operation of nature is equally so; we have no clearer idea how we have perceptions, how we retain them, or how we combine them. There is an infinity between us and the springs or first principles of our nature. Active imagination is that which joins combination and reflection to memory. It brings near to us many objects at a distance; it separates those mixed together, compounds them, and changes them; it seems to create, while in fact it merely arranges; for it has not been given to man to make ideas--he is only able to modify them. This active imagination then is in reality a faculty as independent of ourselves as passive imagination; and one proof of its not depending upon ourselves is that, if we propose to a hundred persons, equally ignorant, to imagine a certain new machine, ninety-nine of them will form no imagination at all about it, notwithstanding all their endeavors. If the hundredth imagines something, is it not clear that it is a particular gift or talent which he has received? It is this gift which is called "genius"; it is in this that we recognize something inspired and divine. This gift of nature is an imagination inventive in the arts--in the disposition of a picture, in the structure of a poem. It cannot exist without memory, but it uses memory as an instrument with which it produces all its performances. In consequence of having seen that a large stone which the hand of man could not move, might be moved by means of a staff, active imagination invented levers, and afterwards compound moving forces, which are no other than disguised levers. It is necessary to figure in the mind the machines with their various effects and processes, in order to the actual production of them. It is not this description of imagination that is called by the vulgar the enemy of judgment. On the contrary, it can only act in union with profound judgment; it incessantly combines its pictures, corrects its errors, and raises all its edifices according to calculation and upon a plan. There is an astonishing imagination in practical mathematics; and Archimedes had at least as much imagination as Homer. It is by this power that a poet creates his personages, appropriates to them characters and manners, invents his fable, presents the exposition of it, constructs its complexity, and prepares its development; a labor, all this, requiring judgment the most profound and the most delicately discriminative. A very high degree of art is necessary in all these imaginative inventions, and even in romances. Those which are deficient in this quality are neglected and despised by all minds of natural good taste. An invariably sound judgment pervades all the fables of Æsop. They will never cease to be the delight of mankind. There is more imagination in the "Fairy Tales"; but these fantastic imaginations, destitute of order and good sense, can never be in high esteem; they are read childishly, and must be condemned by reason.