Observe how the imagination in these last lines goes into the very inmost soul of every flower, after having touched them all at first with that heavenly timidness, the shadow of Proserpine's; and gilded them with celestial gathering, and never stops on their spots, or their bodily shape, while Milton sticks in the stains upon them, and puts us off with that unhappy freak of jet in the very flower that without this bit of paper-staining would have been the most precious to us of all. "There is pansies, that's for thoughts." Sec. 8. Fancy how involved with imagination. So I believe it will be found throughout the operation of the fancy, that it has to do with the outsides of things, and is content therewith: of this there can be no doubt in such passage as that description of Mab, so often given as an illustration of it, and many other instances will be found in Leigh Hunt's work already referred to. Only some embarrassment is caused by passages in which fancy is seizing the outward signs of emotion, understanding them as such, and yet, in pursuance of her proper function, taking for her share, and for that which she chooses to dwell upon, the outside sign rather than the emotion. Note in Macbeth that brilliant instance. "Where the Norweyan banners flout the sky And fan our people cold." The outward shiver and coldness of fear is seized on, and irregularly but admirably attributed by the fancy to the drift of the banners. Compare Solomon's Song where the imagination stays not at the outside, but dwells on the fearful emotion itself? "Who is she that looketh forth as the morning; fair as the moon, clear as the sun, and terrible as an army with banners?" Sec. 9. Fancy is never serious Now, if this be the prevailing characteristic of the two faculties, it is evident that certain other collateral differences will result from it. Fancy, as she stays at the externals, can never feel. She is one of the hardest hearted of the intellectual faculties, or rather one of the most purely and simply intellectual. She cannot be made serious,[59] no edge-tools but she will play with; whereas the imagination is in all things the reverse. She cannot be but serious; she sees too far, too darkly, too solemnly, too earnestly, ever to smile. There is something in the heart of everything, if we can reach it, that we shall not be inclined to laugh at. The [Greek: anerithmon gelasma] of the sea is on its surface, not in the deep. Sec. 10. Want of seriousness the bar to high art at the present time.