Latest / THE SECRET LAW OF ATTRACTION: Manifest Wealth, Success & Abundance / CREATIVE POWER - YOUR CONSTRUCTIVE FORCES: Designing Your Life with the Law of Attraction - William Walker Atkinson (1922)

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CREATIVE POWER - YOUR CONSTRUCTIVE FORCES: Designing Your Life with the Law of Attraction - William Walker Atkinson (1922) · THE SECRET LAW OF ATTRACTION: Manifest Wealth, Success & Abundance

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  Speaker 1: Creative Power Your Constructive Forces by William Walker Atkinson Imagination.
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  Speaker 1: In this book, you are asked to consider a wonderful
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  Speaker 1: phase of personal power which is latent, inherent, and abiding
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  Speaker 1: within you, the power of imagination. This power is a
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  Speaker 1: phase of your personal power. Your personal power, in turn,
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  Speaker 1: is a phase of the manifestation of that power which
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  Speaker 1: is the source of all power, and which is expressed, manifested,
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  Speaker 1: and employed in all phases of power of which you
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  Speaker 1: have or can possible have. Any cognizance. By imagination is
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  Speaker 1: meant the power of the mind to create mental images
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  Speaker 1: or objects of sense previously perceived. The power to reconstruct
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  Speaker 1: or recombine the materials furnished by direct apprehension, the power
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  Speaker 1: to recombine the materials furnished by experience or memory for
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  Speaker 1: the accomplishment of an elevated purpose. The power of conceiving
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  Speaker 1: and expressing the ideal by many, possibly even by you.
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  Speaker 1: Up to this time, the idea and concept of imagination
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  Speaker 1: is confused and confounded with that of fancy. But this
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  Speaker 1: is an error which must be removed from the very
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  Speaker 1: start in your serious consideration of the subject of the
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  Speaker 1: constructive imagination, which constitutes the field of the investigation and
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  Speaker 1: instruction set forth in this book. Let us pause a
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  Speaker 1: moment that you may note and familiarize yourself with this
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  Speaker 1: distinction and differentiation. Webster says, a distinction is now made
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  Speaker 1: between imagination and fancy. Properly speaking, they are different exercises
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  Speaker 1: of the same general power, the plastic or creative faculty.
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  Speaker 1: Imagination is the higher form of mental activity of the two.
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  Speaker 1: It creates by laws more closely connected with the reason.
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  Speaker 1: It aims at results of a definite and weighty character.
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  Speaker 1: Fancy is governed by laws of association which are more
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  Speaker 1: remote and sometimes arbitrary or capricious. Hence the term fanciful,
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  Speaker 1: which exhibits fancy in its wilder life flights. As you
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  Speaker 1: proceed with this instruction, you will perceive the special in
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  Speaker 1: particular characteristics which distinguish that phase of imagination called constructive
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  Speaker 1: imagination from that other phase called reproductive imagination. You will
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  Speaker 1: also learn to differentiate between the passive form of constructive imagination,
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  Speaker 1: which is little, if anything more than fancy, and that
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  Speaker 1: active form, which constitutes the true constructive imagination with which
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  Speaker 1: we have to deal in this instruction. We ask you
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  Speaker 1: here to fix in your mind two pictures, each of
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  Speaker 1: which represents primitive man manifesting one of the two forms
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  Speaker 1: of constructive imagination. By seeing and remembering these pictures, you
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  Speaker 1: will always have at your command the touchstone with which
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  Speaker 1: you may test your imaginative processes. The first picture is
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  Speaker 1: that of primitive man sitting and thinking, either passively contemplating
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  Speaker 1: the flow of the stream of reproductive imagination or memory,
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  Speaker 1: in which is pictured the experiences of his past or
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  Speaker 1: else day dreaming and imaging himself playing a part in
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  Speaker 1: some new drama of experience, or seeing others engaged in
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  Speaker 1: a like occupation. This is the incomplete stage, all right,
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  Speaker 1: so far as it goes, and often useful to the
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  Speaker 1: extent of supplying raw materials for higher efforts, but insufficient
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  Speaker 1: in itself, proper for purposes of recreation, but useless if
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  Speaker 1: it extends no further. Leaving our primitive dreamer, we ask
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  Speaker 1: you now to contemplate the primitive man who imagines for
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  Speaker 1: a purpose, who imagines to a definite end. See how
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  Speaker 1: different is this picture from that just contemplated. Our primitive man,
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  Speaker 1: with the dawning constructive imagination, perceived the inadequacy of his
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  Speaker 1: natural physical equipment employed in his work of self preservation,
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  Speaker 1: offense and defense, protection of his family, and in his
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  Speaker 1: striving for comfort and well being. By means of such imagining,
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  Speaker 1: this class of primitive man raised the race from its
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  Speaker 1: position of physical weakness and comparative helplessness to its present
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  Speaker 1: position of dominance over the entire world of living things.
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  Speaker 1: What nature had denied man in physical weapons, he supplied
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  Speaker 1: to himself through the exercise of his constructive imagination. Constructive
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  Speaker 1: imagination raised man from his original lowly place in the
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  Speaker 1: world of living things to his present eminence and rank.
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  Speaker 1: By means of its power, man has attained heights which
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  Speaker 1: would have seemed far beyond him to one observing him
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  Speaker 1: in his original state. Man in his original or aboriginal
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  Speaker 1: state might well have been regarded by a visitor from
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  Speaker 1: a higher world as a most unpromising candidate for survival
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  Speaker 1: in the struggle for existence, let alone for the position
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  Speaker 1: of mastery and rulership over the other living creatures contemporaneous
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  Speaker 1: with himself. He was a much weaker animal than most
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  Speaker 1: of the others. He was less fleet of foot and
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  Speaker 1: less agile in his movements. He was less well equipped
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  Speaker 1: with tooth and claw. The great saber toothed tigers, the
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  Speaker 1: huge reptiles, and the other powerful and ferocious animals of
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  Speaker 1: his environment were far better adapted for the struggle for
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  Speaker 1: existence than was this poor, puny, weak creature called Man.
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  Speaker 1: It would have required a courageous imagination to pick Man
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  Speaker 1: as the probable winner in the struggle for existence and
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  Speaker 1: the victor in the process of the survival of the fittest.
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  Speaker 1: But this weak creature, this puny and insignificant animal, possessed
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  Speaker 1: the latent power of constructive imagination by which he was
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  Speaker 1: enabled to overcome his natural obstacles. By means of this
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  Speaker 1: mental power, he was enabled to invent and to employ
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  Speaker 1: the implements, tools, and weapons with which he waged a
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  Speaker 1: defensive and offensive warfare against the fierce creatures of his environment,
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  Speaker 1: and to create the material contrivances with which he was
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  Speaker 1: able to overcome the handicaps of his environment with which
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  Speaker 1: nature at first might have seemed deliberately to have burdened him.
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  Speaker 1: By means of this latent power, he proved himself to
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  Speaker 1: be the fittest to survive and the true victor in
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  Speaker 1: the struggle for existence. Man lacked the strong teeth and
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  Speaker 1: claws of the carnivorous animals, But he created artificial claws
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  Speaker 1: and teeth, imitating those which nature had so freely bestowed
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  Speaker 1: upon the lower animals. By making from the hard flint
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  Speaker 1: the spears, axes, and knives, specimens of which we now
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  Speaker 1: find buried in the earth. By creating strong clubs from
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  Speaker 1: the limbs and branches of trees, he equalled and even
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  Speaker 1: surpassed the striking weapons of the great beasts. By creating
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  Speaker 1: bows and arrows, he managed to overcome the handicaps of space,
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  Speaker 1: and was able to touch his enemies, while himself beyond
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  Speaker 1: their reach. He took a hint from the caves and
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  Speaker 1: dens of the beasts and improved upon them for his
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  Speaker 1: own occupancy. He took a hint from the birds and
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  Speaker 1: improved upon their elevated nests by building for himself safe
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  Speaker 1: refuges in the cliffs and the high trees, reaching these
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  Speaker 1: by ladders of his own construction. He imagined the plan
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  Speaker 1: of rolling great rocks before the entrances of his caves
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  Speaker 1: and dens, and he afterward imagined the protecting doors of
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  Speaker 1: wood and windows, and later chimneys. He imagined the idea
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  Speaker 1: of hurling stones at his enemies by means of slings,
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  Speaker 1: great bows, and primitive catapults, and of rolling large boulders
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  Speaker 1: down the mountain sides upon his enemies below. He imagined
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  Speaker 1: the idea of improving upon the floating log, in turn
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  Speaker 1: creating rafts, flatboats, hollowed out logs. He imagined the idea
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  Speaker 1: of the directing and propelling poles, paddles, and oars. He
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  Speaker 1: observed the rolling log, and from it he imagined the solid,
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  Speaker 1: clumsy wheel, then the lighter spoked wheel, and was thus
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  Speaker 1: enabled to move heavy objects over long distances with comparative ease.
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  Speaker 1: He imagined the pulley and the lever and learned to
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  Speaker 1: apply them. He imagined implements with which to mash his
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  Speaker 1: food and grind his grain. He imagined the primitive hoe
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  Speaker 1: and the crude irrigation or draining ditch. He imagined the
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  Speaker 1: idea of using the skins of animals as clothing for
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  Speaker 1: himself to protect him against the weather. He imagined the
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  Speaker 1: idea of employing portions of trees for tent building. He
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  Speaker 1: adapted common natural things and converted them into uncommon artificial
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  Speaker 1: appliances for his comfort and welfare. And finally, oh wonder
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  Speaker 1: of wonders. He imagined the art and science of making
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  Speaker 1: and using fire, and ever since man has continued to
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  Speaker 1: imagine things, ways of overcoming natural obstacles and handicaps, ways
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  Speaker 1: of converting natural things to his own use, comfort, and happiness.
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  Speaker 1: He imagined all of these things, little by little and
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  Speaker 1: created them in material objective form, following the outlines of
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  Speaker 1: his mental subjective form. And he still continues to imagine things,
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  Speaker 1: greater things, larger things, more complex things. He will always
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  Speaker 1: continue to sow imagine things, for that is his characteristic quality,
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  Speaker 1: his constructive imagination, which distinguishes him from the lower animals.
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  Speaker 1: Those of the race who were successful constructive imaginers, either
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  Speaker 1: as individuals or as tribes or peoples, survived in the struggle,
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  Speaker 1: while the failures were crowded to the wall or went under.
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  Speaker 1: The fittest constructive imaginers survived and passed on to their
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  Speaker 1: descendants their knowledge and transmitted to them their mental tendencies.
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  Speaker 1: Thus man has evolved into the imagining animal, the creating creature.
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  Speaker 1: Those individuals or peoples of the race who failed to
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  Speaker 1: keep up with the procession of the constructive imaginers, if
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  Speaker 1: not actually crowded out and destroyed in the struggle survived
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  Speaker 1: only to become the parasites or the slaves of the conquerors.
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  Speaker 1: The slave races have always possessed less developed powers of
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  Speaker 1: constructive imagination than have their masters. When slaves developed constructive imagination,
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  Speaker 1: they ceased to remain slaves. When the germ of constructive
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  Speaker 1: imagination begins to work in the minds of a subject people,
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  Speaker 1: that people is on the way to freedom. History may
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  Speaker 1: be read in the light of fact. The physical might
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  Speaker 1: of the masters, in the end, surrenders to the mental
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  Speaker 1: might of the one time slaves. The cunning of the
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  Speaker 1: fox has often overthrown the physical strength of the lion.
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  Speaker 1: The struggle for existence is still under way. The survival
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  Speaker 1: of the fittest is a fact of modern human existence,
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  Speaker 1: as well as of the past history of the race
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  Speaker 1: and of the world in general. But now more than ever,
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  Speaker 1: constructive imagination is the great element of the struggle, the
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  Speaker 1: great standard of the fitness to survive, succeed, and accomplish.
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  Speaker 1: The people, the race, the nation, and the individual possessing
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  Speaker 1: the greatest degree of development and application of continuous and
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  Speaker 1: persistent constructive imagination will be found to be the fittest
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  Speaker 1: to survive. All else being equal, will prove to be
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  Speaker 1: the ultimate winner in the struggle for existence. If man
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  Speaker 1: is ever succeeded by the superman, as some have predicted,
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  Speaker 1: it will be found that the superman is possessed of
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  Speaker 1: superior powers of constructive imagination, and of a greater faculty
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  Speaker 1: of exercising and applying them. Such is the law of
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  Speaker 1: evolution of progress of life. This, then, is the second picture.
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  Speaker 1: Look upon the first picture, and then upon the one
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  Speaker 1: just presented to you. In the first you will see
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  Speaker 1: the figure of the primitive man who just sat and thought,
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  Speaker 1: and sometimes just sat that thinking being merely day dreaming
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  Speaker 1: and passive imagination. In the second you will see the
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  Speaker 1: picture of the real thinker, so well depicted in Rodin's
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  Speaker 1: magnificent figure of the thinker. But his thinking is not
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  Speaker 1: just thinking. It is thinking for a purpose and toward
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  Speaker 1: an end. It is constructive imagination, directed toward a definite
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  Speaker 1: end in aim, and firmly held there until the right
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  Speaker 1: image is created, the image then being transmuted into material form.
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  Speaker 1: The thinker of Rodin's figure is using his imagination, just
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  Speaker 1: as he has learned to use his attention in his will,
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  Speaker 1: deliberately purposively to a definite aim and end, and in
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  Speaker 1: a particular direction. He and his modern counterparts are evolving creators.
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  Speaker 1: They are constructing, contriving, inventing, designing, planning, projecting, building in
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  Speaker 1: the mind that which afterward will be built in physical form.
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  Speaker 1: They are the dreamers whose dreams shall come true, the
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  Speaker 1: creators of ideals which shall become real. This, then, is
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  Speaker 1: constructive imagination. This constitutes the subject matter of this book.
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  Speaker 1: This is the main theme of the instruction which we
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  Speaker 1: shall impart to you in the following pages. This is
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  Speaker 1: a far cry from the mere imagination the fancy of
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  Speaker 1: the self satisfied masses of the people. Is it not
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  Speaker 1: creative power? Your constructive forces? By William Walker Atkinson, The
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  Speaker 1: imaging Faculties. One of the most characteristic, essential, and distinctive
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  Speaker 1: attributes of your mental being is the power of producing
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  Speaker 1: mental images. Without this power, or you would be unable
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  Speaker 1: to think, to remember, to act intelligently. If your sensations
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  Speaker 1: did not impress themselves upon your mind so that it
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  Speaker 1: was afterward possible for you to recall them as images,
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  Speaker 1: you would always remain a mere infant in mental development.
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  Speaker 1: Your experience would remain as a closed book to you
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  Speaker 1: and you could never hope to profit by turning over
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  Speaker 1: the pages of its records. You would be no wiser
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  Speaker 1: at fifty years of age than you were at three.
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  Speaker 1: You would have no memory, no imagination, no power of
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  Speaker 1: rational thought based upon experience. A mental image may be
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  Speaker 1: defined as a representation in the mind by means of
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  Speaker 1: an ideal picture of an experience originally obtained through the
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  Speaker 1: medium of the senses. By representation is meant the act
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  Speaker 1: of representing or presenting anew in consciousness the form or
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  Speaker 1: picture originally experienced through sense reports. The representative powers of
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  Speaker 1: the mind, whether of memory or of imagination, are those
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  Speaker 1: powers of the mind whereby it forms ideal images or
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  Speaker 1: mental pictures of things not present to the senses at
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  Speaker 1: the time, Such ideal images or mental pictures being the
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  Speaker 1: mental reproduction of any experience whatsoever. While the term image
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  Speaker 1: is borrowed from optics in order to symbolize the retained
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  Speaker 1: mental impressions of past experiences, the figurative term must not
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  Speaker 1: be too literally interpreted. Not only are the images or
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  Speaker 1: pictures of visual impressions and experiences retained in the mind
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  Speaker 1: and are possible of representation or reproduction in memory or imagination,
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  Speaker 1: but the impressions of sound, taste, smell, touch, and muscular
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  Speaker 1: sensations are equally retained and are subject to reproduction. There
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  Speaker 1: are auditory, gustatory, olfactory, tactile, and muscular images or pictures
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  Speaker 1: in the mind, as well as visual or optical images
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  Speaker 1: or pictures. In fact, the completed and composite mental image
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  Speaker 1: or picture of any particular thing usually is a complex
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  Speaker 1: product made up of the interw woven material of several
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  Speaker 1: kinds of sense reports. There is a close relation, yet
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  Speaker 1: a marked difference between the original sense impression and its
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  Speaker 1: represented image or picture. After an object is removed from
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  Speaker 1: vision or the eyes shut, there remains in the mind
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  Speaker 1: the image of the thing seen actually existent, though more
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  Speaker 1: obscure than when it was perceived in vision. The same
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  Speaker 1: principle applies to images of impressions received through the other senses.
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  Speaker 1: Aristotle called these images the phantasms, which have the form
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  Speaker 1: of the object without the substance, as the impression of
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  Speaker 1: a seal upon wax has the form of the seal
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  Speaker 1: without its substance. Psychologists have held that sensations have their
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  Speaker 1: origin in the objective stimuli, while the represented image has
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  Speaker 1: its stimulation from within It is generally held by psychologists
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  Speaker 1: that no sensation is actually perceived by the mind until
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  Speaker 1: a mental image of it is formed. Likewise, that the
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  Speaker 1: mind cognizes no physical experiences unless they give rise to
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  Speaker 1: mens mental images. The mind perceives, understands, and remembers nothing
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  Speaker 1: but mental images. Recollection, imagination, and the processes of thought
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  Speaker 1: are held to be possible only by means of calling
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  Speaker 1: up and arranging the mental images of things which have
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  Speaker 1: originally arisen through sense experience. Even the higher operations of thought,
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  Speaker 1: such as judgment, reasoning, abstraction, generalization, combination of ideas, proceed
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  Speaker 1: by means of the employment of previously acquired mental images.
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  Speaker 1: The two great general classes of mental representation are one
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  Speaker 1: memory and two imagination. In spite of the popular distinction
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  Speaker 1: between these two phases of mental activity, there is present
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  Speaker 1: in them a basic unity of nature and essential principle.
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  Speaker 1: Both are processes involving the employment of representative images, and
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  Speaker 1: there is really no absolute line of demarcation between them
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  Speaker 1: or their products. It was formerly held that there existed
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  Speaker 1: an actual distinction between the two respective processes, the line
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  Speaker 1: of which was drawn as follows. One memory reproduces or
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  Speaker 1: represents the exact image of the original mental impression, while
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  Speaker 1: two imagination reproduces or represents a variation of such original
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  Speaker 1: impression or a new combination of the elements of original impressions.
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  Speaker 1: But this absolute distinction redifferentiation is not held generally by
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  Speaker 1: the best modern psychologists. The present opinion is that even
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  Speaker 1: the best memory images do not exactly reproduce the original impression. Instead,
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  Speaker 1: they always omit certain portions, add details not in the original,
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  Speaker 1: and exhibit changes in arrangement of details. It is now
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  Speaker 1: stated as a law of psychology that representative images never
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  Speaker 1: exactly reproduce the original impression. This is true of the
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  Speaker 1: images of memory as well as of those of imagination.
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  Speaker 1: There is, of course admitted that some representative images more
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  Speaker 1: closely approach exact reproduction than do others. Some are more
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  Speaker 1: literal copies of things experienced than are others. But the
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  Speaker 1: elements of variation, change, addition, or commission are always present
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  Speaker 1: and active. You may arrive at a correct understanding of
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  Speaker 1: the real distinction between the processes of memory in those
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  Speaker 1: of imagination by considering the four essential elements involved in
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  Speaker 1: the process of completed memory viz. One retention, in which
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  Speaker 1: the mind retains the image of the impression made upon
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  Speaker 1: it by the sense reports. Two reproduction, in which the
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  Speaker 1: mind brings again into consciousness the mental image which it
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  Speaker 1: has retained. Three recognition, in which the mind identifies the
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  Speaker 1: reproduced mental image with the object causing the original impression.
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  Speaker 1: And for localization, in which the mind locates the original impression,
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  Speaker 1: which has been recognized at a certain more or less
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  Speaker 1: definite time and place. Now, then, what are the elements
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  Speaker 1: involved in the processes of imagination. First you will see
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  Speaker 1: at once that the element of retention must be involved,
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  Speaker 1: as otherwise the mental image could never be again brought
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  Speaker 1: into consciousness. Secondly, you will see that the element of
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  Speaker 1: reproduction must be involved, as otherwise the mind would lack
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  Speaker 1: the power to bring again into consciousness the retained mental image.
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  Speaker 1: So far, at least, imagination and memory travel along the
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  Speaker 1: same road, for in both cases the mind must possess
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  Speaker 1: and exercise the power of retaining the mental image, and
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  Speaker 1: also the power of reproducing it in consciousness. But here
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  Speaker 1: the absolute identity of the two processes cease. The stream
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  Speaker 1: of representation divides itself into two branches, each of which
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  Speaker 1: pursues its own special course. The course of the memory
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  Speaker 1: stream has been described in the preceding paragraph that of
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  Speaker 1: the stream of imagination you are now asked to consider.
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  Speaker 1: In what is called reproductive imagination, the mind merely reproduces
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  Speaker 1: a more or less correct mental image or picture of
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  Speaker 1: a previously experienced impression which has been retained in its
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  Speaker 1: subconscious storehouse. This, you will note, is precisely what memory
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  Speaker 1: does in its first and second processes. Here the process
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  Speaker 1: may be regarded as that either of the reproductive imagination
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  Speaker 1: or of the memory, or the idea may be stated
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  Speaker 1: in another form viz. Reproductive imagination is but a special
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  Speaker 1: instance of incomplete memory, or else memory is a special
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  Speaker 1: case of reproductive imagination. There is no absolute line of
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  Speaker 1: distinction between the images of reproductive imagination and those of
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  Speaker 1: memory in its second stage. Both are the same product
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  Speaker 1: of the representative or imaginative power. But as we have
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  Speaker 1: said here, the identity ceases. In true memory, the reproduced
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  Speaker 1: image is now referred to the object causing the original impression.
• 20:48
  Speaker 1: It is identified with that object by the process of recognition.
• 20:52
  Speaker 1: But in reproductive imagination, the mind does not perform the
• 20:55
  Speaker 1: process of full recognition, i e. Identification with the object
• 21:00
  Speaker 1: causing the original impression. At the most, the reproductive imagination
• 21:05
  Speaker 1: performs but a quasi recognition, i e. It identifies the
• 21:09
  Speaker 1: image with some image previously experienced in consciousness, but with
• 21:13
  Speaker 1: no special effort to identify it with the particular original object.
• 21:17
  Speaker 1: In fact, the image may be a composite of several
• 21:20
  Speaker 1: original impressions not referable to any special object, as when
• 21:24
  Speaker 1: we are conscious of the image of a horse of
• 21:27
  Speaker 1: a general picture of the horse species, rather than of
• 21:30
  Speaker 1: some particular horse. There is a difference between a having
• 21:34
  Speaker 1: a mental image in consciousness and b knowing that image
• 21:39
  Speaker 1: as the image of a particular something previously experienced in consciousness.
• 21:44
  Speaker 1: The image may be there, though the recollection of the
• 21:46
  Speaker 1: particular original object of the experience may be absent. As
• 21:51
  Speaker 1: a writer says, having the image of an absent object
• 21:54
  Speaker 1: and remembering the object are not the same. There is
• 21:58
  Speaker 1: no complete act of memory of an appose object until
• 22:00
  Speaker 1: the image in the mind is recognized as the image
• 22:03
  Speaker 1: of some particular object or thing already experienced. Thus you
• 22:08
  Speaker 1: see that an image may be reproduced in imagination but
• 22:12
  Speaker 1: not recognized or identified with any particular object previously experienced. Likewise,
• 22:18
  Speaker 1: it may be reproduced in imagination without being localized according
• 22:23
  Speaker 1: to time and place. Thus, true reproductive imaginative images may
• 22:27
  Speaker 1: exist without involving the third and fourth essential elements of memory.
• 22:32
  Speaker 1: In short, while memory involves the four respective elements of retention, reproduction, recognition,
• 22:38
  Speaker 1: and localization, the process of reproductive imagination involves but two
• 22:43
  Speaker 1: of these elements viz. Retention and reproduction, respectively. The representative
• 22:49
  Speaker 1: stream of memory imagination divides into two streams just before
• 22:52
  Speaker 1: the third stage i e. Recognition is reached by memory,
• 22:57
  Speaker 1: and quite a bit before the fourth stage i e.
• 23:00
  Speaker 1: Localization is neared. But though the stream of imagination lacks
• 23:04
  Speaker 1: the two additional elements of memory, it takes on new
• 23:08
  Speaker 1: and more complex powers of its own, powers lacking in
• 23:11
  Speaker 1: the case of memory. As the stream flows on, reproductive
• 23:15
  Speaker 1: imagination may become transformed into what is known as constructive imagination.
• 23:20
  Speaker 1: This by the exercise of certain powers inherent in the
• 23:23
  Speaker 1: nature of imagination. Constructive imagination is that phase of the
• 23:27
  Speaker 1: imaginative activities which is generally regarded as being typical of
• 23:31
  Speaker 1: imagination in general. In fact, it is the only phase
• 23:34
  Speaker 1: of imagination known as imagination to most persons. Categories of imagination,
• 23:41
  Speaker 1: the imaginative processes are classified into two respective categories as follows,
• 23:47
  Speaker 1: one reproductive imagination and two constructive imagination. Reproductive imagination, which
• 23:55
  Speaker 1: we have just considered, consists merely of mental reproduction of
• 23:58
  Speaker 1: images of past experience, an exercise of reminiscent imaging power,
• 24:03
  Speaker 1: differing little if any from the representative or reproductive activities
• 24:06
  Speaker 1: of memory. Constructive imagination, on the contrary, consists of a
• 24:12
  Speaker 1: reproductive imaginative images be subjected to the additional process of reconstruction, recombination,
• 24:19
  Speaker 1: and readaptation. Reproductive imagination represents merely the images corresponding to
• 24:25
  Speaker 1: particular past experience. Constructive imagination, on the contrary, represents images
• 24:31
  Speaker 1: of past experience, not in their original form, however, but
• 24:35
  Speaker 1: instead recombined, rearranged, reconstructed, and readapted, thus forming a composite
• 24:41
  Speaker 1: or complex mental image of things not previously experienced as
• 24:45
  Speaker 1: holes by the mind producing them, and often even of
• 24:48
  Speaker 1: things having no actual existence as holes in the external world. Thus,
• 24:54
  Speaker 1: constructive imagination may form a mental image of a house, bridge,
• 24:58
  Speaker 1: railway system, ship, et cetera, not yet built, or it
• 25:02
  Speaker 1: may form a mental image of centaurs, winged steeds, mermaids,
• 25:06
  Speaker 1: winged angels, satanic forms with hoofs, horns, and tails, which
• 25:10
  Speaker 1: are entirely out of the realm of actual human experience.
• 25:15
  Speaker 1: In constructive imagination, we have a most important element of
• 25:18
  Speaker 1: the constructive intellectual work performed by the mind of man.
• 25:22
  Speaker 1: Without its, certain phases of reasoning would be impossible without it,
• 25:27
  Speaker 1: The psychological processes of association would not be manifested without it.
• 25:32
  Speaker 1: The inventive faculties could not function without it. There could
• 25:37
  Speaker 1: be no artistic creation. Without it. There could be no progress,
• 25:41
  Speaker 1: no improvement, no discovery of new relations, no creative thought,
• 25:46
  Speaker 1: no adaptation of old things to new uses and new ends.
• 25:50
  Speaker 1: As Halleck says, the products of the constructive imagination have
• 25:54
  Speaker 1: been the only stepping stones for material progress. The constructive
• 25:58
  Speaker 1: imagination of primeval man, aided by thought, began to conquer
• 26:02
  Speaker 1: the world. The chimney, the stagecoach, the locomotive are successive
• 26:07
  Speaker 1: milestones showing the progressive march of the imagination. Constructive imagination
• 26:13
  Speaker 1: may be said to have two phases viz. One passive construction,
• 26:18
  Speaker 1: or the employment of the constructive powers of the imagination
• 26:21
  Speaker 1: along the lines of pure fancy or idle day dreaming,
• 26:25
  Speaker 1: and two active construction or employment of the constructive powers
• 26:29
  Speaker 1: of the imagination along the lines of definite, purposeful creative effort.
