We find, then, that the imagination has three totally distinct functions. It combines, and by combination creates new forms; but the secret principle of this combination has not been shown by the analysts. Again, it treats or regards both the simple images and its own combinations in peculiar ways; and, thirdly, it penetrates, analyzes, and reaches truths by no other faculty discoverable. These its three functions, I shall endeavor to illustrate, but not in this order: the most logical mode of treatment would be to follow the order in which commonly the mind works; that is, penetrating first, combining next, and treating or regarding, finally; but this arrangement would be inconvenient, because the acts of penetration and of regard are so closely connected, and so like in their relations to other mental acts, that I wish to examine them consecutively, and the rather, because they have to do with higher subject matter than the mere act of combination, whose distinctive nature, that property which makes it imagination and not composition, it will I think be best to explain at setting out, as we easily may, in subjects familiar and material. I shall therefore examine the imaginative faculty in these three forms; first, as combining or associative; secondly, as analytic or penetrative; thirdly, as regardant or contemplative. FOOTNOTES [49] He continues thus, "To illustrate these observations, let us consider the steps by which Milton must have proceeded, in creating his imaginary garden of Eden. When he first proposed to himself that subject of description, it is reasonable to suppose that a variety of the most striking scenes which he had seen, crowded into his mind. The association of ideas suggested them and the power of conception placed each of them before him with all its beauties and imperfections. In every natural scene, if we destine it for any particular purpose, there are defects and redundancies, which art may sometimes, but cannot always correct. But the power of imagination is unlimited. She can create and annihilate, and dispose at pleasure her woods, her rocks, and her rivers. Milton, accordingly, would not copy his Eden from any one scene, but would select from each the features which were most eminently beautiful. The power of abstraction enabled him to make the separation, and taste directed him in the selection." CHAPTER II. OF IMAGINATION ASSOCIATIVE. Sec. 1. Of simple conception. In order to render our inquiry as easy as possible, we shall consider the dealing of the associative imagination with the simplest possible matter, that is,--with conceptions of material things. First, therefore, we must define the nature of these conceptions themselves.