"On the other side, Incensed with indignation, Satan stood Unterrified, and like a comet burned That fires the length of Ophiuchus huge In the arctic sky, and from his horrid hair Shakes pestilence and war." (Note that the word incensed is to be taken in its literal and material sense, set on fire.) What taste or judgment was it that directed this combination? or is there nothing more than taste or judgment here? "Ten paces huge He back recoiled; the tenth on bended knee His massy spear upstaid, as if on earth Winds under ground, or waters forcing way _Sidelong had pushed a mountain from his seat Half-sunk with all his pines._ "Together both ere the high lawns appeared _Under the opening eyelids_ of the morn, We drove a field, and both together heard What time the gray-fly winds her _sultry_ horn. "Missing thee, I walk unseen On the dry smooth shaven green. To behold the wandering moon Riding near her highest noon, _Like one that had been led astray_, Through the heavens' wide pathless way, And oft _as if her head she bowed_ Stooping through a fleecy cloud." It is evident that Stewart's explanation utterly fails in all these instances, for there is in them no "combination" whatsoever, but a particular mode of regarding the qualities or appearances of a single thing, illustrated and conveyed to us by the image of another; and the act of imagination, observe, is not the selection of this image, but the mode of regarding the object. But the metaphysician's definition fails yet more utterly, when we look at the imagination neither as regarding, nor combining, but as penetrating. "My gracious Silence, Hail: Wouldst thou have laughed, had I come coffin'd home That weep'st to see me triumph. Ah! my dear, Such eyes the widows in Corioli wear, And mothers that lack sons." How did Shakspeare _know_ that Virgilia could not speak? This knowledge, this intuitive and penetrative perception, is still one of the forms, the highest, of imagination, but there is no combination of images here. Sec. 6. The three operations of the imagination. Penetrative, associative, contemplative.