• 26:34
  Speaker 1: In passive construction, the imagination may dally with the reminiscent
• 26:38
  Speaker 1: images of past experiences, rearranging and recombining them into new forms,
• 26:43
  Speaker 1: picturing idly that might have been aspects of those experiences,
• 26:47
  Speaker 1: and indulging in imaginative fancyings in which the past experiences
• 26:51
  Speaker 1: are transformed into other experiences of a more agreeable or
• 26:54
  Speaker 1: more exciting nature. Or in the same way, the imagination
• 26:59
  Speaker 1: may project itself into the future of the life of
• 27:01
  Speaker 1: the individual, indulging in day dreams in which are anticipated
• 27:05
  Speaker 1: or imagined the possible experiences of that future. Or again,
• 27:11
  Speaker 1: it may passively permit the stream of imaginative images the
• 27:14
  Speaker 1: moving picture film of fancy, to pass before its vision, picturing,
• 27:19
  Speaker 1: as in a play or story, the various movements of actors,
• 27:22
  Speaker 1: the various scenes, actions, voices, situations of the imaginative play
• 27:27
  Speaker 1: or story. Here the whole picture is composed of a
• 27:30
  Speaker 1: series of separate though connected pictures, as in the moving
• 27:33
  Speaker 1: picture connected film seen as an actual continuous movement. This
• 27:38
  Speaker 1: passive construction has about it many of the characteristic qualities
• 27:41
  Speaker 1: of the dream states, in which the imagination runs itself
• 27:45
  Speaker 1: without any special direction. Many cases of its activity have
• 27:49
  Speaker 1: well been called day dreams, for they, indeed are practically
• 27:53
  Speaker 1: composed of the stuff that dreams are made of. The
• 27:57
  Speaker 1: imaginative stream flows along, obeying merely the law of association,
• 28:01
  Speaker 1: and lacking direction or voluntary guidance or stating it otherwise,
• 28:07
  Speaker 1: the boat of imagination is allowed to drift along aimlessly
• 28:10
  Speaker 1: without the use of the helm, the pilot being wrapped
• 28:13
  Speaker 1: in sleep or revery. Those who can see in constructive
• 28:17
  Speaker 1: imagination merely the passive phases just noted are perhaps justified
• 28:22
  Speaker 1: in their sneers at mere imagination, for they judge only
• 28:25
  Speaker 1: by what they see in that category. Those, on the
• 28:29
  Speaker 1: other hand, who realize the tremendous importance of active constructive
• 28:32
  Speaker 1: imagination in the intellectual life of the individual, may well
• 28:36
  Speaker 1: be pardoned for indignantly refuting the charges of the first
• 28:39
  Speaker 1: named critics, and for terming them ignorant and thoughtless critics
• 28:42
  Speaker 1: of that with which they have never met in their
• 28:44
  Speaker 1: own experience. Each is right according to his own viewpoint,
• 28:48
  Speaker 1: but the viewpoints are as far apart as the polls. Yet,
• 28:52
  Speaker 1: the two poles of anything at the last, are perceived
• 28:55
  Speaker 1: to be necessary parts of a unified whole. Let us
• 28:59
  Speaker 1: endeavor to illustrate the case of imagination by reference to
• 29:02
  Speaker 1: the better known phases of will. Here we shall find
• 29:05
  Speaker 1: a surprising analogy, one not generally recognized. We ask you
• 29:09
  Speaker 1: to give careful attention and thought to what follows. Ribeaut says,
• 29:14
  Speaker 1: which among the various modes of mind activity offers the
• 29:17
  Speaker 1: closest analogy to the creative imagination. I unhesitatingly answer, the
• 29:23
  Speaker 1: voluntary activity of the will. Imagination in the realm of
• 29:27
  Speaker 1: the intellect, is the equivalent of will in the realm
• 29:30
  Speaker 1: of movements. The analogy between imagination and will manifests from
• 29:35
  Speaker 1: the very beginning of each of these mental processes. In
• 29:39
  Speaker 1: voluntary action there is gathered together the raw materials of instinctive,
• 29:43
  Speaker 1: involuntary and reflex movements, though will coordinate and associates these
• 29:48
  Speaker 1: in order to proceed. In the same way, active constructive
• 29:52
  Speaker 1: imagination gathers together the raw materials of reproductive imagination and
• 29:56
  Speaker 1: passive constructive imagination. The various images exist in those fields
• 30:00
  Speaker 1: of mentality in order that it may proceed further. Then again,
• 30:05
  Speaker 1: the movement in both instances is from the inner mental
• 30:08
  Speaker 1: state toward the outer expression. Will begins with vague feelings
• 30:12
  Speaker 1: and emotions, these rising to more or less definite desire.
• 30:16
  Speaker 1: This in turn proceeds to actual outward expression in actions.
• 30:20
  Speaker 1: So active constructive imagination begins with the inner images of
• 30:24
  Speaker 1: memory or reproductive imagination, these then rising to the rank
• 30:28
  Speaker 1: and character of the images of passive constructive imagination, these
• 30:32
  Speaker 1: in turn rising to the rank and character of definite
• 30:34
  Speaker 1: outward expression in the images of active constructive imagination. Again,
• 30:39
  Speaker 1: in will rising to its higher stages, we always find
• 30:43
  Speaker 1: present a more or less definite movement toward a certain
• 30:45
  Speaker 1: end to be attained. The same more or less definite
• 30:49
  Speaker 1: object to be attained is present in the rising processes
• 30:52
  Speaker 1: of active constructive imagination. The will always proceeds toward the
• 30:56
  Speaker 1: attainment of something desired, something tending to satisfy some inner want.
• 31:01
  Speaker 1: In active constructive imagination, there is always present the urge
• 31:05
  Speaker 1: toward the invention, creation, or construction of something more or
• 31:09
  Speaker 1: less clearly perceived. As Ribau says, we are always inventing
• 31:13
  Speaker 1: for an end, whether in the case of a Napoleon
• 31:16
  Speaker 1: imagining a plan of campaign, or a cook making up
• 31:19
  Speaker 1: a new dish. In both cases, there is now a
• 31:22
  Speaker 1: simple end attained by immediate means, now a complex and
• 31:26
  Speaker 1: distant goal, presupposing subordinate ends, which are means in relation
• 31:29
  Speaker 1: to the final end. Finally, we find in both will
• 31:33
  Speaker 1: and the active constructive imagination certain frequent instances and manifestations
• 31:38
  Speaker 1: of incomplete process of aborted expression. Will in its normal
• 31:43
  Speaker 1: and completed expression culminates in action, but in actual experience
• 31:48
  Speaker 1: this final action often is not reached. One may desire
• 31:51
  Speaker 1: to do a thing, and even deliberately decide and determine
• 31:54
  Speaker 1: to do that thing, but the spring of action is
• 31:57
  Speaker 1: never released. One may desire to arise from his bed
• 32:01
  Speaker 1: on a cold morning, and may decide and determine to
• 32:03
  Speaker 1: do so, but he still remains beneath the warm covers.
• 32:08
  Speaker 1: So in passive constructive imagination, one may content himself with
• 32:11
  Speaker 1: idle passive day dreaming and never proceed deliberately to make
• 32:15
  Speaker 1: his dreams come true. Ribaut says concerning this last point,
• 32:21
  Speaker 1: there are likenesses between the abortive forms of the creative
• 32:24
  Speaker 1: imagination and the impotent forms of the will. In its
• 32:27
  Speaker 1: normal and complete form, will culminates in an act, but
• 32:31
  Speaker 1: with wavering characters. And suffers from a bouliah. Deliberation never ends,
• 32:36
  Speaker 1: or the resolution remains inert, incapable of realization, of asserting
• 32:40
  Speaker 1: itself in action. The creative imagination also, in its complete form,
• 32:46
  Speaker 1: as a tendency to become objectified, to assert itself in
• 32:49
  Speaker 1: a work that shall exist not only for the creative individual,
• 32:52
  Speaker 1: but for everybody. On the contrary, with dreamers, pure and simple,
• 32:57
  Speaker 1: the imagination remains a vaguely sketched inner. It is not
• 33:01
  Speaker 1: embodied in any esthetic or practical invention. Revery is the
• 33:05
  Speaker 1: equivalent of weak desires and incomplete will. Dreamers are the
• 33:09
  Speaker 1: abulicks of the creative imagination. We wish to point out
• 33:13
  Speaker 1: another analogy here. The passive and active respective forms of
• 33:18
  Speaker 1: the constructive imagination may be aptly compared to the respective
• 33:21
  Speaker 1: involuntary and voluntary phases of attention. Involuntary attention is that
• 33:27
  Speaker 1: form of attention in which the mind goes out toward
• 33:29
  Speaker 1: any passing object which serves to arouse mere curiosity or
• 33:33
  Speaker 1: transient notice. This form of attention is the one most
• 33:36
  Speaker 1: strongly manifested by the child or by the savage. Moreover,
• 33:40
  Speaker 1: it is the kind of attention which alone is generally
• 33:43
  Speaker 1: manifested by the great masses of persons. Voluntary attention, on
• 33:48
  Speaker 1: the other hand, is that form of attention in which
• 33:50
  Speaker 1: the mind is deliberately, indeterminately directed toward and held upon
• 33:55
  Speaker 1: some definite object or subject to the end that knowledge
• 33:58
  Speaker 1: concerning such may be acquired. This form of attention distinguishes
• 34:02
  Speaker 1: the mind of the true student, the scientific mind, and
• 34:05
  Speaker 1: the trained mind. In general. The analogy between these two
• 34:09
  Speaker 1: respective forms of attention and the two respective forms of
• 34:12
  Speaker 1: constructive imagination is so close that we need but to
• 34:15
  Speaker 1: direct your attention to it, further comparison being unnecessary. Thus
• 34:21
  Speaker 1: you have seen there are two distinct forms or phases
• 34:24
  Speaker 1: of constructive imagination viz. One passive and two active. The
• 34:30
  Speaker 1: former you have just now considered. The latter you are
• 34:33
  Speaker 1: now asked to consider. Note in our further consideration of
• 34:37
  Speaker 1: active constructive imagination in the following sections of this book,
• 34:41
  Speaker 1: we shall drop the term active constructive imagination and shall
• 34:45
  Speaker 1: substitute the general term constructive imagination, this latter term being
• 34:49
  Speaker 1: far more convenient than the former cumbersome technical term, and
• 34:53
  Speaker 1: equally well expressing the essential idea embodied in the general
• 34:56
  Speaker 1: concept of constructive imagination. Actively in employed toward definite ends
• 35:01
  Speaker 1: and aims creative power Your constructive Forces by William Walker
• 35:07
  Speaker 1: Atkinson constructive imagination. In constructive imagination i e. Active constructive imagination,
• 35:16
  Speaker 1: we find the elements of reproductive imagination previously described gathered
• 35:21
  Speaker 1: up by the mind. Its materials, separated and classified, accepted,
• 35:25
  Speaker 1: were discarded according to determined values, and then deliberately impurposively
• 35:29
  Speaker 1: employed toward the attainment of a definite end or aim.
• 35:33
  Speaker 1: In these processes, not only the imagination but also the
• 35:37
  Speaker 1: intellect in the will play their part, the activity thus
• 35:40
  Speaker 1: being complex, and the result that of coordinated mental power.
• 35:43
  Speaker 1: Yet imagination is the main factor of the process, and
• 35:47
  Speaker 1: the work is that of the imaginative mentality, the other
• 35:50
  Speaker 1: mental powers merely being called in to assist. In order
• 35:54
  Speaker 1: rightly to comprehend true constructive imagination, its nature, its powers,
• 35:59
  Speaker 1: its possibility, you must first of all perceive that while
• 36:02
  Speaker 1: it employs the raw material of reproductive imagination in common
• 36:06
  Speaker 1: with passive constructive imagination, yet its processes carry these materials
• 36:10
  Speaker 1: to a higher plane of activity. They are deliberately making
• 36:13
  Speaker 1: selection of them, accepting and rejecting them according to ascertained value,
• 36:18
  Speaker 1: and then weaving and combining them into new forms and shapes,
• 36:21
  Speaker 1: new arrangements and adaptations, building new structure of fact from
• 36:26
  Speaker 1: the crude materials furnished it. Man, by his constructive imagination
• 36:31
  Speaker 1: exercises his true creative power and thus becomes a true
• 36:35
  Speaker 1: and real creator, the microcosm, manifesting the principles of the macrocosm.
• 36:40
  Speaker 1: Let Us now proceed to the consideration of the various
• 36:43
  Speaker 1: steps or stages of the processes manifested by the constructive imagination.
• 36:48
  Speaker 1: It will be well for you to become acquainted with
• 36:50
  Speaker 1: the details of these processes, for they will be employed
• 36:53
  Speaker 1: by you and your activities along these lines, and you
• 36:56
  Speaker 1: should acquaint yourself thoroughly with the way the wheels go round. Dissociation,
• 37:02
  Speaker 1: the process of dissociation, is the preliminary stage of constructive imagination.
• 37:08
  Speaker 1: Dissociation is the act of disuniting, separating, breaking up, or
• 37:12
  Speaker 1: parting that which has previously existed in associated a united
• 37:16
  Speaker 1: form or condition. Practically, every image of memory or reproductive
• 37:21
  Speaker 1: imagination is concrete i e. Composed and made up of
• 37:25
  Speaker 1: several parts or elements united in a single image. Association
• 37:30
  Speaker 1: is the primary element in remembering experiences or in calling
• 37:33
  Speaker 1: them into consciousness in reproductive imagination. Constructive imagination begins its
• 37:39
  Speaker 1: work by first separating and tearing apart the associated elements
• 37:43
  Speaker 1: or parts of the reproduced images. It finds it necessary
• 37:47
  Speaker 1: to tear down the old image before it can form
• 37:49
  Speaker 1: the new image by reassembling its parts in new forms,
• 37:52
  Speaker 1: or by combining some of these parts with the parts
• 37:55
  Speaker 1: of other images likewise broken up by dissociation. Constructive ima
• 38:00
  Speaker 1: imagination without preliminary dissociation would be as impossible as the
• 38:04
  Speaker 1: task set by the town council in the Familiar Tale,
• 38:07
  Speaker 1: which passed a resolution one that a new town hall
• 38:10
  Speaker 1: be built, two that the new town hall be constructed
• 38:13
  Speaker 1: of the materials of the old town hall and on
• 38:15
  Speaker 1: the side of the old building, but three that the
• 38:18
  Speaker 1: old town hall be left standing and be occupied and
• 38:22
  Speaker 1: used until the new town hall is completed. Dissociation of
• 38:26
  Speaker 1: familiar images is often quite difficult of performance. It is
• 38:30
  Speaker 1: not easy to dissociate the color of white from our
• 38:33
  Speaker 1: image of a swan, yet black swans are found in Australia.
• 38:38
  Speaker 1: It is difficult for a dweller in the tropics to
• 38:40
  Speaker 1: dissociate the idea of fluidity from his image of water,
• 38:43
  Speaker 1: for he has never seen ice nor snow. It is
• 38:46
  Speaker 1: difficult to dissociate the idea of cold weather, bare trees,
• 38:50
  Speaker 1: et cetera. From our image of a December day, yet
• 38:54
  Speaker 1: south of the equator, December is a midsummer month. It
• 38:58
  Speaker 1: was difficult for the opponents of Columbi to dissociate the
• 39:01
  Speaker 1: idea of flatness from the earth and to construct the
• 39:04
  Speaker 1: image of men walking on the other side of the
• 39:06
  Speaker 1: globe with their heads pointing downward. It is difficult to
• 39:10
  Speaker 1: dissociate the idea of youth from your mental image of
• 39:12
  Speaker 1: the person whom you have not seen for many years,
• 39:15
  Speaker 1: Yet the person actually exists as a middle aged man.
• 39:19
  Speaker 1: Reconstruction the constructive imagination, having dissociated the elements of reproduced images,
• 39:26
  Speaker 1: then proceeds to reconstruct these elements into new combinations and arrangements.
• 39:30
  Speaker 1: This either by simply rearranging the elements of a particular image,
• 39:34
  Speaker 1: or else by combining certain of these elements with certain
• 39:36
  Speaker 1: other elements of another dissociated image. The following are the
• 39:41
  Speaker 1: more common forms of imaginative reconstruction. One simple partition, you
• 39:47
  Speaker 1: can construct a new imaginative image by simply parting some
• 39:50
  Speaker 1: particular element of a reproduced image from its associated elements,
• 39:54
  Speaker 1: and then discarding the latter in the reconstruction. Thus you
• 39:58
  Speaker 1: can imagine a human hand right a letter but not
• 40:01
  Speaker 1: attached to a body, or a mighty eye seeing all things,
• 40:05
  Speaker 1: yet not attached to a body, or a detached human
• 40:08
  Speaker 1: head floating through space, or a headless horseman, or a
• 40:11
  Speaker 1: tree without branches, or vice versa. In fact, you can
• 40:15
  Speaker 1: easily form the mental image of anything parted and separated
• 40:19
  Speaker 1: from its usual associated images. That is to say, you
• 40:23
  Speaker 1: can form such a mental picture, though you may not
• 40:25
  Speaker 1: really believe that any such thing does or can actually
• 40:28
  Speaker 1: exist in that form and free from its natural associations.
• 40:33
  Speaker 1: To variation in size, you can construct a new imaginative
• 40:37
  Speaker 1: image or mental picture of a familiar image magnified to
• 40:41
  Speaker 1: almost any size. You can easily imagine giants whose beards
• 40:46
  Speaker 1: brush the clouds. Gulliver's travels can be read by you
• 40:50
  Speaker 1: and easily accompanied by your own illustrative images. The gigantic
• 40:54
  Speaker 1: figures of ancient mythology are not beyond the powers of
• 40:57
  Speaker 1: your imagination. Likewise, you have no trouble in imagining a
• 41:02
  Speaker 1: world a thousand times larger than our own, with all
• 41:05
  Speaker 1: the familiar objects of our world magnified in like proportion.
• 41:09
  Speaker 1: Jack's marvelous beanstalk rising to the skies is an easy
• 41:13
  Speaker 1: task for your lively imagination, particularly in childhood. In the
• 41:18
  Speaker 1: same way, you can construct a new imaginative image or
• 41:21
  Speaker 1: mental picture of a familiar image diminished almost to any size. Fairies, elves, gnomes, midgets,
• 41:29
  Speaker 1: dwarfs all are familiar to the eyes of your imagination.
• 41:33
  Speaker 1: You can imagine an oak tree capable of being covered
• 41:36
  Speaker 1: by a thimble. Gulliver's travels can be illustrated by your
• 41:40
  Speaker 1: own mental pictures of the Lilliputians. The mushroom throne and
• 41:44
  Speaker 1: acorn coach of the fairies are quite easily imagined. Elephants
• 41:48
  Speaker 1: as small as mice, whales as small as minnows, worlds
• 41:52
  Speaker 1: as small as grains of mustard seed, All these are
• 41:54
  Speaker 1: easily created by a lively imagination. The scientific imagination of
• 42:00
  Speaker 1: today sees each atom as a tiny solar system composed
• 42:03
  Speaker 1: of revolving planets. Scientific fancy can easily picture each of
• 42:07
  Speaker 1: these electronic planets as being inhabited and as being like
• 42:10
  Speaker 1: our own planet. In every way. Size is comparative to
• 42:14
  Speaker 1: the imagination and may be varied at will. You can
• 42:18
  Speaker 1: imagine objects as being as large as you please or
• 42:21
  Speaker 1: as small without regard to objective reality. The laws of
• 42:26
  Speaker 1: the imagination are very liberal in respect to size, free
• 42:31
  Speaker 1: variation of position, form, and color, you can construct imaginative
• 42:36
  Speaker 1: images or mental pictures of familiar objects changed in position, form,
• 42:41
  Speaker 1: or color, or all these combined without any difficulty. Here also,
• 42:46
  Speaker 1: the laws of the imagination are very liberal. You can
• 42:50
  Speaker 1: imagine the familiar object in almost any new position. Thus
• 42:55
  Speaker 1: you may place a fountain in the middle of a valley,
• 42:57
  Speaker 1: place a prairie on a hillside, tarras a mountain into plains,
• 43:01
  Speaker 1: plant a garden in a desert, combine hills, valleys, streams,
• 43:05
  Speaker 1: rocks in a fantastic manner having no correspondence in nature.
• 43:10
  Speaker 1: You can imagine men with their noses at the back
• 43:12
  Speaker 1: of their heads, their arms and legs exchanging, places ears
• 43:16
  Speaker 1: on their knees. In short, the imagination can vary the
• 43:20
  Speaker 1: positions of objects or parts of objects at will. You
• 43:24
  Speaker 1: can imagine new shapes for familiar animals, trees features of
• 43:29
  Speaker 1: the landscape. You can imagine willows as straight as a pine,
• 43:33
  Speaker 1: or spruce trees with branches like those of an oak.
• 43:36
  Speaker 1: You can imagine roses with triangular petals, cubic eggs, octagonal oranges,
• 43:42
  Speaker 1: cows as fleet footed as a gazelle, crows as graceful
• 43:45
  Speaker 1: as hummingbirds, and rhinoceroses as soft footed and sinuous as
• 43:49
  Speaker 1: a cat. In short, the imagination can vary the forms
• 43:53
  Speaker 1: of objects or parts of objects at will. As a
• 43:57
  Speaker 1: writer says, the forms of objects are as flexible in
• 44:01
  Speaker 1: the hands of the imagination as the clay in the
• 44:03
  Speaker 1: hands of the potter. You can imagine a green or
• 44:06
  Speaker 1: red sky, blue fields of grain, red leaves on trees,
• 44:11
  Speaker 1: white vegetation in the garden, black snow on the mountain tops.
• 44:15
  Speaker 1: The imagination can vary the color of objects or parts
• 44:19
  Speaker 1: of objects at will. As a writer says, the imagination
• 44:23
  Speaker 1: can make the eye as dark as midnight, or give
• 44:26
  Speaker 1: it a heavenly hue, paint the evening sky with golden colors,
• 44:29
  Speaker 1: and rode the summer landscape with all the splendors of autumn.
• 44:33
  Speaker 1: For recombined images, you can construct imaginative images or mental
• 44:39
  Speaker 1: pictures in which the separated elements of several dissociated things
• 44:43
  Speaker 1: are combined in new arrangements. Thus you can imagine the
• 44:47
  Speaker 1: head and trunk of a man combined with the body
• 44:49
  Speaker 1: of a horse. Here you have created a centaur. You
• 44:53
  Speaker 1: can imagine the body in head of a man combined
• 44:55
  Speaker 1: with the horns, legs, and hoofs of a goat, the
• 44:58
  Speaker 1: wings of a bat, the tail of an Here you
• 45:01
  Speaker 1: have Satan. You can imagine the body of a goat
• 45:04
  Speaker 1: combined with the head of a lion and the tail
• 45:06
  Speaker 1: of a dragon. Here you have the ancient camera. You
• 45:10
  Speaker 1: can imagine a monster with the body of a dog
• 45:12
  Speaker 1: with three heads. Here you have Cerberus. You can imagine
• 45:17
  Speaker 1: the head of a maiden, the body of a vulture,
• 45:19
  Speaker 1: and the claws of the eagle. Here you have a harpee.
• 45:22
  Speaker 1: You can imagine a woman with serpents serving for her
• 45:25
  Speaker 1: locks of hair. Here you have the medusa. Mythology is
• 45:29
  Speaker 1: rich in illustrations of this kind. The patient and delirium
• 45:33
  Speaker 1: frequently sees pink elephants with bat wings, dragon tails, and
• 45:38
  Speaker 1: eagle claws floating around the room. Our dreams sometimes acquaint
• 45:43
  Speaker 1: us with similar monstrosities when we have been unwise in
• 45:46
  Speaker 1: choosing the elements of our late dinners. There is practically
• 45:50
  Speaker 1: no limit to this exercise of the imagination. The possible
• 45:53
  Speaker 1: combinations are almost infinite. In variety five idealization, you can
• 46:00
  Speaker 1: construct imaginative images or mental pictures, in which the actual
• 46:04
  Speaker 1: images of experience are given a more perfect, more beautiful,
• 46:08
  Speaker 1: or more nearly an ideal form. Thus you can picture
• 46:12
  Speaker 1: a perfect circle, though you never have found one in nature,
• 46:15
  Speaker 1: a more beautiful woman than you ever have seen, a
• 46:18
  Speaker 1: more perfectly formed horse than has ever been observed by you.
• 46:22
  Speaker 1: The artist exercising this form of imagination often pictures that
• 46:26
  Speaker 1: which nature seems to be striving to manifest. You can
• 46:30
  Speaker 1: also imagine ideal events, pictures of dramatic beauty, also ideal characters,
• 46:35
  Speaker 1: representing the full development of qualities which are merely partially
• 46:38
  Speaker 1: represented or even merely hinted at in real life. The poets,
• 46:43
  Speaker 1: great prose writers, and the dramatists manifest this form of
• 46:47
  Speaker 1: idealistic imagination. Homer, Virgil, Dickens, Thackeray, Scott Milton, and above
• 46:54
  Speaker 1: all Shakespeare furnish us with typical illustrations. Shakespea speer, has
• 47:00
  Speaker 1: created characters which seem even more real to us than
• 47:03
  Speaker 1: many of the actual characters of our experience. The great
• 47:07
  Speaker 1: composers of music drew upon this phase of their imagination
• 47:10
  Speaker 1: and have given us harmonies and melodies never heard in nature.
• 47:15
  Speaker 1: Artists of all kinds depend upon this idealistic imagination for
• 47:18
  Speaker 1: their inspiration than they attempt to express in outward form
• 47:22
  Speaker 1: in painting, in sculpture, in poem, in drama, in story,
• 47:26
  Speaker 1: in musical composition, that which they have formed first. As
• 47:30
  Speaker 1: mental images six invention, you can also construct imaginative images
• 47:37
  Speaker 1: or mental pictures of familiar objects adapted to new uses
• 47:40
  Speaker 1: and ends, or of new objects adapted to familiar uses
• 47:44
  Speaker 1: and ends. Thus, the inventor imagined electricity being adapted to
• 47:49
  Speaker 1: the business of transmitting messages, running machinery producing heat and light,
• 47:54
  Speaker 1: et cetera. Likewise, he imagined sowing, washing, weaving, reaping by
• 48:00
  Speaker 1: finding plowing being performed by power machinery instead of by hand.
• 48:05
  Speaker 1: The entire history of inventions is but the history of
• 48:08
  Speaker 1: the employment of the inventive imagination. As we have previously stated,
• 48:13
  Speaker 1: the progress of man from savagery to civilization has been
• 48:16
  Speaker 1: along the path of invention. Every tool, every instrument, every
• 48:21
  Speaker 1: appliance of any kind, anything made by the hand of
• 48:24
  Speaker 1: man in order to accomplish a new end or an
• 48:27
  Speaker 1: old end in a new way is the result of
• 48:29
  Speaker 1: the activities of his inventive imagination. Seven. Planning. You can
• 48:35
  Speaker 1: construct imaginative images or mental pictures of the plans according
• 48:39
  Speaker 1: to which you intend to proceed in your picture work.
• 48:42
  Speaker 1: The general plans his battles, the architect plans his building,
• 48:46
  Speaker 1: the business man plans his campaign of manufacture, sale, or
• 48:50
  Speaker 1: other work. The clearer and the more definite the plan,
• 48:53
  Speaker 1: the truer will be the result, all being equal. The mechanic,
• 48:58
  Speaker 1: if he be a good one, will plan out in
• 49:00
  Speaker 1: his mind the work which he expects to perform with
• 49:02
  Speaker 1: his hands. Every work of construction, building, or general action
• 49:07
  Speaker 1: contemplated by man is planned and worked out in his
• 49:10
  Speaker 1: imagination before it assumes material form. The subjective form must
• 49:15
  Speaker 1: always precede the objective form. Eight. Induction. You can make
• 49:21
  Speaker 1: constructive imaginative images or mental pictures of the probable causes
• 49:25
  Speaker 1: of a number of particular events or happenings along the
• 49:28
  Speaker 1: general lines of induction. The great triumphs of scientific induction
• 49:33
  Speaker 1: have been made in this way. The scientist groups together
• 49:37
  Speaker 1: the mental images of a number of events or happenings
• 49:39
  Speaker 1: seemingly operating under the same general law or from the
• 49:42
  Speaker 1: same general causes. The latter being unknown. He then seeks
• 49:46
  Speaker 1: to discover the missing law or cause, and in doing
• 49:49
  Speaker 1: so he sets into operation his inductive imagination. He makes
• 49:53
  Speaker 1: scientific guesses in this way, and then proceeds to test
• 49:57
  Speaker 1: out the several hypotheses so obtained. Many of the great
• 50:01
  Speaker 1: discoveries of science relating to physical laws have been made clear.
