general word "feeling," we should encounter the difficulty of separating imagination {246} from common industry, which is all intended to gain pleasures or ward off pains.