On poetry and geometric truth, And their high privilege of lasting life, From all internal injury exempt, I mused; upon these chiefly: and at length, My senses yielding to the sultry air, Sleep seized me, and I passed into a dream. --WORDSWORTH. _The Prelude, Bk. 5._ =1118.= Geometry seems to stand for all that is practical, poetry for all that is visionary, but in the kingdom of the imagination you will find them close akin, and they should go together as a precious heritage to every youth.--MILNER, FLORENCE. _School Review, 1898, p. 114._ =1119.= The beautiful has its place in mathematics as elsewhere. The prose of ordinary intercourse and of business correspondence might be held to be the most practical use to which language is put, but we should be poor indeed without the literature of imagination. Mathematics too has its triumphs of the creative imagination, its beautiful theorems, its proofs and processes whose perfection of form has made them classic. He must be a “practical” man who can see no poetry in mathematics. --WHITE, W. F. _A Scrap-book of Elementary Mathematics (Chicago, 1908), p. 208._ =1120.= I venture to assert that the feelings one has when the beautiful symbolism of the infinitesimal calculus first gets a meaning, or when the delicate analysis of Fourier has been mastered, or while one follows Clerk Maxwell or Thomson into the strange world of electricity, now growing so rapidly in form and being, or can almost feel with Stokes the pulsations of light that gives nature to our eyes, or track with Clausius the courses of molecules we can measure, even if we know with certainty that we can never see them--I venture to assert that these feelings are altogether comparable to those aroused in us by an exquisite poem or a lofty thought.--WORKMAN, W. P. _F. Spencer: Aim and Practice of Teaching (New York, 1897), p. 194._ =1121.= It is an open secret to the few who know it, but a mystery and stumbling block to the many, that Science and Poetry are own sisters; insomuch that in those branches of scientific inquiry which are most abstract, most formal, and most remote from the grasp of the ordinary sensible imagination, a higher power of imagination akin to the creative insight of the poet is most needed and most fruitful of lasting work.--POLLOCK, F. _Clifford’s Lectures and Essays (New York, 1901), Vol. 1, Introduction, p. 1._