• 50:04
  Speaker 1: With the assistance of this form of imagination. All or
• 50:08
  Speaker 1: nearly all of the observed processes of constructive imagination will
• 50:12
  Speaker 1: be found to fit into one or more of the
• 50:14
  Speaker 1: above categories without undue strain. The list, however, is not
• 50:19
  Speaker 1: intended to be exhaustive, but is rather merely suggestive. As
• 50:23
  Speaker 1: a loose classification mechanical construction and purposive construction, psychologists note
• 50:30
  Speaker 1: a certain distinction between the different classes of the images
• 50:33
  Speaker 1: of constructive imagination, i e. Of those imaginative images which
• 50:37
  Speaker 1: do not represent with any reasonable degree of exactness any
• 50:40
  Speaker 1: actual object of previous experience. This distinction proceeds according to
• 50:46
  Speaker 1: the following classification viz. One images mechanically constructed i e.
• 50:52
  Speaker 1: In which the images are combined merely by a purposeless
• 50:55
  Speaker 1: and indefinite process of joining together or associating parts of
• 50:58
  Speaker 1: different reproduced images or memories, as for instance, where the
• 51:02
  Speaker 1: head and trunk of a man are joined to the
• 51:04
  Speaker 1: body of a horse, and the image of a centor
• 51:06
  Speaker 1: thus constructed, or where the body of a woman and
• 51:09
  Speaker 1: the tail of a fish are joined to construct the
• 51:12
  Speaker 1: image of a mermaid. Two images definitely and purposively constructed
• 51:17
  Speaker 1: according to a preconceived design and toward a definite end
• 51:20
  Speaker 1: in purpose, as for instance, where the different parts of
• 51:23
  Speaker 1: a machine, a play, a picture, a musical composition, et cetera,
• 51:27
  Speaker 1: are constructed as a mental image, particularly with the end
• 51:31
  Speaker 1: of objective reproduction in view. In the first of the
• 51:34
  Speaker 1: above mentioned cases, the imaginative construction is known as mechanical construction.
• 51:39
  Speaker 1: In the second case, the imaginative construction is known as
• 51:43
  Speaker 1: creative imaginative construction i e. As true constructive imagination. The
• 51:48
  Speaker 1: first type proceeds practically without a definite plan and purpose,
• 51:52
  Speaker 1: and is more or less lacking in continuity. The second
• 51:56
  Speaker 1: type proceeds with a more or less definite purpose an
• 51:59
  Speaker 1: aim according to a more or less definite plan, and
• 52:02
  Speaker 1: with more or less manifestation of continuity. With the first type,
• 52:07
  Speaker 1: we have but little to do in this connection with
• 52:10
  Speaker 1: the second type. However, we are vitally concerned in this instruction. Therefore,
• 52:15
  Speaker 1: we shall now proceed to a further consideration of its
• 52:18
  Speaker 1: distinctive characteristics. Elements of the constructive imagination. Hallick says, the
• 52:25
  Speaker 1: mechanical imagination joins dissociated parts without altering them. Such products
• 52:30
  Speaker 1: are as inferior to those of the creative imagination, as
• 52:34
  Speaker 1: is a pile of bricks to a finished house. The
• 52:37
  Speaker 1: pile of bricks, to be sure, is put together and
• 52:40
  Speaker 1: composed of a number of particular bricks, and so is
• 52:43
  Speaker 1: the finished house. But in the former there is merely
• 52:46
  Speaker 1: a haphazard throwing together, lacking plan selection and lack of
• 52:50
  Speaker 1: purposive thought, while in the latter case there is a
• 52:53
  Speaker 1: definite purpose, a selection of material according to its fitness
• 52:57
  Speaker 1: for that purpose, and finally, the employment of purpose thought
• 53:00
  Speaker 1: directed to the end of the efficient construction of the building.
• 53:04
  Speaker 1: The elements of true constructive imagination then are as follows,
• 53:08
  Speaker 1: one definite purpose, two selection of materials according to estimated value,
• 53:14
  Speaker 1: and three employment of purposive thought and logical reasoning based
• 53:18
  Speaker 1: upon experience. It is an axiom of psychology that no
• 53:22
  Speaker 1: particular class of mental faculties manifests activity without calling to
• 53:26
  Speaker 1: its aid certain other classes of mental faculties. There is
• 53:30
  Speaker 1: always present a coordination of mental powers in all mental activities,
• 53:34
  Speaker 1: one phase of power, however, always assuming the dominant role
• 53:38
  Speaker 1: for the time being. Accordingly as might be expected, we
• 53:43
  Speaker 1: find evidences of such coordination in the processes of constructive imagination.
• 53:48
  Speaker 1: You should acquaint yourself with the details of such coordinative activity,
• 53:52
  Speaker 1: which we shall now present to your attention. Emotion and imagination.
• 53:57
  Speaker 1: Emotional states, such as strong feelings or interest, play an
• 54:01
  Speaker 1: important part in the processes of constructive imagination. The best
• 54:06
  Speaker 1: psychologists hold that in the imaginative process there must be
• 54:09
  Speaker 1: present not only the fixed idea, but also the fixed feeling.
• 54:14
  Speaker 1: Ribaut says, the emotional factor yields in importance to none other.
• 54:18
  Speaker 1: It is the ferment without which no mental creation is possible.
• 54:22
  Speaker 1: The influence of the emotional life is unlimited. It penetrates
• 54:26
  Speaker 1: the entire field of creative invention with no restriction whatever.
• 54:31
  Speaker 1: This is not a gratuitous assertion, but is, on the contrary,
• 54:35
  Speaker 1: strictly justified by facts. And we are right in maintaining
• 54:38
  Speaker 1: the following two propositions. One, all forms of creative imagination
• 54:43
  Speaker 1: imply elements of feeling, and two all emotional dispositions whatever
• 54:48
  Speaker 1: may influence the creative imagination. In the process of constructive imagination,
• 54:53
  Speaker 1: we find that feeling and emotion act as follows, one
• 54:57
  Speaker 1: as an incentive to creative activity, and two as a
• 55:00
  Speaker 1: coloring agent, giving to the created product the shade or
• 55:03
  Speaker 1: tint of itself. Some psychologists have sought to limit the
• 55:07
  Speaker 1: influence of the emotional states to such forms of constructive
• 55:11
  Speaker 1: imagination as are concerned with the productions of works of
• 55:14
  Speaker 1: art and beauty. They would deny such influence to those
• 55:17
  Speaker 1: phases of constructive imagination which are concerned with the production
• 55:20
  Speaker 1: of intellectual and mechanical inventive images. But more careful investigators
• 55:25
  Speaker 1: are fully convinced that even in the last mentioned phases
• 55:28
  Speaker 1: of constructive imagination, the emotional element plays its part and
• 55:32
  Speaker 1: manifests a decided influence. Some careful teachers have gone so
• 55:37
  Speaker 1: far as to hold that the emotional element is the
• 55:39
  Speaker 1: primal original factor in all invention, inasmuch as all invention
• 55:44
  Speaker 1: presupposes a want, a craving, a tendency, an unsatisfied impulse,
• 55:48
  Speaker 1: often even a state of gestation full of discomfort. This want,
• 55:53
  Speaker 1: craving Often, even a state of gestation and urging of
• 55:56
  Speaker 1: the unsatisfied impulse produces an emotional state of SECAs seeking
• 56:00
  Speaker 1: for relief, for a relief which is possible only by
• 56:03
  Speaker 1: the delivery of the completed idea of the invention. The
• 56:06
  Speaker 1: inventor always experiences the changing emotional states resulting from partial success,
• 56:12
  Speaker 1: temporary setbacks and discouragements, and finally the supreme joy of achievement,
• 56:17
  Speaker 1: often reaching the stage of actual exaltation accompanying the actual
• 56:21
  Speaker 1: delivery of the child of the brain. An authority on
• 56:25
  Speaker 1: the subject says, I challenge anyone to produce a solitary
• 56:28
  Speaker 1: example of invention wrought out in pure abstraction and freed
• 56:32
  Speaker 1: from any factors of feeling. Human nature does not allow
• 56:35
  Speaker 1: such a miracle. In cultivating and developing your power of
• 56:39
  Speaker 1: constructive imagination, you will do well to begin by encouraging
• 56:43
  Speaker 1: the emotional feeling which urges you toward creative invention. By
• 56:47
  Speaker 1: stimulating and encouraging the feeling striving for creative expression, you
• 56:51
  Speaker 1: are increasing the fire which generates the steam that runs
• 56:54
  Speaker 1: the mental machinery of invention. Interest depends upon feeling, is
• 56:59
  Speaker 1: indeed need a phase of feeling interest is the mental
• 57:03
  Speaker 1: force which directs the mind to the inventive task and
• 57:06
  Speaker 1: which holds the attention upon it. Interest is aroused and
• 57:10
  Speaker 1: maintained by fanning the flame of feeling in the activities
• 57:14
  Speaker 1: of the constructive imagination and of the will. Emotional feeling
• 57:18
  Speaker 1: is the first requisite, the first element to be aroused
• 57:22
  Speaker 1: attention and imagination. As might be expected, we find that attention,
• 57:28
  Speaker 1: concentrated attention is also vitally involved in the processes of
• 57:32
  Speaker 1: the constructive imagination. Definite voluntary conscious mental activity of any
• 57:37
  Speaker 1: kind or form requires the application of concentrated attention. The
• 57:41
  Speaker 1: act of holding one pointed. The powers of consciousness, the
• 57:46
  Speaker 1: fixed idea, and the fixed feeling necessary in efficient constructive
• 57:50
  Speaker 1: imagination are the results of concentrated attention. The following quotations
• 57:55
  Speaker 1: from eminent authorities will serve to illustrate the principle now
• 57:58
  Speaker 1: under consideration. Ribaut says psychologists always adduce the same examples
• 58:04
  Speaker 1: when they wish to illustrate, on the one hand, tenacious
• 58:07
  Speaker 1: attention and on the other the developing labor without which
• 58:11
  Speaker 1: creative work does not come to pass. Newton says, genius
• 58:15
  Speaker 1: is only long patience. I keep the subject continually before
• 58:20
  Speaker 1: me and wait until the first dawning opens slowly, little
• 58:23
  Speaker 1: by little into a clear light. If I have made
• 58:26
  Speaker 1: any improvements in the sciences, it was owing more to
• 58:29
  Speaker 1: patient attention than to any other talent. Day Lombert says,
• 58:33
  Speaker 1: genius is always thinking of the thing. Kay says, possibly
• 58:38
  Speaker 1: the most comprehensive definition of genius is the power of
• 58:41
  Speaker 1: concentrating in prolonging the attention upon any one given subject.
• 58:45
  Speaker 1: Grill Partzer says, inspiration is a concentration of that which,
• 58:49
  Speaker 1: for the time being represents all the forces and capacities
• 58:53
  Speaker 1: upon a single point. The reinforcement of the state of
• 58:57
  Speaker 1: mind comes from the fact that its several powers in stance,
• 59:00
  Speaker 1: instead of spreading themselves over the whole world, are contained
• 59:03
  Speaker 1: within the bounds of a single object. They touch one
• 59:05
  Speaker 1: another and reciprocally help and reinforce each other. In that
• 59:10
  Speaker 1: volume of this series entitled Perceptive Power, we have given
• 59:13
  Speaker 1: the most approved scientific methods of cultivating and developing the
• 59:17
  Speaker 1: faculty of voluntary attention. Once more, we wish to impress
• 59:21
  Speaker 1: upon your mind the fact that the mind is a unity,
• 59:24
  Speaker 1: not a mere aggregation of particular mental faculties. Each faculty
• 59:29
  Speaker 1: is found to call upon and to make use of
• 59:31
  Speaker 1: the special powers of the other faculties. Each mental process
• 59:36
  Speaker 1: is found to involve the elements of several faculties. The
• 59:40
  Speaker 1: activities of the several faculties or groups of faculties are
• 59:44
  Speaker 1: found to blend into each other in harmonious effective coordination.
• 59:48
  Speaker 1: In the consideration of any one special faculty or class
• 59:52
  Speaker 1: of faculties, this important fact is often overlooked. Observation and imagination.
• 59:59
  Speaker 1: You have seen that the the constructive imagination depends upon
• 1:00:02
  Speaker 1: the perceptive powers for its raw materials. Without a proper
• 1:00:06
  Speaker 1: supply of these raw materials of perception and observation, the
• 1:00:11
  Speaker 1: constructive imagination cannot proceed to continue and create those edifices
• 1:00:15
  Speaker 1: of creative images which serve as the models or patterns
• 1:00:18
  Speaker 1: of the subsequent materialization. Remember always that the constructive imagination
• 1:00:24
  Speaker 1: cannot create something out of nothing without having first sown
• 1:00:28
  Speaker 1: the field of memory with the seed of perception and observation,
• 1:00:32
  Speaker 1: there can be raised no crop of constructive imagination. The
• 1:00:36
  Speaker 1: child with three blocks is limited in his building operations.
• 1:00:39
  Speaker 1: Give him nine blocks, and he will be able to
• 1:00:42
  Speaker 1: effect many more combinations. This is just as true of
• 1:00:46
  Speaker 1: the individual who wishes to employ it effectively his constructive imagination.
• 1:00:50
  Speaker 1: His limits are determined by the amount of perceptive material
• 1:00:53
  Speaker 1: at his disposal. The Eskimo dwelling in the Arctic regions
• 1:00:57
  Speaker 1: can never hope to create imaginative pictures of the things
• 1:01:00
  Speaker 1: of the temperate or the tropical zones, unless by some
• 1:01:03
  Speaker 1: chance he has gained a knowledge of the latter by
• 1:01:06
  Speaker 1: means of books, pictures, or the descriptions of travelers. Even
• 1:01:11
  Speaker 1: in that exceptional event, as Halleck says, he must interpret
• 1:01:14
  Speaker 1: all that he reads in terms of the scant shrubbery
• 1:01:17
  Speaker 1: with which he is familiar, and his best imaginative picture
• 1:01:20
  Speaker 1: of tropical foliage will be meager and dwarfed. You will
• 1:01:24
  Speaker 1: do well to cultivate your powers of perception and observation
• 1:01:27
  Speaker 1: in connection with your work of developing your powers of
• 1:01:30
  Speaker 1: constructive imagination. Consult some good text book on this subject.
• 1:01:35
  Speaker 1: We feel justified in calling your attention in this connection
• 1:01:38
  Speaker 1: to that book of this series entitled Perceptive Power. It
• 1:01:42
  Speaker 1: will be found to contain practical instruction based upon the
• 1:01:45
  Speaker 1: best scientific methods of cultivating, developing, and training the perceptive
• 1:01:49
  Speaker 1: powers and the faculty of observation. We scarcely need to
• 1:01:53
  Speaker 1: point out to you that a very large part of
• 1:01:55
  Speaker 1: the mental processes of any and all kinds are performed
• 1:01:58
  Speaker 1: wholly or in part on planes or levels of consciousness
• 1:02:02
  Speaker 1: below the planes or levels of the ordinary consciousness. Modern
• 1:02:06
  Speaker 1: psychology has so thoroughly demonstrated this fact that we need
• 1:02:09
  Speaker 1: do no more than to mention it. Here, as might
• 1:02:13
  Speaker 1: be expected, the processes of constructive imagination are performed to
• 1:02:17
  Speaker 1: a great extent in this way. We might even say
• 1:02:20
  Speaker 1: that the conscious performance of constructive imagination is limited to
• 1:02:24
  Speaker 1: one the initiatory stages, in which the germ of the
• 1:02:27
  Speaker 1: creative process is carefully considered in consciousness and the initial
• 1:02:31
  Speaker 1: impulse is imparted to it, after which it is placed
• 1:02:34
  Speaker 1: in a subconscious field for incubation. Two the intermediate stages,
• 1:02:38
  Speaker 1: in which the partially incubated creation is raised to the
• 1:02:41
  Speaker 1: plane of consciousness, there to be examined by the conscious mentality, adjustments, adaptations,
• 1:02:47
  Speaker 1: end suggestions of improvement added, after which the incomplete process
• 1:02:52
  Speaker 1: is again relegated to the subconscious levels. And three the
• 1:02:56
  Speaker 1: last stage, in which the practically completed creation is raised
• 1:02:59
  Speaker 1: to the levels of consciousness for a final inspection. Here
• 1:03:02
  Speaker 1: that the finishing touches are added and the work is completed.
• 1:03:07
  Speaker 1: The greater part of the process, you will note, is
• 1:03:09
  Speaker 1: performed on the subconscious levels or planes of the mind.
• 1:03:14
  Speaker 1: Hofdain says, the interweaving of the elements of the picture
• 1:03:17
  Speaker 1: in the imagination takes place in a great measure below
• 1:03:20
  Speaker 1: the threshold of consciousness, so that the image suddenly emerges
• 1:03:23
  Speaker 1: in consciousness complete in its broad outlines, the conscious result
• 1:03:27
  Speaker 1: of an unconscious process. The above statement, however, should have
• 1:03:32
  Speaker 1: contained the proviso that the subconscious processes referred to were
• 1:03:35
  Speaker 1: performed only after and because the conscious mentality previously had
• 1:03:40
  Speaker 1: been actively employed in earnest and concentrated consideration of the
• 1:03:43
  Speaker 1: subject in question. The autobiographies and biographies of men of genius,
• 1:03:49
  Speaker 1: great inventors, great scientists, and others actively employing constructive imagination
• 1:03:54
  Speaker 1: are filled with illustrations of the workings of the subconscious
• 1:03:58
  Speaker 1: faculties of the mind. These show can inclusively the important
• 1:04:01
  Speaker 1: part played by these below the surface mental activities in
• 1:04:04
  Speaker 1: all creative and inventive thought. While the activities of the
• 1:04:08
  Speaker 1: constructive imagination proceed more or less freely or even spontaneously,
• 1:04:13
  Speaker 1: and cannot properly be reduced to a mere mechanical form
• 1:04:16
  Speaker 1: of procedure. Nevertheless, there are certain general stages or steps
• 1:04:20
  Speaker 1: of the process which are sufficiently determined in formed to
• 1:04:23
  Speaker 1: be subject to classification. The following general classification is offered
• 1:04:28
  Speaker 1: with the understanding that it is not rigid nor exclusive.
• 1:04:31
  Speaker 1: It is merely an attempt to picture the several apparently
• 1:04:34
  Speaker 1: separate steps or stages of a process which in reality
• 1:04:38
  Speaker 1: is continuous rather than composed of separated parts. One the
• 1:04:42
  Speaker 1: germ stage. This is the stage of the first general
• 1:04:46
  Speaker 1: thought concerning the nature of the thing sought to be
• 1:04:49
  Speaker 1: created by the constructive imagination. A writer has stated it
• 1:04:53
  Speaker 1: as the first idea coming to the mind as a
• 1:04:56
  Speaker 1: possible solution of a problem which has been put to
• 1:04:58
  Speaker 1: one or has struck him by reason of his needs
• 1:05:01
  Speaker 1: and requirements or those of others, and which has assumed
• 1:05:04
  Speaker 1: nebulous form by reason of his previous observations, studies, and researches.
• 1:05:10
  Speaker 1: The energy of this germ is supplied by the desire
• 1:05:13
  Speaker 1: feeling arising from the needs of the individual or those
• 1:05:16
  Speaker 1: of others, which are known to him and which represent
• 1:05:19
  Speaker 1: obstacles to the efficient expression of his nature. This desired,
• 1:05:23
  Speaker 1: fuller expression may be in the direction of self preservation, health, welfare,
• 1:05:28
  Speaker 1: protection or general comfort, or that of military or commercial
• 1:05:32
  Speaker 1: supremacy or success or that of sexual expression with its
• 1:05:36
  Speaker 1: many secondary forms of manifestation. Again, it may be in
• 1:05:40
  Speaker 1: the direction of mechanical invention and construction in response to
• 1:05:44
  Speaker 1: the mechanical instinct, or that of artistic production, or that
• 1:05:48
  Speaker 1: of social reforms and improvements. Likewise, it may be in
• 1:05:52
  Speaker 1: the direction of knowledge of science or philosophy, or that
• 1:05:56
  Speaker 1: of religious or theological interpretation or explanation, and all all
• 1:06:00
  Speaker 1: that pertains to these. In short, every form of desire, feeling, emotion, need,
• 1:06:06
  Speaker 1: lack or want, every frustrated purpose, every emotional state which
• 1:06:11
  Speaker 1: tends to manifest in will action may supply the motor
• 1:06:14
  Speaker 1: or energizing element in the germ of constructive imagination. Around
• 1:06:18
  Speaker 1: this energizing element are loosely gathered the general ideas connected
• 1:06:22
  Speaker 1: with the discovery in creation of that which will fill
• 1:06:25
  Speaker 1: this want, satisfy this desire, comfort this feeling, fill this
• 1:06:29
  Speaker 1: emotional void. The germ so constituted has been described by
• 1:06:34
  Speaker 1: a writer as an embryonic, unstable, and uncoordinated manifestation of
• 1:06:39
  Speaker 1: the creative imagination, a transition stage between passive reproduction and
• 1:06:43
  Speaker 1: organized construction. Two the incubation stage. This is the stage
• 1:06:49
  Speaker 1: in which the germ rests in the womb of the
• 1:06:51
  Speaker 1: subconscious mentality. Here the mind operates along the lines of
• 1:06:56
  Speaker 1: both conscious and subconscious activity. The conscious mentality observes the
• 1:07:01
  Speaker 1: new ideas to which the interested attention now is directed
• 1:07:04
  Speaker 1: by reason of the demands of the incubating germ in
• 1:07:06
  Speaker 1: the subconscious mental womb, and then passes them down to
• 1:07:10
  Speaker 1: the subconscious plane, there to be absorbed, assimilated, and combined
• 1:07:14
  Speaker 1: with similar ideative material. The subconscious mentality searches the stores
• 1:07:19
  Speaker 1: of memory for associated facts, ideas, and images which may
• 1:07:23
  Speaker 1: be combined with the material of the germ or embryonic image.
• 1:07:27
  Speaker 1: Of this stage, a writer says, the incubation is often
• 1:07:31
  Speaker 1: very long and painful, or again even totally unconscious. Instinctively
• 1:07:37
  Speaker 1: as well as voluntarily. Subconsciously as well as consciously, the
• 1:07:41
  Speaker 1: mind brings together all the materials that it can gather.
• 1:07:45
  Speaker 1: Another writer says, here is the germ, the principle of unity,
• 1:07:48
  Speaker 1: the center of attraction, suggesting, exciting, and grouping, the proper
• 1:07:53
  Speaker 1: association of images in which it becomes enwrapped and organized
• 1:07:57
  Speaker 1: into a structure, an ensemble of means convert to a
• 1:08:00
  Speaker 1: common end free the delivery stage. This is the stage
• 1:08:05
  Speaker 1: in which the developed embryo, the evolved germ, with its
• 1:08:09
  Speaker 1: accumulated associated and related images grouped around it in logical order,
• 1:08:13
  Speaker 1: is raised to the plane or level of consciousness and
• 1:08:16
  Speaker 1: is borne into the world of conscious thought and cognition. Here,
• 1:08:21
  Speaker 1: the happy subconscious and conscious parents exclaim unto us, a
• 1:08:24
  Speaker 1: child is born, as a writer says, when the latent
• 1:08:28
  Speaker 1: subconscious work is sufficiently complete, the idea suddenly bursts forth.
• 1:08:34
  Speaker 1: It may be at the end of a voluntary tension
• 1:08:36
  Speaker 1: of mind, or it may be on the occasion of
• 1:08:38
  Speaker 1: a chance remark, tearing the veil that hides the surmised image.
• 1:08:43
  Speaker 1: The child of imagination, so born into the world of objectivity,
• 1:08:47
  Speaker 1: must be carefully handled and provided for. It must be
• 1:08:51
  Speaker 1: nursed until it is strong enough to adapt itself to
• 1:08:54
  Speaker 1: its new environment. The imagination must be drawn upon as
• 1:08:58
  Speaker 1: the breasts of the mother are drawn up pawn for milk,
• 1:09:01
  Speaker 1: in order to provide for the offspring. The young idea
• 1:09:04
  Speaker 1: may perish if it is denied proper clothing and food.
• 1:09:08
  Speaker 1: It must become gradually habituated to its new environment. Undue
• 1:09:12
  Speaker 1: exposure to the winds of objectivity may weaken or even
• 1:09:15
  Speaker 1: kill it. This is more than a mere figure of speech.
• 1:09:19
  Speaker 1: It bears a close resemblance to actual facts of experience,
• 1:09:23
  Speaker 1: as many inventors and parents of new ideas know to
• 1:09:25
  Speaker 1: their sorrow. Creative Power, Your Constructive Forces by William Walker Atkinson,
• 1:09:33
  Speaker 1: The Builder and the Plan. In the processes of efficient
• 1:09:37
  Speaker 1: constructive imagination, directed by a definite purpose and toward a
• 1:09:41
  Speaker 1: determined end, you will find it advantageous to follow the
• 1:09:44
  Speaker 1: general rule given below. This rule, which is the result
• 1:09:48
  Speaker 1: of a careful study of the requirements of the case
• 1:09:51
  Speaker 1: made by competent investigators of the subject, is not a
• 1:09:54
  Speaker 1: hard and fast rule to be observed absolutely by you
• 1:09:57
  Speaker 1: under all circumstances. Rather, it is a general framework of
• 1:10:00
  Speaker 1: the actual method to be followed by you, the special
• 1:10:03
  Speaker 1: details being supplied by yourself, rightly understood and intelligently adapted
• 1:10:09
  Speaker 1: by you to the special circumstances of particular cases. This
• 1:10:12
  Speaker 1: rule will be found to meet the requirements of practically
• 1:10:15
  Speaker 1: all the cases likely to require your attention. General rule
• 1:10:21
  Speaker 1: I create a clear mental picture of the general idea
• 1:10:24
  Speaker 1: representing your definite purpose i e. The particular end which
• 1:10:28
  Speaker 1: you wish to accomplish the particular obstacle which you wish
• 1:10:31
  Speaker 1: to overcome, the particular result which you wish to obtain,
• 1:10:34
  Speaker 1: the particular desire which you wish to satisfy, the particular
• 1:10:38
  Speaker 1: ideal which you wish to make real, the particular idea
• 1:10:41
  Speaker 1: which you wish to materialize in objective form. Two, Form
• 1:10:46
  Speaker 1: a comprehensive picture of the whole field of the proposed undertaking.
• 1:10:49
  Speaker 1: Get a comprehensive and inclusive view of the whole field
• 1:10:52
  Speaker 1: of the business into which you purpose embarking. See the
• 1:10:55
  Speaker 1: whole enterprise in all of its general aspects. Compose a
• 1:10:59
  Speaker 1: comprehensive idea, including the whole matter under consideration. Three. Make
• 1:11:04
  Speaker 1: a written list of all of the probable factors involved
• 1:11:07
  Speaker 1: in the problem or undertaking. Compile a list of all
• 1:11:10
  Speaker 1: of the probable elements involved in the working out of
• 1:11:12
  Speaker 1: the matter. Gather together all of the ideas of the
• 1:11:15
  Speaker 1: things at all likely to be called into the creative process.
