(iii) A narrower sense is that in which sympathetic reproducing of other people’s states of mind, particularly their emotional states, is what is meant. “You haven’t enough imagination,” the dramatist says to the critic who thinks that his persons behave unnaturally. This kind of imagination is plainly a necessity for communication, and is covered by what has already been said in Chapter XXIV. It has no necessary connection with senses of imagination which imply value. Bad plays to be successful require it as much as good. (iv) Inventiveness, the bringing together of elements which are not ordinarily connected, is another sense. According to this Edison is said to have possessed imagination, and any fantastic romance will show it _in excelsis_. Although this comes nearer to a sense in which value is implied, it is still too general. The lunatic will beat any of us at combining odd ideas: Dr Cook outstrips Peary, and Bottomley outshines Sir John Bradbury. (v) Next we have that kind of relevant connection of things ordinarily thought of as disparate which is exemplified in scientific imagination. This is an ordering of experience in definite ways and for a definite end or purpose, not necessarily deliberate and conscious, but limited to a given field of phenomena. The _technical_ triumphs of the arts are instances of this kind of imagination. As with all ordering, value considerations are very likely to be implied, but the value may be limited or conditional. (vi) Finally we come to the sense of imagination with which we are here most concerned. The original formulation[79] was Coleridge’s greatest contribution to critical theory, and except in the way of interpretation, it is hard to add anything to what he has said, though, as we have already noted in Chapter XXIV, some things might be taken away from it with advantage.