This energetic dramatic quality of the image-forming faculty is tremendously important. It has not been enough insisted upon; and it has been greatly misunderstood and misrepresented. It is, as I say, a root-property of creation. It is seen everywhere in the healthy activity of the human mind, in its delight in romance and imagination, in the play of children, the stage, literature, art, scientific invention—the sheer joy of creation, going on everywhere and always. Lay the conscious and controlling and selective power of the upper mind at rest, in the trance-condition, and you have in the deeps of the subliminal self this primal creative power exposed. Offer to it the lightest suggestion, and there springs forth from that abyss a figure corresponding, or a dozen figures, or a whole procession! The mere delight of creation calls them forth. Could anything be more wonderful? What a strange glimpse it gives us of the possibilities of Creation. Some people seem to be quite shocked at the idea that this subliminal mind, or whatever it is that possesses these marvellous powers, should act these parts, and lend itself to unsubstantial and quasi-fraudulent representations. But why accuse of deception? It is a game—the great game we are all of us playing—the whole Creation romancing away; with endless inexhaustible fertility throwing out images, ideas, new shapes and forms forever. Those forms which hold their own, which substantiate themselves, which fill a place, fulfil a need—they win their way into the actual world and become the originals of the plants, the animals, human beings, works of art, and so forth, which we know. Those which cannot hold their own pass back again into the unseen. In the far depths of the entranced medium’s mind we see this abysmal process going on—this fountain-like production of images taking place—the very beginnings of creation. It is the sheer joy of manifestation. As one gives a musician a mere hint or clue—a theme of three or four notes—and immediately he improvises a spirited piece of music; so is it with the hypnotized person or with the medium. One gives him a suggestion and he immediately creates the figures according. And so it is for us, to direct this wonderful power, even in ourselves—not to call it fraudulent, but to make use of it for splendid ends. Doubtless it can be used for unworthy ends. It is easy to understand that the mediumistic person, finding this wonderful dramatic and creative faculty within himself or herself, is sometimes tempted to turn it to personal advantage; and succumbs to the temptation. The dramatic habit catches hold of the waking self, and renders the person tricky and unreliable.[71] But below it all is creation, and the instinct of creation—the power that gives to airy nothing a local habitation, the genius of the dramatist, of the artist, of the inventor, and the _very source of the visible and tangible world_.