• 1:11:18
  Speaker 1: Have within easy reached the ideas of all of the
• 1:11:21
  Speaker 1: materials likely to be employed in the construction of the
• 1:11:24
  Speaker 1: ideal form which you wish to materialize. For classify these ideas,
• 1:11:29
  Speaker 1: elements and factors according to their general nature, their general uses,
• 1:11:33
  Speaker 1: their known relations and associations, cross indexing them under appropriate headings,
• 1:11:38
  Speaker 1: and referring to the lesser elements, parts or factors of
• 1:11:41
  Speaker 1: which each is composed. Diagram and chart these ideas according
• 1:11:46
  Speaker 1: to your system of classification, so as to have the
• 1:11:48
  Speaker 1: whole matter under your mind's eye, and so that you
• 1:11:51
  Speaker 1: may be able to grasp the arrangement at a glance
• 1:11:53
  Speaker 1: without having to hunt for scattered items. The weigh the
• 1:11:57
  Speaker 1: various factors one against the other, taking into consideration the
• 1:12:01
  Speaker 1: associated and related values of each in the general idea, plan,
• 1:12:05
  Speaker 1: or purpose. Determine in this way which are the primary
• 1:12:09
  Speaker 1: factors involved, which are the secondary and which are the
• 1:12:12
  Speaker 1: lesser values. Concentrate on the prime factors and make these
• 1:12:17
  Speaker 1: the central points in your process of constructive imagination, the
• 1:12:20
  Speaker 1: focal centers around which you purpose grouping the associated factors
• 1:12:24
  Speaker 1: or elements. Six. Experiment by tentatively placing the secondary factors
• 1:12:30
  Speaker 1: in association with and relation to the prime factors, regardless
• 1:12:33
  Speaker 1: of how improbable or incongruous at first may seem. Such
• 1:12:36
  Speaker 1: association and relation around the letter A, build alphabet block
• 1:12:41
  Speaker 1: combinations of the letters B, C, D, E, F, G, et, cetera.
• 1:12:47
  Speaker 1: Blocks to see if they make sense or if they
• 1:12:50
  Speaker 1: suggest anything of rational meaning to you. Discard all combinations
• 1:12:55
  Speaker 1: that seem lacking in utility, but only after actually making
• 1:12:58
  Speaker 1: the test an experiment. Continue this until you have secured
• 1:13:03
  Speaker 1: satisfactory results. Where there are several apparently satisfactory or fairly
• 1:13:08
  Speaker 1: promising combinations, weigh these one against the other to determine
• 1:13:11
  Speaker 1: their comparative values, discarding the lesser values and retaining the
• 1:13:15
  Speaker 1: greater until you have secured the survival of the fittest.
• 1:13:20
  Speaker 1: Then proceed to test out the lesser factors in the
• 1:13:22
  Speaker 1: same way, working out all the details of the plan. Seven.
• 1:13:27
  Speaker 1: Having reached at least a fairly satisfactory working plan idea
• 1:13:31
  Speaker 1: invention or solution of your problem, you should then carefully
• 1:13:34
  Speaker 1: detach yourself from it. You should move from your personal
• 1:13:37
  Speaker 1: point of view and try to see it as others
• 1:13:40
  Speaker 1: will see it. Try to imagine the effect it will
• 1:13:43
  Speaker 1: have on the persons whom you wish to be interested
• 1:13:45
  Speaker 1: in your finished product, how it will meet their requirements,
• 1:13:48
  Speaker 1: satisfy their wants, or rouse their desires for it. Your
• 1:13:52
  Speaker 1: own created conjunction plan, method, design, or invention naturally will
• 1:13:57
  Speaker 1: seem to you as the infant appears to its mother.
• 1:14:00
  Speaker 1: No mother is an unprejudiced critic of her own baby.
• 1:14:03
  Speaker 1: You must see the thing as others will see it.
• 1:14:06
  Speaker 1: In order to arrive at an intelligent idea of the
• 1:14:08
  Speaker 1: actual degree of utility possessed by your invention, creation, composition,
• 1:14:13
  Speaker 1: or contrivance, you must employ past experience, reason, judgment, discrimination,
• 1:14:20
  Speaker 1: and cool decision in this final testing process. In the
• 1:14:23
  Speaker 1: present and in several following sections of this book, we
• 1:14:27
  Speaker 1: shall ask you to consider in further detail the several
• 1:14:30
  Speaker 1: divisions or principles composing the above mentioned general rule, together
• 1:14:34
  Speaker 1: with certain instructions designed to promote the effective application of
• 1:14:37
  Speaker 1: each of these special points. In the general rule of
• 1:14:41
  Speaker 1: efficient constructive imagination, the first step is that of creating
• 1:14:45
  Speaker 1: a clear mental picture of the general idea representing your
• 1:14:48
  Speaker 1: definite purpose, i e. The particular end which you wish
• 1:14:51
  Speaker 1: to accomplish, the particular obstacle which you wish to overcome,
• 1:14:55
  Speaker 1: the particular result which you wish to obtain, the particular
• 1:14:59
  Speaker 1: desire which you wan wish to satisfy, the particular ideal
• 1:15:02
  Speaker 1: which you wish to make real, the particular idea which
• 1:15:05
  Speaker 1: you wish to materialize. In objective form. Definite purpose is
• 1:15:10
  Speaker 1: an essential characteristic of all true constructive imagination. This definite
• 1:15:15
  Speaker 1: purpose may not be the actual purpose to objectify a
• 1:15:18
  Speaker 1: subjective image already created in the mind, though often it
• 1:15:21
  Speaker 1: is precisely this purpose of externalizing the created internal image.
• 1:15:26
  Speaker 1: More often, however, the definite purpose is that of overcoming
• 1:15:30
  Speaker 1: an obstacle, supplying a perceived want, discovering an efficient method
• 1:15:34
  Speaker 1: of performing certain work. There is always present a fixed
• 1:15:38
  Speaker 1: idea supported by a fixed feeling. The more definite the purpose,
• 1:15:43
  Speaker 1: the more directly does the creative work proceed to its end.
• 1:15:47
  Speaker 1: The more persistent the feeling and the desire inspiring it,
• 1:15:50
  Speaker 1: the stronger is the urge toward the objective materialization. Hallick
• 1:15:55
  Speaker 1: says of this characteristic of the creative imagination, the constructive
• 1:15:59
  Speaker 1: imagination is always characterized by a definite purpose which is
• 1:16:03
  Speaker 1: never lost sight of until the image is complete. A
• 1:16:06
  Speaker 1: child starts to build a house out of blocks. These
• 1:16:10
  Speaker 1: are often changed and taken down many times before the
• 1:16:13
  Speaker 1: form in which they are built is such as to
• 1:16:15
  Speaker 1: fix the growing purposive image in the child's mind. Before
• 1:16:20
  Speaker 1: an architect builds a house, he must form successive images
• 1:16:24
  Speaker 1: which he alters whenever they conflict with the general plan
• 1:16:26
  Speaker 1: of that special dwelling. An inventor often spends years in
• 1:16:30
  Speaker 1: changing and recombining the images of parts of his machine,
• 1:16:34
  Speaker 1: but he is all the while dominated by a definite purpose.
• 1:16:38
  Speaker 1: The images must be altered until matter poured into their
• 1:16:41
  Speaker 1: mold fulfills the aim of the inventor. We would, here, however,
• 1:16:45
  Speaker 1: caution you against harboring the idea that the definite purpose
• 1:16:48
  Speaker 1: is a crystallized, fixed, unchangeable archetype which the inventor strives
• 1:16:53
  Speaker 1: to represent as best he can in material objective form. Rather,
• 1:16:57
  Speaker 1: the definite purpose is an evolving the developing idea moving forward,
• 1:17:01
  Speaker 1: as do all living forms, it advances and usually gradually
• 1:17:06
  Speaker 1: takes on new and better forms and details. Also, it
• 1:17:10
  Speaker 1: frequently discards as inefficient or impracticable some of the forms
• 1:17:14
  Speaker 1: or details which it had accepted at the start. As
• 1:17:17
  Speaker 1: a writer has said, the creative ideal arises in the
• 1:17:20
  Speaker 1: inventor and proceeds through him. Its life is a becoming process,
• 1:17:25
  Speaker 1: and not an unchangeable fixed form. Its fixed character consists
• 1:17:30
  Speaker 1: of its continuity in definite purpose. If we liken creative
• 1:17:35
  Speaker 1: imagination to physiological generation, this creative ideal is the oval
• 1:17:39
  Speaker 1: awaiting fertilization in order to begin its development. The creative
• 1:17:44
  Speaker 1: ideal is a creative image tending to become real. Before
• 1:17:48
  Speaker 1: you may expect successfully to accomplish creative mental work, you
• 1:17:52
  Speaker 1: must know, at least in a general way, just what
• 1:17:54
  Speaker 1: you wish to create. You must select at least the
• 1:17:57
  Speaker 1: general goal toward which you desire to journey. You must
• 1:18:01
  Speaker 1: not be content to sing, in the words of the
• 1:18:04
  Speaker 1: familiar ballad, I don't know where I'm going, but I'm
• 1:18:07
  Speaker 1: on the way. You must sketch at least the general
• 1:18:10
  Speaker 1: map of the country over which you wish to travel,
• 1:18:12
  Speaker 1: and to indicate with at least a fair degree of definiteness,
• 1:18:15
  Speaker 1: the place at which you hope to arrive at your
• 1:18:17
  Speaker 1: journey's end. We do not hold that you must necessarily
• 1:18:21
  Speaker 1: work out a detailed map of that country. The details
• 1:18:24
  Speaker 1: you may fill in as you proceed. Neither do we
• 1:18:27
  Speaker 1: hold that you should necessarily make a mark at some
• 1:18:29
  Speaker 1: particular part of the map to indicate the place at
• 1:18:32
  Speaker 1: which you expect to settle down. You will be better
• 1:18:34
  Speaker 1: able to do this when you arrive at that general
• 1:18:36
  Speaker 1: part of the country toward which you are journeying. We
• 1:18:40
  Speaker 1: do insist, however, that you should know the general direction
• 1:18:43
  Speaker 1: in which you are headed. The early settlers of America
• 1:18:47
  Speaker 1: knew that they were going west, and most of them
• 1:18:49
  Speaker 1: had a very fair idea as to just what particular
• 1:18:52
  Speaker 1: section of the far west most attracted their interest and
• 1:18:55
  Speaker 1: held their attention. The matter of the precise exact location
• 1:18:59
  Speaker 1: of the place at which they expected to take up
• 1:19:01
  Speaker 1: land was usually left to be determined when they arrived
• 1:19:04
  Speaker 1: on the general scene and had a chance to look
• 1:19:07
  Speaker 1: over the places still open to them for settlement. This
• 1:19:10
  Speaker 1: is about as much as we can ask for from
• 1:19:12
  Speaker 1: you in the matter now under consideration. All true exercise
• 1:19:16
  Speaker 1: of the constructive imagination is inspired by a want, a lack,
• 1:19:20
  Speaker 1: an obstacle, a problem, or a thwarted purpose, the latter
• 1:19:24
  Speaker 1: being stated by an eminent psychologist to be the occasion
• 1:19:28
  Speaker 1: for all reasoning. If your every want were satisfied, if
• 1:19:32
  Speaker 1: you suffered no lack, if there were no problem requiring solution,
• 1:19:36
  Speaker 1: no obstacles to be overcome, no thwarded purposes present in
• 1:19:40
  Speaker 1: your experience, then you would never be called upon to
• 1:19:43
  Speaker 1: exercise your powers of constructive imagination. Your want, your lack,
• 1:19:48
  Speaker 1: your unsatisfied desire, your thwarted purpose. These called into activity
• 1:19:53
  Speaker 1: the creative powers of your mind. It may not be
• 1:19:56
  Speaker 1: always quite dear to you what constitutes the prime factors
• 1:19:59
  Speaker 1: of your want, desire, lack, problem, or forwarded purpose. You
• 1:20:04
  Speaker 1: may find it necessary to boil down the thing, evaporating
• 1:20:07
  Speaker 1: the excess fluid in which this essence is dissolved. You
• 1:20:11
  Speaker 1: must get to the real, essential elements of the problem,
• 1:20:14
  Speaker 1: get down to brass tax. Here, as in many other
• 1:20:18
  Speaker 1: instances and cases, you will find it helpful to think
• 1:20:21
  Speaker 1: with your pencil, i e. To express in written words
• 1:20:24
  Speaker 1: the essence of the somewhat hazy general idea which is
• 1:20:27
  Speaker 1: present in your mind as representing your problem or want.
• 1:20:31
  Speaker 1: Unless you have practiced this plan, you can have no
• 1:20:34
  Speaker 1: adequate conception of its value to you in thinking and planning.
• 1:20:38
  Speaker 1: In thinking with your pencil, for the purpose of discovering
• 1:20:41
  Speaker 1: the prime factors or essential elements of your problem or purpose,
• 1:20:45
  Speaker 1: you must strive to get down to the bottom of
• 1:20:46
  Speaker 1: the subject, to reach the center of the thing. Once
• 1:20:50
  Speaker 1: having found this, you may work backward and forward in
• 1:20:53
  Speaker 1: any direction from that focal point. The focal point may
• 1:20:57
  Speaker 1: be discovered by determined pencil thought upon on the following
• 1:21:00
  Speaker 1: two questions, viz. One, what is the obstacle which I
• 1:21:04
  Speaker 1: wish to overcome? What is the nature of this forwarded purpose?
• 1:21:08
  Speaker 1: What is the gist of the difficulty? And two? What
• 1:21:11
  Speaker 1: is the first and main factor or element of my
• 1:21:13
  Speaker 1: purpose in this eighty five matter? What is it necessary
• 1:21:18
  Speaker 1: for me to accomplish? What is the general end to
• 1:21:20
  Speaker 1: be accomplished? What is the big idea which I wish
• 1:21:24
  Speaker 1: to make real? Continue the task of analyzing and dissecting
• 1:21:28
  Speaker 1: the subject until you finally reduce it to its ultimate
• 1:21:31
  Speaker 1: elements of definite purpose. That definite purpose is always there,
• 1:21:35
  Speaker 1: though usually hidden by a mass of comparatively non essential ideas.
• 1:21:40
  Speaker 1: It is your work to clear away this mass of
• 1:21:42
  Speaker 1: encumbering material of thought, so that you may bring into
• 1:21:45
  Speaker 1: plane view the precious thing at the center of the mass. Or,
• 1:21:49
  Speaker 1: employing another figure, it is up to you to carve
• 1:21:52
  Speaker 1: away the mass of stone which hides the figure of
• 1:21:55
  Speaker 1: your ideal, that ideal which is crying for release from
• 1:21:58
  Speaker 1: the encumbering material. Just as the sculptor with his chisel
• 1:22:01
  Speaker 1: releases the hidden form of his ideal creation, your definite purpose,
• 1:22:06
  Speaker 1: once discovered, it becomes your definite ideal. The focal point
• 1:22:09
  Speaker 1: around which is built the entire structure of your creation.
• 1:22:13
  Speaker 1: The definite ideal is like the grain of sand, which
• 1:22:16
  Speaker 1: exists at the center of every pearl, and about which
• 1:22:19
  Speaker 1: the pearly material has gathered. It is the big idea
• 1:22:23
  Speaker 1: around which your constructive imagination builds, deposits, and accumulates its
• 1:22:28
  Speaker 1: wealth of material. Your definite ideal represents your desire, need, want, purpose,
• 1:22:34
  Speaker 1: plan design. It is the vital germ of the entire
• 1:22:37
  Speaker 1: future organism. It is the seed from which will spring
• 1:22:40
  Speaker 1: the downward pressing roots and the upward pressing stalk. Without it,
• 1:22:44
  Speaker 1: there would be no creative growth in the degree of
• 1:22:47
  Speaker 1: its strength, definiteness, and clearness of form. So will be
• 1:22:51
  Speaker 1: the degree of perfection and vigor in that which springs
• 1:22:54
  Speaker 1: from it. The importance of discovering, in uncovering the definite
• 1:22:58
  Speaker 1: ideal is not confined to its own effect upon your
• 1:23:00
  Speaker 1: conscious mental activities. Its effect upon your subconscious faculties and
• 1:23:05
  Speaker 1: powers of imagination is even greater still. By a clear
• 1:23:09
  Speaker 1: conception of your definite ideal, and by its repeated impression
• 1:23:12
  Speaker 1: upon your subconscious mentality, the idea becomes firmly, deeply and
• 1:23:17
  Speaker 1: clearly set in the substance of the latter, and thereafter
• 1:23:21
  Speaker 1: the subconscious faculties work steadily toward the end of the
• 1:23:24
  Speaker 1: successful accomplishment of the purpose an ideal thus impressed upon it.
• 1:23:29
  Speaker 1: The importance of this is realized only when you stop
• 1:23:32
  Speaker 1: to think that over eighty five percent of the activities
• 1:23:34
  Speaker 1: of the mind are performed below the levels or planes
• 1:23:37
  Speaker 1: of your ordinary consciousness. The fifteen percent of the work
• 1:23:41
  Speaker 1: performed by your conscious faculties is confined largely to the
• 1:23:44
  Speaker 1: task of supplying the subconscious faculties with the proper materials
• 1:23:48
  Speaker 1: for their work, and to adapting, shaping, testing, and applying
• 1:23:51
  Speaker 1: the manufactured product of the subconscious workshop. Once having discovered
• 1:23:56
  Speaker 1: and uncovered your definite ideal, you should strive to make
• 1:23:59
  Speaker 1: as clear and definite a mental picture of it as possible.
• 1:24:03
  Speaker 1: Keep the general picture in mind, either directly in consciousness
• 1:24:07
  Speaker 1: or else at the back of your head, so that
• 1:24:09
  Speaker 1: you will know that it is there even when you
• 1:24:11
  Speaker 1: are not looking at it. Keep the big idea always
• 1:24:15
  Speaker 1: in mind. Consciously, subconsciously, and super consciously. Get the fixed
• 1:24:20
  Speaker 1: idea and the fixed feeling so firmly set in your
• 1:24:24
  Speaker 1: mind that it could not be dug out without breaking
• 1:24:26
  Speaker 1: up the mind itself. This definite ideal. This big idea
• 1:24:31
  Speaker 1: must be the mental picture, the ideal form which your
• 1:24:34
  Speaker 1: entire mental being is striving to make real, to materialize,
• 1:24:38
  Speaker 1: to objectify. Let no other mental picture rob this big idea,
• 1:24:43
  Speaker 1: picture of its prominent position, Hang it in your mental
• 1:24:47
  Speaker 1: picture gallery in such a position that it will catch
• 1:24:49
  Speaker 1: your mental eye the first thing in the morning and
• 1:24:51
  Speaker 1: the last thing at night. Having firmly established your definite ideal,
• 1:24:56
  Speaker 1: you should next proceed to map out your general field
• 1:24:59
  Speaker 1: and to note its prominent landmarks. In the words of
• 1:25:02
  Speaker 1: the second section of the general rule, you should form
• 1:25:05
  Speaker 1: a comprehensive picture of the whole field of the proposed undertaking.
• 1:25:09
  Speaker 1: Get a comprehensive and inclusive view of the field of
• 1:25:12
  Speaker 1: the whole business into which you purpose embarking. See the
• 1:25:15
  Speaker 1: whole enterprise in all of its general aspects. Compose a
• 1:25:18
  Speaker 1: comprehensive idea, including the whole matter under consideration. In this process,
• 1:25:24
  Speaker 1: you need but to follow the general principles which already
• 1:25:27
  Speaker 1: have been presented to you in the instruction concerning the
• 1:25:29
  Speaker 1: discovery in visualization of your definite purpose, your definite ideal.
• 1:25:34
  Speaker 1: These principles may be stated in condensed form as follows one.
• 1:25:39
  Speaker 1: Think with your pencil, write down all of the ideas
• 1:25:43
  Speaker 1: concerning the general field and plan, and then compare these
• 1:25:46
  Speaker 1: for the purpose of selection. Eliminate the non essentials, cancel
• 1:25:51
  Speaker 1: the duplications and contradictories, and arrange the selected items in
• 1:25:55
  Speaker 1: a logical and orderly classification. In short, make a chart
• 1:25:59
  Speaker 1: or die dig of the general field and plan, showing
• 1:26:02
  Speaker 1: the ground to be covered, the obstacles to be overcome,
• 1:26:05
  Speaker 1: the strong places, the weak points, et cetera, et cetera.
• 1:26:09
  Speaker 1: You will do well to bestow sufficient care and attention
• 1:26:12
  Speaker 1: upon this task, for your chart will be to you
• 1:26:14
  Speaker 1: what is map of the battlefield is to the commanding officer.
• 1:26:18
  Speaker 1: To visualize your map. Study your map until you can
• 1:26:23
  Speaker 1: easily visualize it. Learn it by heart, so that it
• 1:26:26
  Speaker 1: will become as familiar as your A, B. C's or
• 1:26:30
  Speaker 1: your multiplication table of childhood days. Impress your map upon
• 1:26:35
  Speaker 1: your memory so that you can bring it at will
• 1:26:37
  Speaker 1: into conscious representation or recollection. Creative power, your constructive Forces
• 1:26:44
  Speaker 1: by William Walker Atkinson The Mental Laboratory. The third section
• 1:26:50
  Speaker 1: of the general rule tells you to make a written
• 1:26:52
  Speaker 1: list of all of the probable factors involved in the
• 1:26:55
  Speaker 1: problem or undertaking. Compile a list of all of the
• 1:26:58
  Speaker 1: probable elements involved in the world working out of the matter.
• 1:27:01
  Speaker 1: Gather together all of the ideas of the things at
• 1:27:03
  Speaker 1: all likely to be called into the creative process. Have
• 1:27:06
  Speaker 1: within easy reached the ideas of all of the materials
• 1:27:09
  Speaker 1: likely to be employed in the construction of the ideal
• 1:27:12
  Speaker 1: form which you wish to materialize. Here you proceed to
• 1:27:16
  Speaker 1: supply the constructive imagination with the raw materials for its
• 1:27:19
  Speaker 1: creative processes. You have seen that the constructive imagination does
• 1:27:24
  Speaker 1: not and cannot create something out of nothing. Instead, it
• 1:27:29
  Speaker 1: creates by combination, adaptation, adjustment, transformation, always employing the material
• 1:27:35
  Speaker 1: which you furnish it for the purpose. Therefore, you must
• 1:27:39
  Speaker 1: supply it with the kind of mental images which are
• 1:27:41
  Speaker 1: best adapted for the creation of the new forms, images
• 1:27:44
  Speaker 1: or ideas which contribute to the manifestation of your definite purpose,
• 1:27:48
  Speaker 1: your definite central ideal. This material composed of mental images
• 1:27:54
  Speaker 1: is then employed both by your conscious mentality and by
• 1:27:57
  Speaker 1: your subconscious mentality in their work of weaving or fusing
• 1:28:00
  Speaker 1: the fabric or form of the necessary new images. You
• 1:28:04
  Speaker 1: must get busy at this point. You have much real
• 1:28:07
  Speaker 1: work ahead of you. Here, you must begin by acquainting
• 1:28:11
  Speaker 1: yourself with the list of the things which seem likely
• 1:28:13
  Speaker 1: to come into use in the working out of your
• 1:28:15
  Speaker 1: definite purpose your definite ideal. You need not be absolutely
• 1:28:20
  Speaker 1: certain that all of the material being gathered in by
• 1:28:22
  Speaker 1: you for this purpose really will prove necessary or even
• 1:28:25
  Speaker 1: valuable in the process. Gather in all that seems at
• 1:28:28
  Speaker 1: all likely to be of some use. In case of
• 1:28:32
  Speaker 1: uncertainty on this point, give the material the benefit of
• 1:28:35
  Speaker 1: the doubt, and add it to your list. You may
• 1:28:37
  Speaker 1: discard it later, if need be. All that you need
• 1:28:41
  Speaker 1: to do at this time is to gather together such
• 1:28:43
  Speaker 1: materials as seem likely to be worth consideration in the matter,
• 1:28:48
  Speaker 1: And note this, make a written list of all such
• 1:28:50
  Speaker 1: items of promising material, for you will be called upon
• 1:28:53
  Speaker 1: to do considerable thinking with your pencil in the work
• 1:28:56
  Speaker 1: ahead of you. In the first place, you must fairly
• 1:29:00
  Speaker 1: saturate yourself with the subject represented by your definite purpose
• 1:29:03
  Speaker 1: and definite ideal, the achievement of which is so insistently desired,
• 1:29:07
  Speaker 1: so confidently expected, and so persistently willed by you. You
• 1:29:12
  Speaker 1: must learn at least the name and general character of
• 1:29:14
  Speaker 1: everything connected with or related to that subject, if but
• 1:29:18
  Speaker 1: even remotely related to it. This because the images or
• 1:29:22
  Speaker 1: ideas of these related things are precisely the stuff upon
• 1:29:26
  Speaker 1: which your constructive imagination must depend for the materials which
• 1:29:29
  Speaker 1: it must weave or fuse into newer and more efficient images.
• 1:29:33
  Speaker 1: Everything that ever was invented, created, or composed by the
• 1:29:37
  Speaker 1: constructive imagination is constituted of several elements. And these elements
• 1:29:42
  Speaker 1: previously existed as separate though related ideas, the same kind
• 1:29:46
  Speaker 1: of ideas which you are now trying to accumulate as
• 1:29:48
  Speaker 1: raw material. The men who invented, created, or composed those
• 1:29:53
  Speaker 1: new things were dependent upon these separate images or ideas
• 1:29:56
  Speaker 1: for their material. Without them, these men could not and
• 1:29:59
  Speaker 1: would not have invented or created those new images. You
• 1:30:03
  Speaker 1: are now in the same position as where they before
• 1:30:05
  Speaker 1: their work was really begun, or rather before their definite
• 1:30:09
  Speaker 1: purposes and definite ideals had begun to assume clearly defined
• 1:30:13
  Speaker 1: form and proportions. Morse, Stevenson, Marconi, Edison, and the rest
• 1:30:18
  Speaker 1: of the inventors were once in the same boat in
• 1:30:21
  Speaker 1: which you are now To duplicate their processes. You must
• 1:30:25
  Speaker 1: gather together the raw materials just as they did. This
• 1:30:29
  Speaker 1: should be plain enough for you, But do not proceed
• 1:30:32
  Speaker 1: further until this truth is thoroughly grasped and appreciated by you.
• 1:30:37
  Speaker 1: You must be well grounded in the facts of this
• 1:30:39
  Speaker 1: fundamental principle before you properly may proceed to set the
• 1:30:42
  Speaker 1: same into creative activity. There is no royal road to
• 1:30:46
  Speaker 1: constructive imagination. All high and low, always have, must now,
• 1:30:52
  Speaker 1: and must always hereafter travel the same common road leading
• 1:30:55
  Speaker 1: to the goal. This all includes yourself. A moment ago,
• 1:31:01
  Speaker 1: we told you that you must fairly saturate yourself with
• 1:31:04
  Speaker 1: the subject represented by your definite purpose and definite ideal,
• 1:31:08
  Speaker 1: the achievement of which is so insistently desired, confidently expected,
• 1:31:12
  Speaker 1: and persistently willed by you. You must learn at least
• 1:31:16
  Speaker 1: the name and general character of everything connected with or
• 1:31:19
  Speaker 1: related to that subject, even remotely related to it. But
• 1:31:23
  Speaker 1: just how are you to saturate yourself with such knowledge?
• 1:31:27
  Speaker 1: Just how are you going to know at least the
• 1:31:28
  Speaker 1: name and general character of everything connected with or related
• 1:31:31
  Speaker 1: to that particular subject. The correct answer to these questions
• 1:31:36
  Speaker 1: involves a most important method of the scientific application of
• 1:31:39
  Speaker 1: constructive imagination, and you should consider carefully the following information
• 1:31:43
  Speaker 1: given as the answer. Consider this proposition. If some very
• 1:31:48
  Speaker 1: wealthy man were to call you into his office and
• 1:31:50
  Speaker 1: then make you the following offer, you would accept it
• 1:31:52
  Speaker 1: at once and would proceed to devise the proper means
• 1:31:55
  Speaker 1: to accomplish the task and win the reward. There would
• 1:31:58
  Speaker 1: be no hesitancy on your part about accepting it. We
• 1:32:01
  Speaker 1: are sure. Here is the hypothetical rich man's offer to you,
• 1:32:06
  Speaker 1: mister Blank, I want someone to prepare for me the
• 1:32:09
  Speaker 1: fullest and most complete list possible of the things concerning
• 1:32:12
  Speaker 1: or related to this particular subject here naming the subject
• 1:32:15
  Speaker 1: of your definite purpose and definite ideal. I will give
• 1:32:19
  Speaker 1: you a salary of double the amount you are now earning,
• 1:32:22
  Speaker 1: and also pay all your expenses while you are conducting
• 1:32:25
  Speaker 1: the search and preparing the list. When you have completed
• 1:32:28
  Speaker 1: the list, if it is found to meet the requirements
• 1:32:31
  Speaker 1: of reasonable completeness and perfection, I will make you a
• 1:32:33
  Speaker 1: present of one hundred thousand dollars. Will you undertake the task?
