2. _Imagination._ To this quality is to be referred his profound religious nature, his poetry, dramatic power, eloquence, and (in conjunction with his earnestness) even his faults. One called him a poet; another, a born actor. James Freeman Clarke said he was the only man he ever heard to whom the much-abused word, “eloquence,” could be truly applied. But I think none of these terms so accurately classify his genius as to call him a painter. His earnestness made everything his quick imagination conjured up seem realistic to him; and his dramatic power enabled him to make these images realistic to his hearers. His thoughts were entities to him, and they always took the form of objects real and visible. This differs from the _poetic_ imagination, the essence of which is unsubstantiality. The poet sees visions, the artist creates forms. Taylor was an artist, with words for his colors, action for his pencil. One who heard him said: “While he preached the ocean rolled and sparkled, the ship spread her sails, the tempest lowered, the forked lightnings blazed, the vessel struck, her disjointed timbers floated upon the waves. It was all pictured to the eye as positive reality. You could hardly believe afterward you had not actually witnessed the scene.” He describes a shipwreck, and at the climax, as the ship is slowly settling in the water, and every face in the audience is livid with fear, he roars, “Man the life boat!” and every sailor in the house springs to his feet. Now sailors, under the influence of drink, have killed their captain. He describes the deed. They start up before the audience, creeping down the stairs and into the cabin; he raises the imaginary knife, and half the men in the house jump forward to arrest the blow, while women shriek in horror. Once, however, a matter-of-fact, though possessed sailor, confused Father Taylor. He had depicted the impenitent sinner, under the figure of a storm-tossed ship, with her sails split, and driven by the gale toward the rock-bound coast of Cape Ann. “Oh, how,” he exclaimed, in tones of despair, “shall this poor sin-tossed sinner be saved?” “Put his helm hard down, and _bear away for Squam_!” bellowed the old salt, springing excitedly to his feet. So he painted the Mosaic miracles, “till the brethren saw the snakes squirm, heard the frogs croak, felt the lice bite, brushed the flies out of their faces and saw the Israelites march out of Egypt.”