• 1:32:38
  Speaker 1: What would be your answer? You would accept? Of course,
• 1:32:43
  Speaker 1: Then what would be the first steps in your preparation
• 1:32:46
  Speaker 1: of the list. Well, you would begin by reading the
• 1:32:49
  Speaker 1: best textbooks covering the general subject, starting off with the
• 1:32:53
  Speaker 1: descriptive articles treating upon it, which you would find in
• 1:32:56
  Speaker 1: the best encyclopedias. You would saturate yourself with the subject.
• 1:33:01
  Speaker 1: You would consult with persons employed in occupations necessitating at
• 1:33:05
  Speaker 1: least a working knowledge of the subject. You would read
• 1:33:08
  Speaker 1: the trade journals circulating among those engaged in such callings,
• 1:33:12
  Speaker 1: not forgetting to read the advertisements. You would carefully consider
• 1:33:16
  Speaker 1: the price lists and catalogs of houses dealing in the
• 1:33:19
  Speaker 1: supplies required in those branches of work. In short, you
• 1:33:23
  Speaker 1: would seek in every possible direction, and from every possible source,
• 1:33:27
  Speaker 1: for the names of the things concerning or related to
• 1:33:30
  Speaker 1: that special subject. You would seek every possible association of
• 1:33:35
  Speaker 1: that subject, the subjects closely associated with it, and having
• 1:33:39
  Speaker 1: some practical relation to it. You would discover these associations
• 1:33:43
  Speaker 1: by asking yourself one what is this thing? Two of
• 1:33:49
  Speaker 1: what is it composed? Three? What is its purpose? Four?
• 1:33:54
  Speaker 1: For whose use is it intended? Five? What is its
• 1:33:58
  Speaker 1: past history, its evolution, tionary story? Six? What are the
• 1:34:03
  Speaker 1: things most resembling it? Seven? What thing is most unlike it?
• 1:34:08
  Speaker 1: Its opposite? And many more questions of that sort. You
• 1:34:12
  Speaker 1: would seek to fill your mind with all the essential
• 1:34:14
  Speaker 1: images connected with or related to your subject. But you
• 1:34:18
  Speaker 1: would not be satisfied with merely learning the names of
• 1:34:21
  Speaker 1: these connected or related things, though even these are of
• 1:34:24
  Speaker 1: great importance and really form the first step of your task.
• 1:34:28
  Speaker 1: You would seek also to learn the meaning of those names.
• 1:34:32
  Speaker 1: You would consult the best dictionaries, reference works, encyclopedias, et cetera.
• 1:34:37
  Speaker 1: For the meaning of one term. You would uncover other
• 1:34:40
  Speaker 1: terms closely associated with the one you are running down.
• 1:34:43
  Speaker 1: Than you would search for the meaning of these new terms.
• 1:34:47
  Speaker 1: You would learn the past history, the story of the
• 1:34:49
  Speaker 1: evolution of the prime factors of your special subject. You
• 1:34:53
  Speaker 1: would learn the various attempts to solve certain of the
• 1:34:56
  Speaker 1: problems involved, the failures and successes. You would learn the
• 1:35:00
  Speaker 1: various theories advanced in the history of the subject, and
• 1:35:03
  Speaker 1: the answer and objections to each. In short, you would
• 1:35:07
  Speaker 1: fairly saturate yourself with the known facts concerning the subject
• 1:35:11
  Speaker 1: and the subjects associated with it. You would know the
• 1:35:15
  Speaker 1: name of everything involved in the subject, and the meaning
• 1:35:18
  Speaker 1: of that name. Briefly, you would fill your mind with
• 1:35:21
  Speaker 1: the mental images, concepts, or ideas of each and everything
• 1:35:25
  Speaker 1: connected with or related to that subject. Of course, you
• 1:35:29
  Speaker 1: would use your pencil in noting down these names and
• 1:35:32
  Speaker 1: their meaning, you would think with your pencil. You would
• 1:35:36
  Speaker 1: arrange your facts into classes, minor classes, forming greater classes,
• 1:35:40
  Speaker 1: and so on. You would have on your list every
• 1:35:43
  Speaker 1: important element involved in the matter. You would know what
• 1:35:47
  Speaker 1: each of these meant. You would have an adequate conception
• 1:35:49
  Speaker 1: of each and every one of these elements. You would
• 1:35:53
  Speaker 1: not be satisfied until your list was made as complete
• 1:35:56
  Speaker 1: and as comprehensive as possible. The one hundred thousand dollars
• 1:36:00
  Speaker 1: reward would inspire you, but as you worked, the growing
• 1:36:03
  Speaker 1: interest in the task itself would urge you on. You
• 1:36:06
  Speaker 1: would have awakened the creative instinct which had been lying
• 1:36:09
  Speaker 1: dormant within you. Well, then this is just the way
• 1:36:13
  Speaker 1: for you to go to work concerning the subject of
• 1:36:15
  Speaker 1: your definite purpose and definite ideal. What you would do
• 1:36:19
  Speaker 1: for the millionaire, you must do for yourself. You must
• 1:36:23
  Speaker 1: work for yourself just as faithfully as you would work
• 1:36:25
  Speaker 1: for such an employer. The same spirit must inspire you,
• 1:36:30
  Speaker 1: the same interest must urge you on, the same creative
• 1:36:33
  Speaker 1: instinct must be awakened. Here is what you must accomplish
• 1:36:37
  Speaker 1: in this stage. You must make an inventory of all
• 1:36:40
  Speaker 1: the essential elements involved in your special subject, and each
• 1:36:43
  Speaker 1: name on that inventory must be so well understood by
• 1:36:46
  Speaker 1: you that it constitutes a definite mental image, concept, or idea.
• 1:36:51
  Speaker 1: The ideal inventory of important elements must include one every
• 1:36:56
  Speaker 1: discoverable important thing employed or used in connection with the subject.
• 1:37:00
  Speaker 1: Two every discoverable important fact concerning that subject. Three every
• 1:37:05
  Speaker 1: discoverable important item of information concerning the essential application of
• 1:37:09
  Speaker 1: that subject. Four every discoverable important event or experience in
• 1:37:14
  Speaker 1: the history of that subject, five every discoverable important cause
• 1:37:18
  Speaker 1: affecting that subject, six every discoverable important effect produced by
• 1:37:24
  Speaker 1: that subject, And seven every discoverable important law, principle, or
• 1:37:29
  Speaker 1: method employed in the processes connected with that subject. You
• 1:37:33
  Speaker 1: must know one of what the thing is made, two
• 1:37:37
  Speaker 1: how it is made, three who makes it, four who
• 1:37:40
  Speaker 1: uses it or may use it, five what the users
• 1:37:43
  Speaker 1: need it, four and how they use it, and how
• 1:37:46
  Speaker 1: others may use it, and the other ways in which
• 1:37:49
  Speaker 1: persons may use it. Six how it is sold or
• 1:37:52
  Speaker 1: may be sold to those who use it. Seven the
• 1:37:55
  Speaker 1: general methods of its distribution and the extent of such.
• 1:38:00
  Speaker 1: The above are but general suggestions. You must adapt them
• 1:38:03
  Speaker 1: and add to them according to the special requirements of
• 1:38:06
  Speaker 1: the case. For the purposes of such list making, we
• 1:38:10
  Speaker 1: make the following suggestions. Use freely a good encyclopedia, preferably
• 1:38:14
  Speaker 1: one having a classified index or an efficient system of
• 1:38:17
  Speaker 1: cross indexing. Use trade or professional text books, encyclopedias, dictionaries,
• 1:38:24
  Speaker 1: reference works, et cetera. Read the trade or professional journals
• 1:38:28
  Speaker 1: relating to your subject, Paying due attention to the advertisements
• 1:38:32
  Speaker 1: for advertisements properly read constitute a rich mind of suggestive ideas.
• 1:38:38
  Speaker 1: Before we pass on to the next step in the
• 1:38:40
  Speaker 1: process of constructive imagination, we would again emphasize the importance
• 1:38:44
  Speaker 1: of having a definite, clear idea or mental image back
• 1:38:48
  Speaker 1: of every name or term representing an essential element of
• 1:38:51
  Speaker 1: your problem or subject. A name or term without an
• 1:38:54
  Speaker 1: associated meaning is like a skeleton without flesh, nerves, and muscles,
• 1:38:59
  Speaker 1: and above all without life. You do not know a
• 1:39:03
  Speaker 1: thing merely by knowing its name. You know it only
• 1:39:05
  Speaker 1: in the degree that you grasp the meaning sought to
• 1:39:08
  Speaker 1: be expressed by that name. Get acquainted with your dictionary,
• 1:39:12
  Speaker 1: turn its pages, and put flesh and meat on the
• 1:39:14
  Speaker 1: bare bones of the mere names and terms that you know.
• 1:39:17
  Speaker 1: Breathe life into them. Hallick says concerning this point, the
• 1:39:22
  Speaker 1: formation of accurate images is essential to the right culture
• 1:39:25
  Speaker 1: of the imagination. A good house cannot be built out
• 1:39:29
  Speaker 1: of shapeless brick. The use of words without definite corresponding
• 1:39:33
  Speaker 1: images is fatal to imagination. If we study any branch
• 1:39:37
  Speaker 1: of science without representing to ourselves by imaginative power the
• 1:39:41
  Speaker 1: meanings of the various terms, our time is somewhat more
• 1:39:44
  Speaker 1: than wasted, for we are forming a bad habit. Molecular vibrations,
• 1:39:49
  Speaker 1: tension of the ether, undulations of varying amplitude and length,
• 1:39:53
  Speaker 1: valves of the heart, stamens, peltate leaves, gothic arches. These
• 1:39:57
  Speaker 1: are terms which should never be used without the ability
• 1:40:00
  Speaker 1: to form sharp images. In each case, a person who
• 1:40:04
  Speaker 1: had been talking about defective flus as causes of fires
• 1:40:08
  Speaker 1: was asked to state plainly what he meant by a
• 1:40:10
  Speaker 1: defective flu. It was then seen that he had no
• 1:40:13
  Speaker 1: clear image corresponding to the term, which was simply a
• 1:40:17
  Speaker 1: mask for his ignorance. Persons who allow themselves to use
• 1:40:21
  Speaker 1: terms in this way must not expect to have much
• 1:40:23
  Speaker 1: imaginative power. Let your meanings of names and terms take
• 1:40:28
  Speaker 1: on the aspect of mental pictures or images of the
• 1:40:31
  Speaker 1: thing represented by the names. See the thing in your
• 1:40:35
  Speaker 1: mind's eye when you are intently thinking of it, Visualize
• 1:40:38
  Speaker 1: it into mental life and vigor, and it will take
• 1:40:41
  Speaker 1: on a world of new meaning to you when you
• 1:40:42
  Speaker 1: wish to employ it as an element of constructive imagination.
• 1:40:47
  Speaker 1: A lively imagination in the true meaning of that term,
• 1:40:50
  Speaker 1: is an imagination in which the images are alive and
• 1:40:54
  Speaker 1: not mere lifeless verbal skeletons of things long since passed
• 1:40:57
  Speaker 1: out of actual moving existence. Breathe the breath of life
• 1:41:01
  Speaker 1: into your mental images. The fourth section of the general
• 1:41:05
  Speaker 1: rule tells you to classify these ideas elements and factors
• 1:41:09
  Speaker 1: according to their general nature, their general uses, their known
• 1:41:13
  Speaker 1: relations and associations, cross indexing them under appropriate headings, and
• 1:41:17
  Speaker 1: referring to the lesser elements, parts, or factors of which
• 1:41:20
  Speaker 1: each is composed. Diagram and chart these ideas according to
• 1:41:25
  Speaker 1: your system of classification, so as to have the whole
• 1:41:28
  Speaker 1: matter under your mind's eye, and that you may be
• 1:41:30
  Speaker 1: able to grasp the arrangement at a glance without having
• 1:41:33
  Speaker 1: to hunt for scattered items. By following this method, after
• 1:41:37
  Speaker 1: having accumulated your materials of constructive imagination, i e. Your concepts, ideas,
• 1:41:43
  Speaker 1: or mental images of the elements involved in the future
• 1:41:45
  Speaker 1: creation of new images, you will arrange them according to
• 1:41:48
  Speaker 1: some logical system of classification. In this way, you file
• 1:41:52
  Speaker 1: away each particular concept or idea according to its proper
• 1:41:56
  Speaker 1: place in a more general class, and thereby your are
• 1:42:00
  Speaker 1: able more easily to find it when you need it.
• 1:42:03
  Speaker 1: This plan, as compared with that of simply piling your
• 1:42:06
  Speaker 1: ideas and concepts in a miscellaneous heap, is akin to
• 1:42:09
  Speaker 1: the scientific method of filing away correspondence in a filing cabinet,
• 1:42:13
  Speaker 1: as compared with that of simply throwing the letters together
• 1:42:16
  Speaker 1: in a barrel box or large drawer. A business man
• 1:42:20
  Speaker 1: is able to find the letter he needs simply by
• 1:42:22
  Speaker 1: going to his file and placing his hand on the
• 1:42:25
  Speaker 1: proper compartment. He has an immense advantage over the one
• 1:42:28
  Speaker 1: who has to hunt through a large mass of unfiled correspondence.
• 1:42:32
  Speaker 1: It is not enough to have the idea of a thing.
• 1:42:34
  Speaker 1: It is necessary to know where to find that idea
• 1:42:37
  Speaker 1: when you want it. Psychology informs us that one may
• 1:42:41
  Speaker 1: far more easily remember facts filed in the memory records
• 1:42:44
  Speaker 1: according to some system of logical classification than where the
• 1:42:47
  Speaker 1: facts simply exist somewhere in the mind. Your classification of
• 1:42:52
  Speaker 1: concepts or ideas should be according to the general nature
• 1:42:55
  Speaker 1: of the ideas, their natural associations with other objects, their uses.
• 1:43:00
  Speaker 1: For instance, in your mental file of building materials, there
• 1:43:04
  Speaker 1: would be contained the concepts of stone, clay, brick, iron, steel, lumber, concrete, cement, tile,
• 1:43:12
  Speaker 1: et cetera. In your mental file of metals, there would
• 1:43:16
  Speaker 1: be found the records of iron, copper, gold, silver, nickel, zinc, platinum, lead, tin, antimony, manganese, mercury, aluminum, cobalt, tungsten,
• 1:43:27
  Speaker 1: et cetera. In your mental file of mechanical devices, there
• 1:43:31
  Speaker 1: would be filed your records of axles, shafting wheels, levers, pulleys, cranks, cams, eccentrics, winches, windlasses,
• 1:43:41
  Speaker 1: inclined planes, wedges, toggle joints, endless screws, belts, gear wheels,
• 1:43:46
  Speaker 1: gearing couplings, et cetera. In your mental file of fibers
• 1:43:51
  Speaker 1: and textiles, there would be placed your records of cotton, flax, hemp, jute, linen, manila, hemp, noils,
• 1:43:59
  Speaker 1: raymie shot, silk, organzine, floss, silk, wool, and worsted coir,
• 1:44:04
  Speaker 1: artificial silk, artificial cotton, vegetable, silk, et cetera. In your
• 1:44:10
  Speaker 1: mental file of dairy products, you would place your records
• 1:44:13
  Speaker 1: of milk, skim, milk, casine, cream, butter, cheese, buttermilk, milk, sugar, ghee,
• 1:44:20
  Speaker 1: keher cumis, whey, et cetera. The above illustrative examples should
• 1:44:26
  Speaker 1: be sufficient to indicate the general idea of efficient and
• 1:44:29
  Speaker 1: practical classification. Each general classification, moreover, should be subjected to
• 1:44:35
  Speaker 1: sub classification. Large classes should be divided and subdivided into
• 1:44:40
  Speaker 1: the lesser classes. Small classes should be raised to higher
• 1:44:44
  Speaker 1: and still higher classes, and so on until the highest
• 1:44:47
  Speaker 1: general class is reached. The following table illustrating geometrical figures
• 1:44:53
  Speaker 1: will serve as an example of such classification. Plane, rectilinear, trilateral, quadrilateral, multilateral, curvilinear, circular, elliptic, parabolic, hyperbolic, solid, rectilinear, tetrahedral, pentahedral, sextahedral,
• 1:45:14
  Speaker 1: et cetera, curvilinear, spherical, conical, cylindrical, paraboloidal. In the above illustration,
• 1:45:22
  Speaker 1: we have the smallest class of figures grouped according to
• 1:45:25
  Speaker 1: its most positive quality. This group raised to the respective
• 1:45:28
  Speaker 1: class of plane or solid, as the case may be,
• 1:45:31
  Speaker 1: and this last class included in the general class of figures.
• 1:45:36
  Speaker 1: One having at hand this table would have a complete
• 1:45:39
  Speaker 1: index of his mental images representing the various forms included
• 1:45:42
  Speaker 1: in the general class of geometrical figures. He would have
• 1:45:46
  Speaker 1: a map or diagram of his knowledge of the subject.
• 1:45:49
  Speaker 1: It being understood that each of the above terms must
• 1:45:52
  Speaker 1: be accompanied by a clear mental concept of each figure,
• 1:45:55
  Speaker 1: a dear meaning of each capable of being stated in
• 1:45:58
  Speaker 1: the terms of logical defathy definition. The ideal theoretical system
• 1:46:03
  Speaker 1: of classification would really be that in which each article
• 1:46:06
  Speaker 1: was classified according to all its characteristics, its uses, its
• 1:46:10
  Speaker 1: possible combinations, its associations, its relations, et cetera. Such a system, however,
• 1:46:17
  Speaker 1: would be well nigh impossible, and for that matter, would
• 1:46:20
  Speaker 1: be far too complex and cumbersome for ordinary practical use.
• 1:46:25
  Speaker 1: But you should not lose sight of the general principle. Nevertheless,
• 1:46:29
  Speaker 1: the ideal for practical use would be a classification showing
• 1:46:33
  Speaker 1: one every possible use or end to which a certain
• 1:46:36
  Speaker 1: thing might be applied, employed, or directed, and two every
• 1:46:40
  Speaker 1: possible thing which might be applied, employed, or directed to
• 1:46:44
  Speaker 1: a certain use or end. The nearer you approach to
• 1:46:47
  Speaker 1: this ideal in your work, of classification of the things
• 1:46:50
  Speaker 1: concerned with, connected with, or related to the general subject
• 1:46:54
  Speaker 1: of your definite purpose and definite ideal. The better will
• 1:46:57
  Speaker 1: be your chances of the successful achievement of that pose
• 1:47:00
  Speaker 1: the successful realization of that ideal. It is said that
• 1:47:04
  Speaker 1: a certain eminent inventor possesses a very complete index and
• 1:47:08
  Speaker 1: series of cross indexes of nearly everything concerned with the
• 1:47:11
  Speaker 1: general field in which he is working. For instance, he
• 1:47:15
  Speaker 1: has lists showing one all the discovered uses to which
• 1:47:19
  Speaker 1: each and every such thing has been put, the discovered
• 1:47:22
  Speaker 1: effects of its combinations with other things, the things most
• 1:47:25
  Speaker 1: nearly related to or resembling it, and two each and
• 1:47:29
  Speaker 1: every such thing which has been discovered to be possible
• 1:47:31
  Speaker 1: of use, employment, and effect in the direction of producing
• 1:47:35
  Speaker 1: or affecting a certain result, effect, combination, or composition. In short,
• 1:47:41
  Speaker 1: he has the cause relations and the effect relations of
• 1:47:43
  Speaker 1: every object on his list noted and classified, indexed and
• 1:47:47
  Speaker 1: cross indexed. When this inventor wishes to know the possible
• 1:47:51
  Speaker 1: causes of a desired effect, he turns to his indexes,
• 1:47:55
  Speaker 1: and the information is at hand. Likewise, when he wishes
• 1:47:59
  Speaker 1: to know the possible results and effects related to a
• 1:48:02
  Speaker 1: particular thing, he puts his hand on the information. In
• 1:48:05
  Speaker 1: the same way, the list is kept checked up and
• 1:48:08
  Speaker 1: posted by a corps of assistants who note the reports
• 1:48:11
  Speaker 1: contained in the scientific journals, et cetera, and also the
• 1:48:14
  Speaker 1: results of their employer's own original experiments. He has built
• 1:48:19
  Speaker 1: up and maintained a veritable encyclopedia of information relating to
• 1:48:23
  Speaker 1: the things concerned with his own particular line of work. Consequently,
• 1:48:28
  Speaker 1: he not only has a wealth of valuable information on hand,
• 1:48:31
  Speaker 1: but he also saves an immense amount of time and
• 1:48:33
  Speaker 1: labor when he is engaged in actual, experimental and inventive work.
• 1:48:38
  Speaker 1: While the illustrated instances above cited represent extreme cases, yet
• 1:48:42
  Speaker 1: they serve to bring out the principle involved. It is
• 1:48:46
  Speaker 1: not expected that you should undertake any such elaborate system
• 1:48:49
  Speaker 1: of classification. Yet you should not fail to employ its
• 1:48:52
  Speaker 1: general principle to the highest degree of which you are capable,
• 1:48:55
  Speaker 1: or which you find possible under the circumstances, all else
• 1:49:00
  Speaker 1: as being equal, the person who has one the greatest
• 1:49:03
  Speaker 1: store of concepts or mental images concerning the general subject
• 1:49:07
  Speaker 1: of his definite purpose and definite ideal, and who two
• 1:49:10
  Speaker 1: has that material the most thoroughly classified and indexed, either
• 1:49:14
  Speaker 1: in his memory or mechanically, that person will manifest the
• 1:49:17
  Speaker 1: highest degree of success in his work of constructive imagination.
• 1:49:22
  Speaker 1: You will do well to impress upon your memory all
• 1:49:24
  Speaker 1: new facts arranged according to their logical classification. You will
• 1:49:28
  Speaker 1: do well also to use your pencil in making written
• 1:49:31
  Speaker 1: lists of the things involved in your creative work. In short,
• 1:49:35
  Speaker 1: in every possible manner and by every possible method, seek
• 1:49:39
  Speaker 1: to one acquire concepts, ideas or mental images related to
• 1:49:43
  Speaker 1: your definite purpose and definite ideals. And then two classify
• 1:49:48
  Speaker 1: these concepts, ideas or mental images according to a definite
• 1:49:52
  Speaker 1: logical scientific plan, so that you may find them easily
• 1:49:56
  Speaker 1: and quickly when you need them in the work of
• 1:49:57
  Speaker 1: constructive imagination. With well selected materials in sufficient amount and
• 1:50:03
  Speaker 1: stored away systematically so that you may put your hand
• 1:50:06
  Speaker 1: on them when needed, you will have progressed very far
• 1:50:09
  Speaker 1: on the road to the achievement of your definite purpose
• 1:50:11
  Speaker 1: and definite ideal by the processes of the constructive imagination. Now, then,
• 1:50:17
  Speaker 1: when you have one acquired the concepts, ideas or mental
• 1:50:21
  Speaker 1: images related to your definite purpose and definite ideal, have
• 1:50:25
  Speaker 1: two ascertained and thoroughly apprehended the full meaning of each
• 1:50:28
  Speaker 1: of these items of material, and have three properly classified, indexed,
• 1:50:34
  Speaker 1: and charted them, so that you have the mental laboratory
• 1:50:36
  Speaker 1: them arranged for efficient reference. What have you at your
• 1:50:39
  Speaker 1: command in the first place, you have compiled what may
• 1:50:43
  Speaker 1: be called a thesaurus of your image ideas. A thesaurus
• 1:50:48
  Speaker 1: is a treasury or repository, the term often applied to
• 1:50:51
  Speaker 1: a comprehensive reference work. A lexicon containing lists of words
• 1:50:56
  Speaker 1: arranged according to the ideas or concepts which they express.
• 1:51:00
  Speaker 1: A dictionary contains a list of words, with the definition
• 1:51:03
  Speaker 1: of each the statement of the idea or concept which
• 1:51:06
  Speaker 1: each expresses. A thesaurus, on the other hand, contains lists
• 1:51:11
  Speaker 1: of words arranged in groups, each group representing a certain
• 1:51:14
  Speaker 1: general idea or concept which its several particular words express.
• 1:51:19
  Speaker 1: When you wish to know the meaning of a word
• 1:51:21
  Speaker 1: or term, you consult your dictionary. When you wish to
• 1:51:25
  Speaker 1: find the several words or terms expressing a certain idea
• 1:51:28
  Speaker 1: or concept, you consult your thesaurus, discovering there the term
• 1:51:32
  Speaker 1: denoting the general class of ideas or concepts which you
• 1:51:35
  Speaker 1: have in mind, you find arranged opposite at the several
• 1:51:38
  Speaker 1: particular words or terms employed to express the class of
• 1:51:41
  Speaker 1: ideas or concepts. In the thesaurus of image ideas which
• 1:51:46
  Speaker 1: you have compiled, you will find the image ideas related
• 1:51:49
  Speaker 1: to or associated with the general idea or concept which
• 1:51:53
  Speaker 1: you are employing in your work of constructive imagination. The
• 1:51:57
  Speaker 1: smaller classes are grouped into greater classes, and these into
• 1:52:00
  Speaker 1: still greater and so on and so on, until under
• 1:52:03
  Speaker 1: your central image idea you will find classified and grouped
• 1:52:07
  Speaker 1: each in every particular related or associated image idea. Stop
• 1:52:11
  Speaker 1: a moment and consider how valuable such a thesaurus of
• 1:52:14
  Speaker 1: image ideas will be to you, or to any thinker discover, investigator, researcher,
• 1:52:20
  Speaker 1: or inventor or business man in the work of constructive imagination.
• 1:52:25
  Speaker 1: The individual here performs his creative work surrounded by all
• 1:52:28
  Speaker 1: the materials which he will require, all at hand. Employing
• 1:52:33
  Speaker 1: another illustrative figure of speech, we may say that by
• 1:52:36
  Speaker 1: following the previously mentioned plan of the collection and classification
• 1:52:40
  Speaker 1: of the materials of image ideas, you have built and
• 1:52:43
  Speaker 1: stocked for yourself a great and valuable mental laboratory. You
• 1:52:47
  Speaker 1: have proceeded upon the same general plan as that employed
• 1:52:50
  Speaker 1: by scientists in the creation of their experimental laboratories. In
• 1:52:54
  Speaker 1: these laboratories their workshops in which these scientists perform their
• 1:52:59
  Speaker 1: experimental work, are to be found the various elements which,
• 1:53:02
  Speaker 1: when combined in certain arrangements and proportions, produced the sought
• 1:53:06
  Speaker 1: for synthetic compositions. The scientist in his laboratory and in
• 1:53:11
  Speaker 1: his actual work follows the same general plan which you
• 1:53:14
  Speaker 1: are to follow in your experimental work along the lines
• 1:53:17
  Speaker 1: of constructive imagination, i e. He tries first this combination
• 1:53:21
  Speaker 1: and then that one, until he reaches the best working combination,
• 1:53:25
  Speaker 1: the most satisfactory composition. It is stated that Edison has
• 1:53:29
  Speaker 1: perfected a similar laboratory which he employs in his work
• 1:53:33
  Speaker 1: of creative invention. It is reported that several years ago
• 1:53:37
  Speaker 1: he proceeded to test out every conceivable substance which seemed
• 1:53:41
  Speaker 1: at all possible of being used as a filament for
• 1:53:43
  Speaker 1: the electric light bulb, and that step by step, by
• 1:53:47
  Speaker 1: experiment after experiment, employing the process of test, trial, elimination,
• 1:53:52
  Speaker 1: and selection, he finally settled upon the best possible known
• 1:53:55
  Speaker 1: substance for that special purpose. Luther Burbank is said to
• 1:54:00
  Speaker 1: conduct his experimental work in plant creation in a similar way.
• 1:54:04
  Speaker 1: He tests, tries, experiments, combines, separates, eliminates, and finally selects
• 1:54:10
  Speaker 1: and preserves the fittest. Moreover, nature herself, in her creative
• 1:54:16
  Speaker 1: evolutionary processes, is discovered to proceed along the same general lines.
• 1:54:20
  Speaker 1: The history of natural evolution is but a record of ages,
• 1:54:24
  Speaker 1: long series of experiments, tests, combinations, adaptations, and natural selection,
• 1:54:30
  Speaker 1: ending in the survival of the fittest for the particular
• 1:54:33
  Speaker 1: purpose at each particular stage of the process. The plan
• 1:54:37
  Speaker 1: is but the taking of a leaf from the book
• 1:54:39
  Speaker 1: of nature. It is based upon the sound fundamental principles
• 1:54:42
  Speaker 1: of natural creation. Herbert Spencer once thought out a plan
• 1:54:47
  Speaker 1: whereby the patterns for fabrics woven, knitted, or printed, and
• 1:54:51
  Speaker 1: for wallpapers and other decorative material might be easily in
• 1:54:55
  Speaker 1: systematically discovered or created by means of the same general
• 1:54:58
  Speaker 1: plan to which we have referred and which is followed
• 1:55:01
  Speaker 1: in laboratory work. His plan was that of combination and
• 1:55:05
  Speaker 1: recombination of certain elemental patterns, figures, and designs according to
• 1:55:09
  Speaker 1: a definite and systematic plan of test for desirable combinations
• 1:55:13
  Speaker 1: and conjunctions. He said, concerning this plan, could there not
• 1:55:18
  Speaker 1: be a methodical use of components of designs so that
• 1:55:21
  Speaker 1: relatively few ideas should, by modes of combination, be made
• 1:55:25
  Speaker 1: to issue in multitudinous products, and could not this be
• 1:55:28
  Speaker 1: so done that draftsmen might produce them with facility, the
• 1:55:32
  Speaker 1: system serving, as it were, not as a physical kaleidoscope,
• 1:55:35
  Speaker 1: but as a mental kaleidoscope. Elmer Gates, the psychologist inventor,
• 1:55:40
  Speaker 1: is stated to have made many of his important discoveries
• 1:55:43
  Speaker 1: and inventions in precisely the way indicated in our preceding
• 1:55:46
  Speaker 1: consideration of effective constructive imagination, the method of combining the
• 1:55:51
  Speaker 1: elements of previously classified concepts and images. In fact, he
• 1:55:56
  Speaker 1: is said to attribute his success in his inventive work
• 1:55:58
  Speaker 1: directly to the psychologe logical methods based upon this general principle,
• 1:56:02
  Speaker 1: which he had previously worked out and systematized. It is
• 1:56:06
  Speaker 1: stated that Professor Gates has secured practically all of his
• 1:56:09
  Speaker 1: many important discoveries and inventions in electricity and acoustics, his
• 1:56:13
  Speaker 1: special branches of inventive work, in just this way. He
• 1:56:18
  Speaker 1: is said to have spent several years and much money
• 1:56:20
  Speaker 1: in acquiring the materials for his list of concept images
• 1:56:23
  Speaker 1: which formed the elements of his constructive work. In these branches,
• 1:56:27
  Speaker 1: he is reported to have worked with a list of
• 1:56:29
  Speaker 1: about two thousand simple concept images in electricity alone, from
• 1:56:33
  Speaker 1: which he has produced about fifteen thousand complex id images.
• 1:56:37
  Speaker 1: In acoustics, he is said to have worked with over
• 1:56:40
  Speaker 1: three thousand simple concept images, from which he has evolved
• 1:56:43
  Speaker 1: nearly ten thousand complex id images. Many believe that his
• 1:56:48
  Speaker 1: methods and ideas, when finally known and adopted, will work
• 1:56:51
  Speaker 1: a revolution in the world of inventive thought. The general
• 1:56:55
  Speaker 1: plan of the mental laboratory or of the mental thesaurus,
• 1:56:58
  Speaker 1: which we have outlined for u inn Sis this section
• 1:57:00
  Speaker 1: of this book is applicable not only for the inventor,
• 1:57:03
  Speaker 1: the investigator, the researcher, but for the business man, the clerk,
• 1:57:07
  Speaker 1: the salesman, the stenographer, or the worker in each and
• 1:57:11
  Speaker 1: every line of business, trade, or profession. The principle is
• 1:57:15
  Speaker 1: universal and may be applied in every field of human
• 1:57:18
  Speaker 1: endeavor and industry. In fact, it is not too much
• 1:57:22
  Speaker 1: to say that some of the elements of this plan
• 1:57:24
  Speaker 1: have been consciously or unconsciously employed by every individual who
• 1:57:28
  Speaker 1: has worked his way up from a subordinate position to
• 1:57:30
  Speaker 1: one of authority and command. The essence and substance of
• 1:57:34
  Speaker 1: the general idea is the gathering up and storing a
• 1:57:37
  Speaker 1: way of as many as possible of the facts associated
• 1:57:40
  Speaker 1: with the work in which you are engaged, the ideas
• 1:57:42
  Speaker 1: of the things likely to be needed at some time
• 1:57:45
  Speaker 1: in that work, so that you may have them within
• 1:57:47
  Speaker 1: easy mental reach at such times in which you have
• 1:57:49
  Speaker 1: need for them. The task is twofold viz. One, the
• 1:57:54
  Speaker 1: task of acquiring the necessary concepts, ideas and mental images
• 1:57:58
  Speaker 1: in question, and to the logical scientific classification in filing
• 1:58:03
  Speaker 1: away of these facts, concepts, and ideas, so that you
• 1:58:06
  Speaker 1: may be able to put your finger on them easily
• 1:58:09
  Speaker 1: and quickly when you have need for them. The individual
• 1:58:12
  Speaker 1: who will saturate himself with these essential facts, and who
• 1:58:15
  Speaker 1: will classify and store them away for future use, is
• 1:58:18
  Speaker 1: certain to reap his reward of success, appreciation, and achievement
• 1:58:22
  Speaker 1: in his particular line of work. Now, then let us
• 1:58:26
  Speaker 1: proceed in the following section of this book to the
• 1:58:29
  Speaker 1: consideration of the final steps or stages of the processes
• 1:58:32
  Speaker 1: of constructive imagination. In them is performed the work of combination, adaptation, arrangement,
• 1:58:37
  Speaker 1: and composition of the elements or image ideas which form
• 1:58:41
  Speaker 1: the stock and trade of your mental laboratory creative power
• 1:58:45
  Speaker 1: Your Constructive Forces by William Walker Atkinson, The Laws of Invention.
• 1:58:53
  Speaker 1: Having accumulated a sufficient store of idea image materials selected
• 1:58:57
  Speaker 1: according to the principle of probable value in your work
• 1:58:59
  Speaker 1: of cans constructive imagination with the intent of achieving your
• 1:59:02
  Speaker 1: definite purpose and definite ideal, and having classified these materials
• 1:59:07
  Speaker 1: according to logical order or special relations of use, et cetera,
• 1:59:11
  Speaker 1: you are now ready to proceed to the task of combining, adjusting, adapting,
• 1:59:15
  Speaker 1: and creating these materials into new images, ideas, or concepts
• 1:59:19
  Speaker 1: according to new plans of association, correlation, or coordination. You
• 1:59:26
  Speaker 1: should never lose sight of the fact that all work
• 1:59:28
  Speaker 1: of constructive imagination consists of joining together things already known,
• 1:59:32
  Speaker 1: but in new combinations and orders of arrangement, correlation, or coordination.
• 1:59:38
  Speaker 1: All great inventions are the result of evolution in recombination.
• 1:59:42
  Speaker 1: We may trace the history of the evolution of the
• 1:59:45
  Speaker 1: electric telegraph, the telephone, the electric light, the steam engine,
• 1:59:49
  Speaker 1: the automobile, et cetera, through their many stages. Someone invented
• 1:59:54
  Speaker 1: some simple recombination but was unable to complete the task.
• 1:59:59
  Speaker 1: Another added some new recombination, still another discovered an improvement,
• 2:00:04
  Speaker 1: and so on. Until at the last some inventor, by
• 2:00:07
  Speaker 1: a bold stroke of constructive imagination, affected a more complete recombination,
• 2:00:11
  Speaker 1: adding some new and important combinations, and the invention was perfected. No,
• 2:00:17
  Speaker 1: not perfected fully, for in after years many other improvements
• 2:00:21
  Speaker 1: were added, and a simple thing grew into greater perfection.
• 2:00:25
  Speaker 1: In the Field Museum in Chicago at one time were
• 2:00:28
  Speaker 1: exhibited a series of models showing the evolutionary history of
• 2:00:32
  Speaker 1: the locomotive from the simplest and crudest beginning. The invention
• 2:00:37
  Speaker 1: was traced along the course of its history, each decided
• 2:00:40
  Speaker 1: improvement being shown. It was almost impossible at first to
• 2:00:44
  Speaker 1: realize that the crude contrivances, the clumsy machines representing the
• 2:00:48
  Speaker 1: first attempts were the actual ancestors of the latest and
• 2:00:51
  Speaker 1: most improved types of the modern locomotive. But such was
• 2:00:55
  Speaker 1: the fact. In this connection, it is interesting to note
• 2:00:58
  Speaker 1: that some of these earlier types were as truly the
• 2:01:01
  Speaker 1: ancestors of the automobile as of the locomotive. The rapid
• 2:01:05
  Speaker 1: progress in the late stages of the evolution of the
• 2:01:08
  Speaker 1: modern automobile from the crude horseless carriage of a quarter
• 2:01:12
  Speaker 1: century further back is a matter of personal knowledge to
• 2:01:15
  Speaker 1: the middle aged man of today. But the automobile had
• 2:01:18
  Speaker 1: a much earlier history, as you may see by reading
• 2:01:21
  Speaker 1: the article upon automobiles in any good encyclopedia. It may
• 2:01:26
  Speaker 1: surprise you to learn that as far back as eighteen
• 2:01:29
  Speaker 1: o two a steam road carriage was driven from Cambridge
• 2:01:32
  Speaker 1: to London, England, a distance of over ninety miles. It
• 2:01:36
  Speaker 1: is said that the inflated rubber tire of the bicycle
• 2:01:39
  Speaker 1: was an important factor in the rapid development of the
• 2:01:41
  Speaker 1: modern automobile, and that the improvements in the gasoline engines
• 2:01:45
  Speaker 1: made possible by the development of the automobile solved the
• 2:01:48
  Speaker 1: great difficulty in the case of flying machines and thus
• 2:01:52
  Speaker 1: made possible the modern aeroplane. Here you have typical examples
• 2:01:56
  Speaker 1: of the recombination principle in constructive imagination. The history of
• 2:02:01
  Speaker 1: the evolution of the telephone is also worth study. In
• 2:02:04
  Speaker 1: this connection look it up in some standard encyclopedia. Ribault
• 2:02:09
  Speaker 1: says concerning this fact of the evolution of inventions, mechanical
• 2:02:13
  Speaker 1: and industrial imagination like esthetic imagination, as its preparatory period,
• 2:02:18
  Speaker 1: its zenith and decline, the periods of the precursors of
• 2:02:22
  Speaker 1: the great inventors and of mere perfectors. At first a
• 2:02:26
  Speaker 1: venture is made, effort is wasted with small result. The
• 2:02:29
  Speaker 1: man has come too early, or he lacks clear vision.
• 2:02:33
  Speaker 1: Then a great imaginative mind arises blossoms after him. The
• 2:02:37
  Speaker 1: work passes into the hands of pupils, imitators, or perfectors,
• 2:02:41
  Speaker 1: who add a bridge modify. Such is the order. The
• 2:02:47
  Speaker 1: history of the application of steam as a power for
• 2:02:49
  Speaker 1: operating machinery is a long one. Its beginnings are found
• 2:02:53
  Speaker 1: in the yellow pile of Hero of Alexandria. Its critical
• 2:02:56
  Speaker 1: and thrilling period is found in the work of Nucomen,
• 2:02:59
  Speaker 1: and what its pureso of fruit bearing lies in the present.
• 2:03:03
  Speaker 1: The history of time keeping or time measuring instruments furnishes
• 2:03:06
  Speaker 1: us with another example of the evolutionary progress of invention.
• 2:03:11
  Speaker 1: First came the simple klepsidra or water clock, in which
• 2:03:15
  Speaker 1: time was measured by the flow of water. Then came
• 2:03:17
  Speaker 1: a water gage, causing a hand to move around a dial,
• 2:03:20
  Speaker 1: the two hands indicating hours and minutes respectively. Then came
• 2:03:25
  Speaker 1: a great improvement, i e. The addition of weights, by
• 2:03:29
  Speaker 1: means of which the clepsiter became a true clock. This
• 2:03:32
  Speaker 1: improved clock was at first cumbersome and massive, but gradually
• 2:03:36
  Speaker 1: became smaller and lighter. Then tychobrahe contrived a clock form
• 2:03:41
  Speaker 1: capable of measuring seconds of time. Then came another great
• 2:03:45
  Speaker 1: improvement I. E. Hougen's invention of the spiral spring, replacing
• 2:03:49
  Speaker 1: the weights. The clock gradually evolved into the crude, large,
• 2:03:53
  Speaker 1: and cumbersome watch. The watch, in turn, by gradual steps,
• 2:03:58
  Speaker 1: evolved into the thin, small, and marvelously accurate modern watch.
• 2:04:03
  Speaker 1: Man observed the efficient natural instruments and implements of the
• 2:04:06
  Speaker 1: lower animals and began to improve upon them. He employed
• 2:04:11
  Speaker 1: the models of the sharp cutting teeth of the rodents
• 2:04:13
  Speaker 1: as the designs for his evolution of the axe, the chisel,
• 2:04:16
  Speaker 1: the saw from the woodpeckers. He borrowed the idea, which
• 2:04:20
  Speaker 1: he gradually worked out in the form of the augur,
• 2:04:23
  Speaker 1: the gimlet, the wimble from the tigers and other carnivorous animals.
• 2:04:28
  Speaker 1: He took his model for his crude knives and other
• 2:04:30
  Speaker 1: cutting implements from the beaver. He learned how to make
• 2:04:34
  Speaker 1: and use the trowel from the claws of the digging animals.
• 2:04:38
  Speaker 1: He evolved the idea of the hoe and the rake
• 2:04:41
  Speaker 1: from the fish's fin. He secured the rudimentary idea of
• 2:04:44
  Speaker 1: the oar from the wing of the bird. He acquired
• 2:04:48
  Speaker 1: his first idea of the sale from the spinning insects.
• 2:04:52
  Speaker 1: He learned the nature and use of the spindle and distaff.
• 2:04:56
  Speaker 1: From these humble beginnings arose the marvelous array of the
• 2:04:59
  Speaker 1: highly efficient implements, tools and machinery employed by civilized man
• 2:05:03
  Speaker 1: to day. More than this, from his original weapons of
• 2:05:07
  Speaker 1: offense and defense, the battle axes and clubs, he evolved
• 2:05:11
  Speaker 1: his tools of work, such as the hatchet, the tree
• 2:05:13
  Speaker 1: cutting axe, the hammer. The lifting power of the battle
• 2:05:17
  Speaker 1: axe or war club, empirically discovered, gave him his first
• 2:05:21
  Speaker 1: idea of the principle of the lever. The use of
• 2:05:24
  Speaker 1: the rude sail developed the idea of the windmill. The
• 2:05:27
  Speaker 1: rolling log in the water suggested the water will to him.
• 2:05:30
  Speaker 1: The water wheel, first employed to grind grain, afterward was
• 2:05:34
  Speaker 1: used to saw wood, lift heavy materials, move great hammers.
• 2:05:39
  Speaker 1: From these rude applications of natural power, he gradually developed
• 2:05:43
  Speaker 1: the higher in more complex forms now in common use.
• 2:05:47
  Speaker 1: The use of the horse and the ox to pull
• 2:05:49
  Speaker 1: trees and logs itself and adaptation gradually evolved into the
• 2:05:53
  Speaker 1: use of these animals to pull chariots and wagons. These,
• 2:05:56
  Speaker 1: in turn were the beginnings of the motor vehicles of
• 2:05:58
  Speaker 1: to day. Ribault says, every invention, great and small, before
• 2:06:03
  Speaker 1: becoming a fixed and realized thing, was first an imagined idea,
• 2:06:07
  Speaker 1: a mere contrivance of the brain, an assembly of new
• 2:06:10
  Speaker 1: combinations or new relations. In inventions, man has imagined to
• 2:06:15
  Speaker 1: a great extent. By the very law of the complexity
• 2:06:19
  Speaker 1: of inventions, all inventions are found to be grafted upon
• 2:06:22
  Speaker 1: one another. In all the useful arts, improvements have been
• 2:06:26
  Speaker 1: so slow and so gradually wrought, that each one of
• 2:06:30
  Speaker 1: them passed unperceived, without leaving its author of the credit
• 2:06:33
  Speaker 1: for its discovery. The immense majority of inventions are anonymous.
• 2:06:38
  Speaker 1: Some great names alone survive, but whether individual or collective,
• 2:06:43
  Speaker 1: imagination remains imagination in order that the plow, at first
• 2:06:48
  Speaker 1: a single piece of wood, hardened by the fire and
• 2:06:50
  Speaker 1: pushed along by human hand, should become what it is
• 2:06:53
  Speaker 1: to day through a long series of modifications described in
• 2:06:56
  Speaker 1: special works. Who knows how many imaginations have laid in
• 2:07:01
  Speaker 1: the same way. The uncertain flame of a resinous branch,
• 2:07:04
  Speaker 1: guided vaguely in the night, leads us through a long
• 2:07:07
  Speaker 1: series of inventions to gas and electric lighting. All objects,
• 2:07:12
  Speaker 1: even the most ordinary and now common, that now serve
• 2:07:15
  Speaker 1: in our ordinary, everyday life, are condensed imagination. Dot one
• 2:07:21
  Speaker 1: is impressed by the striking analogy between the processes of
• 2:07:24
  Speaker 1: invention as just described and the processes of grafting in horticulture.
• 2:07:30
  Speaker 1: Horticultural grafting is defined as the process of taking a
• 2:07:34
  Speaker 1: shoot or scion cut from one tree or shrub and
• 2:07:37
  Speaker 1: inserting it in a vigorous stock of its own or
• 2:07:39
  Speaker 1: a closely allied species, so as to cause them to unite,
• 2:07:43
  Speaker 1: and thus to cause the graft to derive a larger
• 2:07:45
  Speaker 1: supply of nutritive power than it could otherwise obtain. By
• 2:07:50
  Speaker 1: reference to the history of any invention, we have given
• 2:07:52
  Speaker 1: actual illustrations of several you will see that the new
• 2:07:55
  Speaker 1: idea image always is grafted upon the stock of some
• 2:07:58
  Speaker 1: older idea image. The new contrivance is the graft of
• 2:08:02
  Speaker 1: a new contrivance upon an earlier contrivance, either of nature
• 2:08:06
  Speaker 1: or of man. Nature also is seen to proceed in
• 2:08:08
  Speaker 1: the same way in her Processes of Creative Evolution. Bergson
• 2:08:13
  Speaker 1: tells us that creation and evolution are but two names
• 2:08:16
  Speaker 1: for the same universal creative process. All creation is evolution,
• 2:08:20
  Speaker 1: and all evolution is creation. He says, a great creative
• 2:08:25
  Speaker 1: process is in progress, sweeping everything along in its course.
• 2:08:30
  Speaker 1: The actual present is all existence gathered up in this
• 2:08:33
  Speaker 1: creative process. The past is also gathered up into it,
• 2:08:37
  Speaker 1: exists in it, is carried along in it as it
• 2:08:40
  Speaker 1: presses forward toward the future. It is an unceasing becoming
• 2:08:44
  Speaker 1: which preserves the past and creates the future. It is
• 2:08:48
  Speaker 1: creative evolution, a process in which past, present, and future
• 2:08:52
  Speaker 1: are involved. Psychologists and philosophers alike are in agreement concerning
• 2:08:58
  Speaker 1: the fundamental fact that even the highest forms of constructive
• 2:09:00
  Speaker 1: imagination are dependent upon the raw materials of reproduced sense experiences,
• 2:09:05
  Speaker 1: and that constructive imagination can build only with these materials,
• 2:09:09
  Speaker 1: for it has no others with which to build. But
• 2:09:12
  Speaker 1: this fact has been overemphasized in some cases to even
• 2:09:16
  Speaker 1: such an extent that the term creative has been tacitly
• 2:09:19
  Speaker 1: denied to even the highest activities of the constructive imagination.
• 2:09:24
  Speaker 1: This particular view is too often presented as the whole truth,
• 2:09:28
  Speaker 1: the other half of which must be supplied in order
• 2:09:30
  Speaker 1: to perfect the whole. We ask you to consider the
• 2:09:34
  Speaker 1: following statements expressing and illustrating the opposing viewpoints. For we
• 2:09:38
  Speaker 1: wish you to perceive the truth in both of its aspects,
• 2:09:41
  Speaker 1: and thus see the thing as it is thought. From
• 2:09:44
  Speaker 1: the first of these two respective viewpoints furnishes the report
• 2:09:47
  Speaker 1: that even the most efficient constructive imagination is tied to
• 2:09:50
  Speaker 1: the stake of perception by a cord of greater or
• 2:09:53
  Speaker 1: less strength. In this view, the imagination is held to
• 2:09:57
  Speaker 1: be entirely dependent for its working materials upon the perceptions
• 2:10:00
  Speaker 1: arising from sense experience. Those holding to this view argue
• 2:10:05
  Speaker 1: that because of this fact, the imagination is not truly
• 2:10:08
  Speaker 1: a creative power. That inasmuch as it does not create
• 2:10:12
  Speaker 1: its own materials and must draw its materials from outside
• 2:10:15
  Speaker 1: of its own realm, it does not truly create, but
• 2:10:18
  Speaker 1: merely puts together, in more or less new combination, the
• 2:10:22
  Speaker 1: materials which it obtains from without, say these reasoners, the
• 2:10:26
  Speaker 1: imagination is entirely dependent upon outside materials for its constructive work.
• 2:10:31
  Speaker 1: It is limited to the materials obtained through the experience
• 2:10:34
  Speaker 1: of its owner or those of others. These thinkers point
• 2:10:38
  Speaker 1: out that the imagination is like a builder who uses
• 2:10:41
  Speaker 1: the material of a disorderly pile of bricks in order
• 2:10:44
  Speaker 1: to build a fine house, or like the watchmaker who
• 2:10:47
  Speaker 1: puts together the numerous parts of the intricate timekeeper, or
• 2:10:50
  Speaker 1: like the artisan who, employing masses of metal, makes an engine,
• 2:10:54
  Speaker 1: a sewing machine, a bicycle. Carrying this idea to its
• 2:10:58
  Speaker 1: logical conclusion, we may say, as one writer points out,
• 2:11:02
  Speaker 1: that thus a painting is a mere combination of forms
• 2:11:05
  Speaker 1: and colors, an oratorio of sounds, an epic poem of
• 2:11:10
  Speaker 1: words or ideas previously existing in the mind. The elements
• 2:11:14
  Speaker 1: of a poem like Paradise lost its streams, flowers, angels,
• 2:11:19
  Speaker 1: and deities were all in the mind of the poet
• 2:11:21
  Speaker 1: before he began to write, and all that imagination did
• 2:11:25
  Speaker 1: was to combine them into one harmonious whole. In short,
• 2:11:29
  Speaker 1: in this view, imagination is merely the power of combination.
• 2:11:33
  Speaker 1: It does not include the true creative element. Its materials
• 2:11:36
  Speaker 1: are previously existent. All that imagination does it to put
• 2:11:40
  Speaker 1: them together. Thought from the second viewpoint furnishes a somewhat
• 2:11:44
  Speaker 1: different report, its argument being more or less of the
• 2:11:47
  Speaker 1: nature of what in legal procedure is known as a demur.
• 2:11:51
  Speaker 1: A demurr in plain language asks the question while even
• 2:11:55
  Speaker 1: admitting that what you say is so, what of it
• 2:11:59
  Speaker 1: that de tasks judgment on this point? Whether the matter
• 2:12:02
  Speaker 1: alleged by the opposite party, even assuming it to be true,
• 2:12:05
  Speaker 1: is sufficient in law to sustain the action or the defense,
• 2:12:09
  Speaker 1: as the case may be, say this set of reasoners.
• 2:12:13
  Speaker 1: We admit that the imagination does not create something out
• 2:12:16
  Speaker 1: of nothing, and that its creative work is performed by combining, arranging, adapting,
• 2:12:21
  Speaker 1: or weaving the raw materials furnished by perception, apperception and experience.
• 2:12:27
  Speaker 1: But is this not true of all other kinds of
• 2:12:29
  Speaker 1: creative work of which the human mind has any knowledge?
• 2:12:33
  Speaker 1: Does the human mind know of anything having been made
• 2:12:35
  Speaker 1: from nothing? Can it form a conception of any such happening?
• 2:12:40
  Speaker 1: Is not the term creative a statement of the act
• 2:12:43
  Speaker 1: of putting together, combining, manufacturing, making, composing, constituting something from
• 2:12:49
  Speaker 1: other things. If this be so, and it is beyond
• 2:12:52
  Speaker 1: question true, then the opposing side is merely quibbling over
• 2:12:56
  Speaker 1: the meaning of a word, and are not dealing with facts.
• 2:13:00
  Speaker 1: These thinkers say further, the opposite side has told but
• 2:13:03
  Speaker 1: a half truth, not the whole truth. That which is
• 2:13:06
  Speaker 1: withheld is as important as that which has been stated.
• 2:13:10
  Speaker 1: Every work of art, every process of reasoning. Every product
• 2:13:13
  Speaker 1: of hand, brain, reason, imagination, or their combinations is a composition, adjoining, affusing,
• 2:13:21
  Speaker 1: a welding, a putting together. Sounds are combined in music,
• 2:13:25
  Speaker 1: words are combined in a poem. Colors are combined in
• 2:13:28
  Speaker 1: a painting. But do sounds, words, and colors alone make
• 2:13:32
  Speaker 1: these productions works of art? Shakespeare's immortal works are, in
• 2:13:36
  Speaker 1: this view, but aggregations of letters of the alphabet. But
• 2:13:40
  Speaker 1: did Shakespeare play no part in the creation? Was he
• 2:13:43
  Speaker 1: not a creator of his works? The omitted portion of
• 2:13:46
  Speaker 1: the truth is this. It is not alone the materials
• 2:13:49
  Speaker 1: employed in the construction, but also the manner in which
• 2:13:52
  Speaker 1: these materials are combined, arranged, and put together that constitutes
• 2:13:56
  Speaker 1: the creation. As a writer has said this, its power
• 2:14:00
  Speaker 1: of ideal conception, which uses these dead elements to express
• 2:14:03
  Speaker 1: its living ideals, is the work of the constructive imagination.
• 2:14:08
  Speaker 1: Brooks gives us the essence and spirit of this second
• 2:14:10
  Speaker 1: viewpoint in the following able statement made many years ago.
• 2:14:15
  Speaker 1: Imagination can combine objects of sense into new forms, but
• 2:14:19
  Speaker 1: it can do more than this. The objects of sense,
• 2:14:22
  Speaker 1: in most cases, are merely the materials with which imagination works.
• 2:14:27
  Speaker 1: Imagination is a plastic power molding the things of sense
• 2:14:31
  Speaker 1: into new forms to express its ideals. And it is
• 2:14:34
  Speaker 1: these ideals that constitute the real products of imagination. The
• 2:14:38
  Speaker 1: objects of the material world are to it like clay
• 2:14:41
  Speaker 1: in the hands of the potter. It shapes them into
• 2:14:43
  Speaker 1: forms according to its own ideals of grace and beauty.
• 2:14:47
  Speaker 1: He who sees no more than a mere combination in
• 2:14:49
  Speaker 1: the great creations of the imagination misses the essential element,
• 2:14:53
  Speaker 1: and elevates into significance that which is merely incidental. You
• 2:14:57
  Speaker 1: will readily see that here, as in many in the
• 2:15:00
  Speaker 1: other cases, the truth of the matter is found only
• 2:15:02
  Speaker 1: in the reconciliation of the two opposing sides. Each side
• 2:15:06
  Speaker 1: voices a half truth. The whole truth is found by
• 2:15:09
  Speaker 1: uniting the two halves. It is true that the imagination
• 2:15:13
  Speaker 1: must do its work by employing the materials of perception, apperception,
• 2:15:17
  Speaker 1: and experience. But there is the marvelous combining power required
• 2:15:21
  Speaker 1: to put together these elements, factors and parts of the
• 2:15:24
  Speaker 1: materials so furnished. A child has the necessary twenty six
• 2:15:29
  Speaker 1: letters plainly marked on its alphabet building blocks, but it
• 2:15:32
  Speaker 1: might try for eternity to compose a paradise lost. One
• 2:15:36
  Speaker 1: of Shakespeare's plays a synthetic philosophy, an Emerson's essay, or
• 2:15:40
  Speaker 1: a work on the higher mathematics by means of an
• 2:15:43
  Speaker 1: accidental putting together of those letters. It needs that something
• 2:15:48
  Speaker 1: else to accomplish the task, and that something else is
• 2:15:51
  Speaker 1: the discriminating, selecting, combining faculties and powers of the efficient
• 2:15:56
  Speaker 1: constructive imagination. Finally, there is another other element usually involved
• 2:16:01
  Speaker 1: in the higher products of the constructive imagination. In the
• 2:16:05
  Speaker 1: processes of the constructive imagination, just as in many of
• 2:16:08
  Speaker 1: nature's subtle processes, the work of creation is accomplished not
• 2:16:13
  Speaker 1: by the mere more or less purposive setting in place
• 2:16:16
  Speaker 1: of separate bits of material, as for example, in the
• 2:16:19
  Speaker 1: building of a toy house with the materials of building blocks,
• 2:16:22
  Speaker 1: or of a card house with a pack of playing cards.
• 2:16:25
  Speaker 1: There is often rather fusing of material and its subsequent hardening,
• 2:16:30
  Speaker 1: as for instance in the fusing of copper, tin and
• 2:16:34
  Speaker 1: zinc into that new metal called bronze, or the crystallization
• 2:16:39
  Speaker 1: of the particles of water into ice. Water is created
• 2:16:44
  Speaker 1: from particles of oxygen and hydrogen, but these two elements
• 2:16:47
  Speaker 1: become fused by chemical action and really form a new substance,
• 2:16:51
  Speaker 1: not merely a put together mixture. Thus, things may be
• 2:16:55
  Speaker 1: put together in such a subtle way as to constitute
• 2:16:58
  Speaker 1: a new thing, differing from ease of its constituents. A
• 2:17:02
  Speaker 1: thing is often more than the mere sum of its parts.
• 2:17:05
  Speaker 1: To this sum must be added the new element of
• 2:17:07
  Speaker 1: mutual relation or working relation. This new element figures largely
• 2:17:12
  Speaker 1: in the creative processes of constructive imagination. Thus, King Milandi's
• 2:17:18
  Speaker 1: chariot in the ancient Buddhist story consisted not alone of
• 2:17:22
  Speaker 1: its several parts, but also of the arrangement, mutual relations,
• 2:17:26
  Speaker 1: and working unity of those parts, these last mentioned elements
• 2:17:29
  Speaker 1: being supplied by the constructive imagination of the designer of
• 2:17:32
  Speaker 1: the chariot. Again, the color green is composed of yellow
• 2:17:37
  Speaker 1: and blue. Yet green is a true color, differing from
• 2:17:40
  Speaker 1: either of its compositive parts, or from both of them
• 2:17:43
  Speaker 1: when not united. Ribaut says, all creation, whatever great and small,
• 2:17:49
  Speaker 1: shows an organic character. It implies a unifying synthetic principle.
• 2:17:54
  Speaker 1: Colatza says, we know nothing of a complex psychic production
• 2:17:58
  Speaker 1: that remains simply the sum of its component elements, each
• 2:18:01
  Speaker 1: preserving its own character with no modifications. The natures of
• 2:18:05
  Speaker 1: the components disappear in order to give birth to a
• 2:18:08
  Speaker 1: novel phenomenon that has its own and particular features. The
• 2:18:12
  Speaker 1: construction of the imaginative ideal is not a mere grouping
• 2:18:15
  Speaker 1: of past experiences. In its totality, it has its own
• 2:18:19
  Speaker 1: individual characteristics, among which we no more see the composing
• 2:18:23
  Speaker 1: lines than we see the components oxygen and hydrogen in water.
• 2:18:28
  Speaker 1: Vunt says, in no scientific or artistic production does the
• 2:18:31
  Speaker 1: whole appear as made up of its parts like a mosaic.
• 2:18:35
  Speaker 1: Mills says that imaginative creations are cases of mental chemistry.
• 2:18:40
  Speaker 1: The facts bear him out in the statement. Neither should
• 2:18:43
  Speaker 1: it be forgotten that a very high order of mental
• 2:18:46
  Speaker 1: activity is manifested in every process of true constructive imagination.
• 2:18:51
  Speaker 1: The mental powers of comparison, discrimination, deliberation, judgment, and selection
• 2:18:57
  Speaker 1: are involved. In the higher processes of constructive imagination. The
• 2:19:01
  Speaker 1: imaging powers produce and exhibit a great number of images,
• 2:19:04
  Speaker 1: each of which is a candidate for the office which
• 2:19:07
  Speaker 1: constructive imagination is striving to fill properly and adequately. Here
• 2:19:11
  Speaker 1: we have another instance of the struggle for existence and
• 2:19:15
  Speaker 1: the survival of the fittest. Here many are called, but
• 2:19:19
  Speaker 1: few are chosen. Image after image is produced, examined, tested,
• 2:19:24
  Speaker 1: and then either rejected or else either tentatively or permanently accepted.
• 2:19:29
  Speaker 1: The processes of comparison, deliberation, discrimination, selection, and judgment are
• 2:19:35
  Speaker 1: manifested in constructive imagination as truly as in the processes
• 2:19:39
  Speaker 1: of the will. Constructive imagination selects its material quite as
• 2:19:43
  Speaker 1: truly as does the builder of houses or bridges. Imperfect
• 2:19:48
  Speaker 1: material is rejected, and doubtful material is subjected to a
• 2:19:51
  Speaker 1: test or experiment. Constructive imagination is not at the disposal
• 2:19:56
  Speaker 1: of every image that appears in its field of mental vision. Instead,
• 2:20:00
  Speaker 1: it exercises its power and prerogative of choice and decision
• 2:20:04
  Speaker 1: as truly as do reason and will. In fact, the
• 2:20:07
  Speaker 1: presence of logical thought is manifest in the higher processes
• 2:20:11
  Speaker 1: of constructive imagination, the two classes of mental activities being
• 2:20:15
  Speaker 1: so closely interwoven in many cases that it is quite
• 2:20:18
  Speaker 1: difficult to distinguish between them. Reason scrutinizes closely the images
• 2:20:23
  Speaker 1: which present themselves as candidates for admission to the inner
• 2:20:26
  Speaker 1: chambers of the mind. Many appear, but few are accepted.
• 2:20:31
  Speaker 1: Only those are admitted which comparison determines to be fitted
• 2:20:35
  Speaker 1: for the requirements of the purpose occupying the field of attention.
• 2:20:39
  Speaker 1: As a writer says, the inventor never thinks harder than
• 2:20:42
  Speaker 1: when he is comparing his images with each other and
• 2:20:44
  Speaker 1: rejecting the unfit thought also enables him to change an
• 2:20:48
  Speaker 1: image in conformity with a certain plan. Another says, the
• 2:20:53
  Speaker 1: predominance of the exact logical processes establishes from the outset
• 2:20:57
  Speaker 1: the difference between the imaginative dreamers and the imaginative thinkers.
• 2:21:02
  Speaker 1: Vunt indeed goes still further when he lays down the
• 2:21:06
  Speaker 1: rule that imagination is, in reality a thinking in particular
• 2:21:10
  Speaker 1: sense ideas. As such, it is the source of all
• 2:21:13
  Speaker 1: logical or conceptual thought, And a leading teacher says, the
• 2:21:17
  Speaker 1: man who does not think in images will never be
• 2:21:20
  Speaker 1: a clear thinker, and those who are compelled to follow
• 2:21:23
  Speaker 1: him are to be pitted. Thus you see that just
• 2:21:26
  Speaker 1: as in your logical thought you should avail yourself of
• 2:21:29
  Speaker 1: the powers of constructive imagination, so in the processes of
• 2:21:32
  Speaker 1: constructive imagination you should always endeavor to coordinate the powers
• 2:21:36
  Speaker 1: of logical thought with those of the strictly imaginative faculties.
• 2:21:40
  Speaker 1: Creative power your constructive forces by William Walker Atkinson Creative Composition.
• 2:21:49
  Speaker 1: The general rule tells you to weigh the various factors
• 2:21:52
  Speaker 1: one against the other, taking into consideration the associated and
• 2:21:56
  Speaker 1: related values of each in the general idea, plan, or purpose.
• 2:22:00
  Speaker 1: Determine in this way which are the primary factors involved,
• 2:22:04
  Speaker 1: which are the secondary and which are the lesser values.
• 2:22:08
  Speaker 1: Concentrate on the prime factors and make these the central
• 2:22:11
  Speaker 1: points in your process of constructive imagination, the focal centers
• 2:22:15
  Speaker 1: around which you purpose grouping the associated factors or elements.
• 2:22:19
  Speaker 1: The general rule also tells you then to experiment by
• 2:22:23
  Speaker 1: tentatively placing the secondary factors in association with and relation
• 2:22:27
  Speaker 1: to the prime factors, regardless of how improbable and incongruous
• 2:22:31
  Speaker 1: at first may seem. Such association and relation around the
• 2:22:35
  Speaker 1: letter A, build alphabet block combinations of the letters B, C, D, E, F, G,
• 2:22:42
  Speaker 1: et cetera blocks to see if they make sense or
• 2:22:45
  Speaker 1: if they suggest anything of rational meaning to you. Discard
• 2:22:49
  Speaker 1: all combinations that seem lacking in utility, but only after
• 2:22:53
  Speaker 1: actually making the test an experiment. When there are several
• 2:22:57
  Speaker 1: apparently satisfactory or fairly promising dominations, weigh these one against
• 2:23:02
  Speaker 1: the other to determine their comparative values, discarding the lesser
• 2:23:05
  Speaker 1: values and retaining the greater until you have secured the
• 2:23:08
  Speaker 1: survival of the fittest. Then proceed to test out the
• 2:23:12
  Speaker 1: lesser factors in the same way, working out all the
• 2:23:15
  Speaker 1: details of the plan. In the above stated principles of
• 2:23:18
  Speaker 1: the general rule, there is condensed the statement of the
• 2:23:21
  Speaker 1: general methods employed by man in all of his inventive
• 2:23:24
  Speaker 1: processes from pastime to the present, and in fact the
• 2:23:28
  Speaker 1: method seemingly employed by nature herself. There is therefore nothing
• 2:23:33
  Speaker 1: entirely new in the method. That newness, however, is there.
• 2:23:38
  Speaker 1: It consists of the fact that man has discovered how
• 2:23:40
  Speaker 1: to apply this method consciously, deliberately, systematically, and scientifically, instead
• 2:23:46
  Speaker 1: of blindly, instinctively, haphazardly and in a hit or mismanner.
• 2:23:51
  Speaker 1: Modern psychology has simply harnessed this mental process and now
• 2:23:55
  Speaker 1: drives it under perfect control. Thus the old method becomes
• 2:23:59
  Speaker 1: an a new one, because applied in a new way,
• 2:24:03
  Speaker 1: the old new method has been given several names. Perhaps
• 2:24:07
  Speaker 1: the name creative composition fits it as well as any,
• 2:24:10
  Speaker 1: so we shall employ it here. Composition means the act
• 2:24:14
  Speaker 1: of composing, putting together, joining together, uniting, associating, correlating. Creative
• 2:24:21
  Speaker 1: composition then means the act of recomposing, recombining, readapting, rearranging,
• 2:24:28
  Speaker 1: or newly putting together the mental image ideas of man
• 2:24:31
  Speaker 1: or of nature in the process of constructive imagination, proceeding
• 2:24:35
  Speaker 1: toward the achievement of a definite purpose and the realization
• 2:24:38
  Speaker 1: of a definite ideal. In creative composition, you begin with
• 2:24:42
  Speaker 1: the building materials of mental image ideas which you have
• 2:24:45
  Speaker 1: gathered together and arranged according to a convenient and efficient
• 2:24:49
  Speaker 1: classification for the purpose of a familiar illustration of the
• 2:24:53
  Speaker 1: scientific principle involved. Let us ask you to think of
• 2:24:56
  Speaker 1: these building materials of mental image ideas as resembling the
• 2:24:59
  Speaker 1: famil building blocks of childhood. You have the general idea
• 2:25:04
  Speaker 1: of your definite purpose and definite ideal before you. You
• 2:25:08
  Speaker 1: perceive clearly the obstacle which you wish to overcome, the
• 2:25:11
  Speaker 1: new means to an old end, or new ends for
• 2:25:14
  Speaker 1: old means, the bridge which you wish to build over
• 2:25:16
  Speaker 1: the space separating the two sides of the stream of ideas.
• 2:25:20
  Speaker 1: How shall you proceed to accomplish these ends by means
• 2:25:23
  Speaker 1: of your imaginative building blocks. The answer is simply as
• 2:25:28
  Speaker 1: the child proceeds when he wishes to build the structure
• 2:25:30
  Speaker 1: which he has in mind i e. By taking up
• 2:25:33
  Speaker 1: the various building blocks of various sizes and forms and
• 2:25:37
  Speaker 1: experimenting with them. The child puts this block alongside of
• 2:25:41
  Speaker 1: that block, and finding that the combination will not answer,
• 2:25:44
  Speaker 1: he continues to make new and still newer combinations, until
• 2:25:48
  Speaker 1: at last he discovers the combination that will work. If
• 2:25:52
  Speaker 1: you will examine the history of inventions and scientific discoveries,
• 2:25:55
  Speaker 1: you will find that the great triumphs in these respective
• 2:25:58
  Speaker 1: fields have been made in justice. The two terms experiment
• 2:26:03
  Speaker 1: and experience are closely connected. Both have the same origin.
• 2:26:07
  Speaker 1: Both spring from the Latin word experior, meaning to try.
• 2:26:12
  Speaker 1: Experiment is a trial or test made with the hopes
• 2:26:14
  Speaker 1: of discovery. Experience is the knowledge gained from experiments. All inventions,
• 2:26:21
  Speaker 1: all scientific discoveries, all results of constructive imagination, proceed along
• 2:26:26
  Speaker 1: the line of experiment trial tests, putting this and that
• 2:26:30
  Speaker 1: together to discover how it will work. This is the
• 2:26:33
  Speaker 1: whole story told in a few words. In working toward
• 2:26:37
  Speaker 1: the achievement of your definite purpose and definite ideal through
• 2:26:40
  Speaker 1: the constructive imagination, you must put this and that together
• 2:26:44
  Speaker 1: along the lines of experiment, trial and test. You must
• 2:26:48
  Speaker 1: arrange your imaginative building blocks. First in this new combination,
• 2:26:52
  Speaker 1: and then in that one. You must at times even
• 2:26:55
  Speaker 1: break apart some of the blocks, using portions of them
• 2:26:57
  Speaker 1: to add to others, and thus to form new combinations.
• 2:27:02
  Speaker 1: You must proceed with the idea that somewhere in these
• 2:27:04
  Speaker 1: blocks there abides the certainty of a successful combination, and
• 2:27:08
  Speaker 1: it is up to me to find it. In your
• 2:27:11
  Speaker 1: imaginative building blocks there is hidden the secret of the
• 2:27:14
  Speaker 1: exact combination for which you are seeking. You can discover
• 2:27:17
  Speaker 1: this only by experiment, and if you continue to experiment
• 2:27:20
  Speaker 1: faithfully and intelligently, you will surely discover the solution of
• 2:27:23
  Speaker 1: the problems. Here is the process reduced to a familiar
• 2:27:27
  Speaker 1: illustrative formula. You have twenty six imaginative alphabet blocks before
• 2:27:32
  Speaker 1: you for your experiment, each block having a letter of
• 2:27:34
  Speaker 1: the alphabet stant on its face, from to Z inclusive.
• 2:27:40
  Speaker 1: You start by taking that A block and combining it
• 2:27:43
  Speaker 1: with the B block, then the C block, and so
• 2:27:47
  Speaker 1: on until the Z block is reached. If the desired
• 2:27:51
  Speaker 1: combination is not reached in this way, you begin with
• 2:27:54
  Speaker 1: the B block and test it with all the blocks
• 2:27:56
  Speaker 1: from C on to the end of the list. Then
• 2:28:00
  Speaker 1: try the combination of the C block with all the
• 2:28:03
  Speaker 1: others in turn, from D downward. By continuing this process
• 2:28:08
  Speaker 1: sufficiently long, you will exhaust the possibilities of the two
• 2:28:11
  Speaker 1: letter combinations. If necessary, you may then proceed to experiment
• 2:28:16
  Speaker 1: with the three letter combinations, following the same general rule. Then,
• 2:28:21
  Speaker 1: if necessary, proceed with the four letter combinations in the
• 2:28:25
  Speaker 1: same way, and so on. If the desired result is
• 2:28:29
  Speaker 1: not obtained, until the blocks have been tried and tested
• 2:28:32
  Speaker 1: in every possible combination or arrangement, order, and sequence. By
• 2:28:37
  Speaker 1: this process extended to its utmost limits, you will in
• 2:28:41
  Speaker 1: turn have formed the combination of every one of the
• 2:28:43
  Speaker 1: many thousands of words in the largest English dictionary. Stop
• 2:28:47
  Speaker 1: to think of it for a moment. Every word in
• 2:28:49
  Speaker 1: any or all of the great dictionaries is made up
• 2:28:52
  Speaker 1: and composed of combinations of certain of twenty six letters
• 2:28:56
  Speaker 1: no more, and a list of new words exceeding in
• 2:28:59
  Speaker 1: none number the known words could be composed and made
• 2:29:02
  Speaker 1: up in the same way. But of course, in the
• 2:29:06
  Speaker 1: actual practice of creative composition, you will not be faced
• 2:29:09
  Speaker 1: with so formidable and so complicated a task as that
• 2:29:12
  Speaker 1: above illustrated. Your combinations will be far more simple, Owing
• 2:29:17
  Speaker 1: to the fact that your imaginative image ideas are classified properly.
• 2:29:21
  Speaker 1: For instance, if you wish to conjoin your house block
• 2:29:25
  Speaker 1: with your several building material blocks, you have but to
• 2:29:28
  Speaker 1: go to your building material compartment and creative composition pick
• 2:29:33
  Speaker 1: out the following respective building material blocks ie. Brick, stone, wood, iron, steel, concrete,
• 2:29:41
  Speaker 1: et cetera. If you wish to form a combination between
• 2:29:44
  Speaker 1: the image idea of some utensil and some undetermined particular
• 2:29:48
  Speaker 1: kind of metal, you have but to test your metallic
• 2:29:50
  Speaker 1: utensil block with each of the following metal class blocks ie. Iron, copper, gold, silver, nickel, zinc, platinum,
• 2:30:00
  Speaker 1: ded tin, antimony, manganese, mercury, aluminium, cobalt, tungsten, et cetera.
• 2:30:07
  Speaker 1: If you wish to associate your image idea of a
• 2:30:09
  Speaker 1: textile fabric with that of some particular kind of textile
• 2:30:13
  Speaker 1: material not yet decided upon, you have but to test
• 2:30:16
  Speaker 1: out the respective blocks of cotton, flax, hemp, jute, linen, wool, silk,
• 2:30:21
  Speaker 1: et cetera, until the desired combination is discovered. If you
• 2:30:26
  Speaker 1: wish to employ a geometrical form, you will take out
• 2:30:29
  Speaker 1: each of the image idea blocks named in our diagram
• 2:30:32
  Speaker 1: of geometrical figures in a preceding section of this book,
• 2:30:35
  Speaker 1: until you discover the one best suited for the purpose.
• 2:30:39
  Speaker 1: If you wish to invent or to discover some new
• 2:30:41
  Speaker 1: particular color, you need but to take out the three
• 2:30:44
  Speaker 1: blocks of the three primary colors, i e. Red, blue,
• 2:30:48
  Speaker 1: and yellow, and then by experimental combinations employing shade and
• 2:30:52
  Speaker 1: tint agencies, you will in time reach any possible tint, shade,
• 2:30:57
  Speaker 1: or hue in the great world of colors. Nature has
• 2:31:00
  Speaker 1: proceeded in just this way, for she has made a
• 2:31:03
  Speaker 1: world of almost infinite variety of material things by the
• 2:31:06
  Speaker 1: combination and creative composition of about eighty elements of material substance,
• 2:31:11
  Speaker 1: these in turn having been created and recombined from still
• 2:31:14
  Speaker 1: more elementally material As we have said, all inventions and
• 2:31:19
  Speaker 1: discoveries have been made in just this way, viz. By
• 2:31:22
  Speaker 1: the process of creative composition. The locomotive is a combination
• 2:31:26
  Speaker 1: of wagon, certain mechanical agencies in appliances, stove, tea kettle,
• 2:31:31
  Speaker 1: and engine. The automobile is the combination of wagon, stove, gas, explosion, engine,
• 2:31:39
  Speaker 1: and certain mechanical contrivances. The wagon was the primary building
• 2:31:44
  Speaker 1: block of both locomotive and automobile. The wagon, in turn,
• 2:31:48
  Speaker 1: is but the combination of wheel, axle and body, the
• 2:31:52
  Speaker 1: wheel itself being an evolution from the rolling log. The
• 2:31:56
  Speaker 1: aeroplane is but a combination of kite, engine and propelled
• 2:32:00
  Speaker 1: all old ideas formed by creative composition into a new one.
• 2:32:05
  Speaker 1: The steamboat is but the idea of boat plus steam
• 2:32:08
  Speaker 1: engine and mill wheels. The primitive boat itself was but
• 2:32:13
  Speaker 1: the combination of floating log plus the idea of hollowing out.
• 2:32:18
  Speaker 1: The farm tractor, now employed in plowing, et cetera, is
• 2:32:21
  Speaker 1: but the combination of plow and automobile. The plow itself
• 2:32:26
  Speaker 1: was the combination of the image idea of hard sharpened
• 2:32:29
  Speaker 1: stick and magnified spearhead or battle axe. In short, every
• 2:32:34
  Speaker 1: contrivance of man, every tool, every instrument, every utensil, every
• 2:32:39
  Speaker 1: article designed for use of each and every kind, will
• 2:32:43
  Speaker 1: be found to have been evolved from very simple beginnings
• 2:32:45
  Speaker 1: along the line of experimentation. In creative composition, everything made
• 2:32:50
  Speaker 1: by man is put together made up of material parts,
• 2:32:54
  Speaker 1: and the idea of every such thing is made up
• 2:32:56
  Speaker 1: of simpler and more elemental ideas, united and combined in
• 2:33:00
  Speaker 1: creative composition. This is the only way in which man
• 2:33:04
  Speaker 1: has ever invented or contrived anything, And this is always
• 2:33:07
  Speaker 1: the way in which you must proceed in your work
• 2:33:09
  Speaker 1: of constructive imagination. The truth of the matter is so
• 2:33:13
  Speaker 1: simple that most persons entirely overlook it. You have possibly
• 2:33:17
  Speaker 1: never thought of it until you now have it presented
• 2:33:19
  Speaker 1: to you in this book, And this without any reflection
• 2:33:22
  Speaker 1: on your intelligence, we assure you. But here is an
• 2:33:26
  Speaker 1: important point. While man has always employed this principle in
• 2:33:30
  Speaker 1: his inventive and creative work, he has done so almost
• 2:33:33
  Speaker 1: entirely instinctively and unconsciously, and with an almost entire absence
• 2:33:37
  Speaker 1: of scientific system and logical order. Now that modern psychology
• 2:33:42
  Speaker 1: has uncovered the process for us has taken off the cover,
• 2:33:46
  Speaker 1: so that we may see how the thing works and
• 2:33:49
  Speaker 1: how the wheels go round, we may hope for much
• 2:33:51
  Speaker 1: more effective and efficient exercise of the power of the
• 2:33:54
  Speaker 1: constructive imagination in the future. Already a number of great
• 2:33:58
  Speaker 1: inventors and scientific investigators have taken advantage of the new
• 2:34:02
  Speaker 1: teaching of psychology concerning this phase of mental operation, and
• 2:34:06
  Speaker 1: they have thereby attained results far superior to those possible
• 2:34:09
  Speaker 1: under the old hit or miss methods. Artists and writers
• 2:34:13
  Speaker 1: also employ the same general methods of creative composition, though
• 2:34:18
  Speaker 1: in most cases in a more or less haphazard and
• 2:34:20
  Speaker 1: instinctive way. The various characters, situations, scenes, and combinations of pictures, stories,
• 2:34:27
  Speaker 1: and plays are gathered together from a comparatively small list
• 2:34:31
  Speaker 1: of elements. The great variety of results arising from the
• 2:34:34
  Speaker 1: many possible combinations and arrangements of these few elements. If
• 2:34:39
  Speaker 1: this seems incredible to you, you have but to remember
• 2:34:42
  Speaker 1: the almost infinite number of possible combinations of the twenty
• 2:34:45
  Speaker 1: six letters of the alphabet. The largest dictionary contains only
• 2:34:49
  Speaker 1: a small proportion of the possible word creations by such combinations. Again,
• 2:34:54
  Speaker 1: from fifty two playing cards are derived all of the
• 2:34:57
  Speaker 1: numerous combinations of hands dealta in card games. In many games,
• 2:35:02
  Speaker 1: in fact, a smaller number of cards is used. That
• 2:35:06
  Speaker 1: modern writers are turning. This principle of creative composition to
• 2:35:10
  Speaker 1: practical account is evident to those who study the advertising
• 2:35:13
  Speaker 1: columns of magazines devoted to the writing craft. For instance,
• 2:35:17
  Speaker 1: there is advertised a book for story writers called the
• 2:35:20
  Speaker 1: thirty six Dramatic Situations, which is described as follows a
• 2:35:25
  Speaker 1: catalog of all the possible situations that the many relations
• 2:35:28
  Speaker 1: of life offer to the writer. The author has read
• 2:35:31
  Speaker 1: and analyzed thousands of plays and novels and resolved their
• 2:35:35
  Speaker 1: basic story material into fundamental categories. A true philosophic consideration,
• 2:35:41
  Speaker 1: but practical in every respect, that makes available to every
• 2:35:45
  Speaker 1: writer all the possible material that life offers him. Again,
• 2:35:49
  Speaker 1: there is advertised a book called The Fiction Factory, which
• 2:35:52
  Speaker 1: is described as follows a writer who wrote thousands of
• 2:35:55
  Speaker 1: stories and made thousands of dollars by setting up a
• 2:35:58
  Speaker 1: story mill, tells how he did it, and gives a
• 2:36:01
  Speaker 1: record of his work. In this instructive, stimulating book. It
• 2:36:05
  Speaker 1: should be in the hands of everyone interested in how
• 2:36:07
  Speaker 1: authors do their work. You may smile at these advertisements
• 2:36:12
  Speaker 1: and shrug your shoulders, but you buy and read the
• 2:36:14
  Speaker 1: story so composed Jack London, the popular novelist, in his
• 2:36:19
  Speaker 1: story of Martin Eden, which many regard as being largely autobiographical,
• 2:36:24
  Speaker 1: pictures his hero as busily engaged in writing newspaper storyets
• 2:36:28
  Speaker 1: for the syndicates which supply them to the newspapers in
• 2:36:31
  Speaker 1: all parts of the country. These productions were what are
• 2:36:35
  Speaker 1: known as pot boilers. Of course, written hastily to meet
• 2:36:38
  Speaker 1: the popular demand and to gratify the popular taste. Martin
• 2:36:43
  Speaker 1: had not yet arrived at the place and time where
• 2:36:45
  Speaker 1: his more finished, more subtle, and more realistic efforts were
• 2:36:49
  Speaker 1: appreciated by readers and accepted by publishers. London Pictures Martin
• 2:36:54
  Speaker 1: busily engaged in reading over his rejected storyets, and thus
• 2:36:57
  Speaker 1: finding out how not to write such production as well
• 2:37:00
  Speaker 1: as just how to write them. He found out what
• 2:37:04
  Speaker 1: to put in and what to leave out. In this
• 2:37:07
  Speaker 1: way he worked out a perfect formula. This formula consisted
• 2:37:11
  Speaker 1: of three parts viz. One, a pair of lovers jarred apart.
• 2:37:15
  Speaker 1: Two they are united by some deed or event. Three
• 2:37:19
  Speaker 1: wedding bells. He reached the conclusion that the third part
• 2:37:23
  Speaker 1: was an unvarying quantity, but that the first and second
• 2:37:26
  Speaker 1: parts could be varied an infinite number of times. The
• 2:37:30
  Speaker 1: application of the formula, in London's own words was as follows. Thus,
• 2:37:35
  Speaker 1: the pair of lovers could be jarred apart by misunderstood motives,
• 2:37:39
  Speaker 1: by accident or fate, by jealous rivals, by irate parents,
• 2:37:43
  Speaker 1: by crafty guardians, by scheming relatives, and so on and
• 2:37:47
  Speaker 1: so forth. They could be reunited by the brave deed
• 2:37:51
  Speaker 1: of the man lover, by a similar deed of the
• 2:37:53
  Speaker 1: woman lover, by change of heart in one lover or
• 2:37:56
  Speaker 1: the other, by forced confessions of a crafty guardian, scheming relative,
• 2:38:01
  Speaker 1: or jealous rival, by voluntary confession of same, by lover
• 2:38:05
  Speaker 1: storming girl's heart, by lover making long and noble self sacrifices,
• 2:38:09
  Speaker 1: and so on endlessly. It was very fetching to make
• 2:38:13
  Speaker 1: the girl propose in the course of being united, and
• 2:38:16
  Speaker 1: Martin discovered, bit by bit other decidedly piquant in fetching ruses.
• 2:38:21
  Speaker 1: But marriage bells at the end was the one thing
• 2:38:23
  Speaker 1: that he could take no liberties with. The author relates
• 2:38:27
  Speaker 1: that Martin soon worked out half a dozen stock forms,
• 2:38:30
  Speaker 1: which he always consulted when constructing storyettes. These forms, he adds,
• 2:38:36
  Speaker 1: were like the cunning tables used by the mathematicians, which
• 2:38:39
  Speaker 1: may be entered from top, bottom, right and left, which
• 2:38:43
  Speaker 1: entrances consist of scores of lines and dozens of columns,
• 2:38:46
  Speaker 1: and from which may be drawn, without reasoning or thinking,
• 2:38:49
  Speaker 1: thousands of different conclusions, all unchallengeably precise and true. Thus,
• 2:38:55
  Speaker 1: in the course of half an hour with his forms,
• 2:38:57
  Speaker 1: Martin could frame up a dozen or more stories, which
• 2:39:00
  Speaker 1: he put aside and filled in at his convenience. The
• 2:39:04
  Speaker 1: real work was in constructing the frames, and that was
• 2:39:07
  Speaker 1: merely mechanical. He had no doubt whatever of the efficacy
• 2:39:11
  Speaker 1: of his formula. His machine made storyets, though he hated
• 2:39:15
  Speaker 1: them and derided them, were successful. We have also read
• 2:39:19
  Speaker 1: the story of the early life of a great painter,
• 2:39:21
  Speaker 1: of whom it is told that, in order to keep
• 2:39:23
  Speaker 1: the wolf from the door, he painted stock pictures for
• 2:39:25
  Speaker 1: the trade, pictures bearing a fictitious name, which were designed
• 2:39:28
  Speaker 1: for sale at the popular auction houses of that time.
• 2:39:32
  Speaker 1: He could paint such pictures in a day or two,
• 2:39:35
  Speaker 1: sometimes in a few hours. In fact, and in spite
• 2:39:39
  Speaker 1: of their hasty preparation, they showed signs of merit and skill,
• 2:39:43
  Speaker 1: if not of genius, and appealed to the taste of
• 2:39:45
  Speaker 1: those attending the auction sales. They sold well and served
• 2:39:48
  Speaker 1: to keep the pot boiling. His main difficulty was that
• 2:39:52
  Speaker 1: of providing subjects for his pencil and brush, so he
• 2:39:55
  Speaker 1: set to work to overcome this difficulty. Like Martin Eden,
• 2:39:59
  Speaker 1: he discre covered a formula, He invented a system. He
• 2:40:03
  Speaker 1: prepared a series of cardboard discs. Upon each disc he
• 2:40:07
  Speaker 1: wrote the name of some main element or detail, of
• 2:40:09
  Speaker 1: a picture. The four seasons each were thus noted, each
• 2:40:13
  Speaker 1: suggesting the associated facts of scenery. Mills, meadows, hills, mountains,
• 2:40:20
  Speaker 1: the sea, lakes, forests, et cetera. Each were noted down.
• 2:40:25
  Speaker 1: Thus he had at his disposal several hundred elements or
• 2:40:28
  Speaker 1: details of a popular picture. He made a great combination
• 2:40:32
  Speaker 1: will of his discs so arranged that when he gave
• 2:40:34
  Speaker 1: the wheel a twirl, it would finally come to rest
• 2:40:37
  Speaker 1: with a number of details appearing directly under the arrow
• 2:40:40
  Speaker 1: point placed just over the top of the wheel. Thus
• 2:40:43
  Speaker 1: he would read, for instance, autumn, hill, lake, old mill,
• 2:40:48
  Speaker 1: et cetera, et cetera. And he would then have the
• 2:40:50
  Speaker 1: general subject of his picture, the details and treatment to
• 2:40:54
  Speaker 1: be supplied from fancy, inclination and the mood of the moment.
• 2:40:58
  Speaker 1: In this way he avoided too marked monotony, too much repetition,
• 2:41:02
  Speaker 1: and above all, too much time and thought expended upon
• 2:41:06
  Speaker 1: hunting for subjects sordid mere mechanical construction, prostitution of talent.
• 2:41:12
  Speaker 1: You may say, well, perhaps so. Yet the plan accomplished
• 2:41:16
  Speaker 1: the purpose and overcame the obstacles. In each case it
• 2:41:20
  Speaker 1: served as a stepping stone to better things. The real
• 2:41:24
  Speaker 1: fault was in the cheapness and superficiality of the work,
• 2:41:27
  Speaker 1: in its absence of animating spirit, not in the mechanism
• 2:41:30
  Speaker 1: of arranging and combining details. For even the greatest artist
• 2:41:35
  Speaker 1: and writer must have his mechanism as well as his
• 2:41:38
  Speaker 1: genius and inspiration. You would be surprised to learn how
• 2:41:42
  Speaker 1: laboriously the materials and the combinations of the great artists, writers,
• 2:41:46
  Speaker 1: and playwrights are obtained and conjoined. You see only the
• 2:41:51
  Speaker 1: finished product. You lose sight of the mental mechanism which
• 2:41:54
  Speaker 1: built it up. Yet that mechanism is always there. It
• 2:41:58
  Speaker 1: must be there. Art serves to conceal it, but not
• 2:42:02
  Speaker 1: to dispense with it. The machinery is always present and active,
• 2:42:06
  Speaker 1: though there be also present the God in the machine.
• 2:42:10
  Speaker 1: Even God or Nature employs machinery in creation. We shall
• 2:42:14
  Speaker 1: close our consideration of the methods of efficient constructive imagination
• 2:42:18
  Speaker 1: by reminding you that the general rule finally tells you,
• 2:42:21
  Speaker 1: having reached at least a fairly satisfactory working plan, idea
• 2:42:25
  Speaker 1: invention or solution of your problem, You should then carefully
• 2:42:28
  Speaker 1: detach yourself from it. You should move from your personal
• 2:42:31
  Speaker 1: point of view and try to see it as others
• 2:42:34
  Speaker 1: will see it. Try to imagine the effect it will
• 2:42:37
  Speaker 1: have on the persons whom you wish to be interested
• 2:42:39
  Speaker 1: in your finished product, how it will meet with their requirements,
• 2:42:42
  Speaker 1: satisfy their wants, or rouse their desires for it, et cetera.
• 2:42:47
  Speaker 1: Your own created conjunction plan, method, design, or invention naturally
• 2:42:52
  Speaker 1: will seem to you as the infant does to its mother.
• 2:42:55
  Speaker 1: No mother is an unprejudiced critic of her own baby.
• 2:42:59
  Speaker 1: You must see the thing as others see it. In
• 2:43:01
  Speaker 1: order to arrive at an intelligent idea of the utility
• 2:43:04
  Speaker 1: of your idea, you must use past experience, reason, judgment, discrimination,
• 2:43:10
  Speaker 1: and cool decision in this latter testing process. The above
• 2:43:14
  Speaker 1: statement speaks for itself and is sufficiently comprehensive to stand alone.
• 2:43:19
  Speaker 1: All that we wish to add is these few words.
• 2:43:22
  Speaker 1: If your detached inspection and survey convinces you that your
• 2:43:25
  Speaker 1: work will not fill the requirements of those for whom
• 2:43:28
  Speaker 1: it is intended, then back to the mental workshop. With it,
• 2:43:31
  Speaker 1: you will be able to cure the defects, strengthen the
• 2:43:34
  Speaker 1: weak points, and to reshape the form in accordance with
• 2:43:37
  Speaker 1: the heart's desire of those who must be satisfied by
• 2:43:40
  Speaker 1: precisely the same methods already employed. Find out first what
• 2:43:45
  Speaker 1: is required, then adapt these new factors to the old
• 2:43:48
  Speaker 1: form by the same old method, and the desired result
• 2:43:51
  Speaker 1: will be obtained. The principle is universal in its application
• 2:43:56
  Speaker 1: and will fit any case to which it is applied.
• 2:43:59
  Speaker 1: It is as in vyvariable as the laws of mathematics,
• 2:44:02
  Speaker 1: but like those laws, it requires skill, patience, work, and
• 2:44:06
  Speaker 1: determination to apply it to difficult problems. We can close
• 2:44:10
  Speaker 1: our treatment of the subject of efficient constructive imagination in
• 2:44:14
  Speaker 1: no better way than by quoting the statement of Herbert Spencer,
• 2:44:17
  Speaker 1: in which he attributes to constructive imagination the rank of
• 2:44:20
  Speaker 1: the highest intellectual faculty. His statement follows, instead of constructive
• 2:44:25
  Speaker 1: imagination being as commonly supposed and endowment peculiar to the
• 2:44:30
  Speaker 1: poet and writer of fiction, it is questionable whether the
• 2:44:33
  Speaker 1: man of science, truly so called, does not possess even
• 2:44:36
  Speaker 1: more of it. When imagination rises into the constructive form,
• 2:44:41
  Speaker 1: there is an ever increasing originality which tells at once
• 2:44:44
  Speaker 1: on the industrial arts, on science and on literature. Spencer
• 2:44:48
  Speaker 1: might as truly have added, and on business, on manufacturing,
• 2:44:52
  Speaker 1: on selling, on distribution or service of all kinds, wherein
• 2:44:56
  Speaker 1: wants are met demands, filled obstacles, overcome and min forwarded,
• 2:45:00
  Speaker 1: purposes set aright. Without the power of constructive imagination, man
• 2:45:05
  Speaker 1: will never be all that there is in him to be,
• 2:45:07
  Speaker 1: never do all that is in him to do, never
• 2:45:10
  Speaker 1: reach all that is in him to reach. It lights
• 2:45:13
  Speaker 1: up the whole horizon of thought as the sunrise flashing
• 2:45:16
  Speaker 1: along the mountain top lights the world. Creative Power, Your
• 2:45:20
  Speaker 1: Constructive Forces by William Walker Atkinson, The Art of Creation.
• 2:45:27
  Speaker 1: Passing on from the consideration of the more familiar forms
• 2:45:31
  Speaker 1: of the application of efficient constructive imagination, you are now
• 2:45:34
  Speaker 1: asked to enter into a consideration of a still higher
• 2:45:37
  Speaker 1: phase of that creative power, which is a mode of
• 2:45:39
  Speaker 1: manifestation of your personal power. Your personal power, in turn,
• 2:45:45
  Speaker 1: is but a phase of the all Power, that power
• 2:45:47
  Speaker 1: in which you live and move and have your being,
• 2:45:50
  Speaker 1: and which is that all which is in all things,
• 2:45:52
  Speaker 1: and in which all things are. You are now asked
• 2:45:55
  Speaker 1: to consider the subject of your creative power in its
• 2:45:58
  Speaker 1: higher phases of manifestation. Creation is an attribute of the
• 2:46:02
  Speaker 1: highest power of which you can have any knowledge, or
• 2:46:05
  Speaker 1: of which you may dream. Whatever else the Supreme Power
• 2:46:09
  Speaker 1: may be or may not be, it must be conceived
• 2:46:12
  Speaker 1: as creative power. The fact that the power behind creation
• 2:46:16
  Speaker 1: must be creative, and the fact that creation must be
• 2:46:19
  Speaker 1: the result of power, must bring to the mind of
• 2:46:21
  Speaker 1: the true thinker the conviction that in creative power is
• 2:46:24
  Speaker 1: to be found power in its most essential and elemental aspect.
• 2:46:28
  Speaker 1: In creation, you participate with the supreme power. To create
• 2:46:33
  Speaker 1: is to bring into being, to cause, to produce. Man
• 2:46:37
  Speaker 1: may be said apparently to create in several ways, yet
• 2:46:40
  Speaker 1: at the last he is found to be able to
• 2:46:42
  Speaker 1: create in only one essential way, and that one essential
• 2:46:45
  Speaker 1: way in which he can create is found to be
• 2:46:47
  Speaker 1: the way in which the ultimate creative power proceeds in
• 2:46:50
  Speaker 1: its own creative work. It will be well for you
• 2:46:53
  Speaker 1: to become convinced of the essential and elemental nature of
• 2:46:56
  Speaker 1: your own creative power, in order that you may realize
• 2:47:00
  Speaker 1: the majesty and dignity of the forces and energies which
• 2:47:03
  Speaker 1: you call into play and operation in your own creative activities.
• 2:47:08
  Speaker 1: First of all, you can create material objects by means
• 2:47:11
  Speaker 1: of combining other material objects. Thus you bring into being houses, boats, railroads, shoes,
• 2:47:18
  Speaker 1: and every other class of things which are manufactured or
• 2:47:21
  Speaker 1: made from material things. Secondly, you can create material things
• 2:47:26
  Speaker 1: by changing the arrangement of the constituent parts of other
• 2:47:29
  Speaker 1: material things, as for instance, you create butter by means
• 2:47:32
  Speaker 1: of churning cream, or you create ice by freezing water. Thirdly,
• 2:47:37
  Speaker 1: you can create things by analysis or separation of the
• 2:47:40
  Speaker 1: parts of other things. For instance, you create certain chemical
• 2:47:44
  Speaker 1: substances by separating them from more complex substances of which
• 2:47:48
  Speaker 1: they have formed a part, or you create a statue
• 2:47:50
  Speaker 1: by cutting away the surrounding marble from about the form
• 2:47:53
  Speaker 1: of the created thing. The above classification will be found
• 2:47:57
  Speaker 1: roughly to include practically all the forms and phases of
• 2:48:00
  Speaker 1: creation with which you are most familiar. But we have
• 2:48:04
  Speaker 1: omitted from it its most essential element, that element which
• 2:48:07
  Speaker 1: constitutes the spirit of all of your creative work, namely
• 2:48:10
  Speaker 1: the element of mental creation. At the last, all of
• 2:48:14
  Speaker 1: the above mentioned forms of creation are discovered to be
• 2:48:17
  Speaker 1: merely the objectification of the subjective mental creation. In the
• 2:48:21
  Speaker 1: three forms of creation above mentioned, you have merely employed
• 2:48:25
  Speaker 1: the materials at hand and formed new combinations with them.
• 2:48:29
  Speaker 1: You brought none of these original materials into being. You
• 2:48:33
  Speaker 1: merely found them in being and gave new objective forms
• 2:48:36
  Speaker 1: to them. But how did you arrive at a knowledge
• 2:48:39
  Speaker 1: of those forms? Which you afterward objectified. Here we come
• 2:48:43
  Speaker 1: to the heart of the subject. The answer is the
• 2:48:47
  Speaker 1: forms of your creations. Each, any and all of them
• 2:48:50
  Speaker 1: existed in your mind before you objectified them. Your creations, then,
• 2:48:56
  Speaker 1: at the last, are seen to be mental creations in
• 2:48:59
  Speaker 1: the sense that they were mentally designed and deliberately caused
• 2:49:02
  Speaker 1: by you. Of course, if you merely threw the materials
• 2:49:06
  Speaker 1: together without any design, then you cannot be said to
• 2:49:08
  Speaker 1: have mentally created the new thing. In that case, the
• 2:49:11
  Speaker 1: latter was created not by you, but by the forces
• 2:49:14
  Speaker 1: of nature. This also would be the case in the
• 2:49:18
  Speaker 1: event that you discovered a chemical process by accident and
• 2:49:21
  Speaker 1: without design, or where you unwittingly set into operation some
• 2:49:25
  Speaker 1: of nature's forces and thereby called into appearance certain new forms, arrangements, separations,
• 2:49:31
  Speaker 1: or combinations. But wherever and whenever you have deliberately employed
• 2:49:35
  Speaker 1: your creative power toward definite ends, then your first step
• 2:49:38
  Speaker 1: and stage has been that of mental creation. Everything that
• 2:49:42
  Speaker 1: man has ever created, contrived, built, invented, or manufactured has
• 2:49:47
  Speaker 1: first been created in his mind as a mental image.
• 2:49:51
  Speaker 1: The Brooklyn Bridge, the Eiffel Tower, the Pyramids, and also
• 2:49:55
  Speaker 1: the simplest mechanical construction each and all existed in the
• 2:49:58
  Speaker 1: minds of their inventors, architects, and builders before they took
• 2:50:02
  Speaker 1: on objective form. There can be no such thing as
• 2:50:05
  Speaker 1: constructive or creative work by man without the antecedent mental
• 2:50:09
  Speaker 1: creation by means of mental images. Therefore, in its essential
• 2:50:14
  Speaker 1: and elemental nature, all human creation is mental creation. Philosophers
• 2:50:19
  Speaker 1: have carried this idea up to the realm of metaphysics,
• 2:50:22
  Speaker 1: and have asserted that we are compelled to think of
• 2:50:24
  Speaker 1: the supreme creative power as having first formed the mental
• 2:50:27
  Speaker 1: image of the universe before the form of the physical
• 2:50:30
  Speaker 1: world could have come into being. More than this, they
• 2:50:34
  Speaker 1: hold that the actual creation of the materials of the
• 2:50:37
  Speaker 1: universe must have been mental, because the material substance could
• 2:50:40
  Speaker 1: not have been present until it was called into being
• 2:50:42
  Speaker 1: by the mental forces. That at the last, the material
• 2:50:46
  Speaker 1: world is but a materialization of previously existing mental images
• 2:50:50
  Speaker 1: or forms, and that the very work of the materialization
• 2:50:54
  Speaker 1: was performed by mental powers and energies, for there were
• 2:50:57
  Speaker 1: no material powers present and existent in the beginning. Edward
• 2:51:01
  Speaker 1: Carpenter illustrates this idea and the following statement contained in
• 2:51:05
  Speaker 1: one of his books. There is now a disposition to
• 2:51:08
  Speaker 1: posit the mental world as nearer the basis of existence
• 2:51:11
  Speaker 1: than is the material world, and to look upon material
• 2:51:13
  Speaker 1: phenomena rather as the outcome and expression of the mental.
• 2:51:17
  Speaker 1: In observing our own thoughts, in actions, and bodily forms
• 2:51:21
  Speaker 1: coming into existence, we seem to come upon something which
• 2:51:24
  Speaker 1: we may call a law of nature, just as much
• 2:51:26
  Speaker 1: as gravitation or any other law. The law, namely that
• 2:51:30
  Speaker 1: within ourselves there is a continued movement outwards from feeling
• 2:51:33
  Speaker 1: toward thought and then to action, from the inner to
• 2:51:36
  Speaker 1: the outer, from the vague to the definite, from the
• 2:51:39
  Speaker 1: emotional to the practical, from the world of dreams to
• 2:51:42
  Speaker 1: the world of actual things and what we call reality.
• 2:51:46
  Speaker 1: We may fairly conclude that the same progress may be
• 2:51:49
  Speaker 1: witnessed both in our waking thoughts and in our dreams,
• 2:51:52
  Speaker 1: namely a continual abolition and birth going on within us,
• 2:51:55
  Speaker 1: and an evolution out of the mind stuff of forms
• 2:51:58
  Speaker 1: which are the expression and images of underlying feeling. That
• 2:52:01
  Speaker 1: these forms, at first vague and undetermined in outline, rapidly
• 2:52:05
  Speaker 1: gather definition and clearness and materiality, and press forward toward
• 2:52:09
  Speaker 1: expression in the outer world. And we may fairly ask
• 2:52:13
  Speaker 1: whether we are not here within our own minds witnessing
• 2:52:16
  Speaker 1: what is really taking place everywhere and at all times,
• 2:52:19
  Speaker 1: in other persons, as well as in ourselves, and in
• 2:52:22
  Speaker 1: the great life which underlies and is the visible universe.
• 2:52:26
  Speaker 1: You may say that there is no evidence that man
• 2:52:28
  Speaker 1: ever produces a particle of matter out of himself, and
• 2:52:31
  Speaker 1: I will admit that this is so. But there is
• 2:52:34
  Speaker 1: plenty of evidence that he produces shapes and forms. And
• 2:52:38
  Speaker 1: if he produces shapes and forms, that is all we
• 2:52:40
  Speaker 1: need for what matter is. In the abstract. No one
• 2:52:44
  Speaker 1: has the least experience and knowledge. All that we know
• 2:52:48
  Speaker 1: is that the things we see are shapes and forms
• 2:52:50
  Speaker 1: of what we call matter. And if, as is possible
• 2:52:54
  Speaker 1: and indeed probable, matter is of the same stuff as mind,
• 2:52:57
  Speaker 1: only seen and envisaged from the opposite side, then the
• 2:53:00
  Speaker 1: shapes and forms of the actual world are the shapes
• 2:53:03
  Speaker 1: and forms of mind, thus projected for us mutually to
• 2:53:06
  Speaker 1: witness and to understand. But we do not need to
• 2:53:10
  Speaker 1: fall back upon metaphysical speculations in order to support our
• 2:53:13
  Speaker 1: general contention that there is mental image back of every
• 2:53:16
  Speaker 1: phase and form of physical creation throughout all nature. We
• 2:53:20
  Speaker 1: may find striking instances in illustrations of the general principles
• 2:53:24
  Speaker 1: that there is an idea or mental image or form
• 2:53:27
  Speaker 1: present in all of nature's creative processes, from the formation
• 2:53:31
  Speaker 1: of a crystal to the development of the forms of
• 2:53:33
  Speaker 1: living creatures. The formation of a crystal, the development of
• 2:53:37
  Speaker 1: the plant or tree from the seed, the evolution of
• 2:53:40
  Speaker 1: the living form from the egg cells, all of these
• 2:53:43
  Speaker 1: reveal to us the fact that idea or mental form
• 2:53:46
  Speaker 1: is imminent and involved in every process of birth and
• 2:53:49
  Speaker 1: growth in nature. This being perceived, we are justified in
• 2:53:53
  Speaker 1: claiming that all creation is mental creation, the materialization of
• 2:53:58
  Speaker 1: a mental form, image, or idea. Throughout all nature. We
• 2:54:02
  Speaker 1: may perceive the presence of an inner image or form
• 2:54:05
  Speaker 1: which serves as the framework or pattern upon which Nature
• 2:54:08
  Speaker 1: materializes her objective forms. These ideal forms have attracted the
• 2:54:12
  Speaker 1: attention of the philosophers, and they have sought to account
• 2:54:16
  Speaker 1: for their presence. From the time of Plato down to
• 2:54:19
  Speaker 1: the present, philosophers have speculated concerning the nature and evident
• 2:54:23
  Speaker 1: presence of these ideal forms upon which nature builds her
• 2:54:26
  Speaker 1: material shapes and structures. In the above quotation from Carpenter,
• 2:54:31
  Speaker 1: you will note the reference to the evolution out of
• 2:54:33
  Speaker 1: mind stuff of forms which are the expressions and images
• 2:54:36
  Speaker 1: of underlying feeling. These forms, at first vague and undetermined
• 2:54:40
  Speaker 1: in outline, rapidly gather definition and clearness and materiality, and
• 2:54:45
  Speaker 1: press forward toward expression in the outer world. Paul Kris,
• 2:54:49
  Speaker 1: a modern philosopher, also says all science consists in describing
• 2:54:54
  Speaker 1: forms and tracing their changes. All differences that we can
• 2:54:58
  Speaker 1: scientifically comprehend are the forms of matter or energy. All
• 2:55:03
  Speaker 1: that we can do, or try to do, is by
• 2:55:04
  Speaker 1: molding and remolding things. Forms are the types of possible
• 2:55:09
  Speaker 1: entities and do not exist as such in the shape
• 2:55:11
  Speaker 1: of material realities. But we cannot say that they are
• 2:55:15
  Speaker 1: non existent, nor that they are not. They are may
• 2:55:18
  Speaker 1: best or potentialities, and according to the law of their combination,
• 2:55:22
  Speaker 1: the things of the material world are molded. They are
• 2:55:26
  Speaker 1: the factors which determine material reality. And in this sense,
• 2:55:30
  Speaker 1: pure forms are more important than our material and actual things.
• 2:55:34
  Speaker 1: They are superreal, and their superreality contains the norms of
• 2:55:38
  Speaker 1: all existence. Pure form looks like nonentity, and yet the
• 2:55:42
  Speaker 1: laws of pure form are the factors that determine existence
• 2:55:45
  Speaker 1: in all of its details. Pure form conditions the cosmic
• 2:55:50
  Speaker 1: order and governs the universe. The pure form of the
• 2:55:53
  Speaker 1: philosophers is undoubtedly immaterial in its nature, it clearly must
• 2:55:58
  Speaker 1: be mental form. In other words, nature is seen to
• 2:56:01
  Speaker 1: proceed just as does man in his work of creation.
• 2:56:04
  Speaker 1: She builds the material universe upon mental patterns or upon
• 2:56:08
  Speaker 1: mental frameworks. Just how or why this is so, the
• 2:56:12
  Speaker 1: human mind is unable to grasp, But all investigation reveals
• 2:56:16
  Speaker 1: the fact that the creative processes proceed in just this way.
• 2:56:20
  Speaker 1: In this correspondence between human creative activity and that of
• 2:56:24
  Speaker 1: the cosmos, we have a striking illustration of the principle
• 2:56:27
  Speaker 1: embodied in the ancient hermetic axiom. As above, so below,
• 2:56:31
  Speaker 1: as within, so without, the macrocosm and the microcosm evidently
• 2:56:36
  Speaker 1: work under the same laws and manifest according to the
• 2:56:40
  Speaker 1: same general principles. Beginning with the particles of which the
• 2:56:44
  Speaker 1: atoms are composed, and with the atoms of which all
• 2:56:47
  Speaker 1: forms of matter are composed, we see the creation of
• 2:56:50
  Speaker 1: material forms apparently proceeding in accordance with some pre existing pattern,
• 2:56:54
  Speaker 1: ideal form, type, or idea. Atoms group themselves in certain combinations,
• 2:57:00
  Speaker 1: forming certain elements of matter, all of which forms are
• 2:57:03
  Speaker 1: true to general types and are as nearly identical as
• 2:57:06
  Speaker 1: the bits of metal which are cut out by the
• 2:57:08
  Speaker 1: same die or else produced from the same mold. This
• 2:57:12
  Speaker 1: uniformity and adherence to type certainly is explainable only upon
• 2:57:16
  Speaker 1: the hypothesis that before the material form is produced, there
• 2:57:19
  Speaker 1: must exist some pattern, type, idea, or mental form which
• 2:57:23
  Speaker 1: governs the materialization. There is no hit or miss or
• 2:57:27
  Speaker 1: higgldly piggledy arrangement of the atoms. They group themselves according
• 2:57:31
  Speaker 1: to typical forms, and these forms must exist ideally before
• 2:57:35
  Speaker 1: the material form can be produced. That which we call
• 2:57:39
  Speaker 1: the inner nature of anything is really a combination of
• 2:57:42
  Speaker 1: certain inherent mental forms which are constantly striving to express
• 2:57:46
  Speaker 1: themselves in action and objective appearance. The inner nature of
• 2:57:50
  Speaker 1: the atom is clearly represented in and by its activities.
• 2:57:54
  Speaker 1: The inner nature of the animal is likewise so represented
• 2:57:58
  Speaker 1: by its action and its physical form. The voluntary, self
• 2:58:02
  Speaker 1: moved spontaneous actions of any particular thing clearly represent the
• 2:58:06
  Speaker 1: inner nature of that particular thing. The differences between classes
• 2:58:11
  Speaker 1: of things result from the difference in the inner natures,
• 2:58:14
  Speaker 1: and the inner natures are merely the ideal forms or
• 2:58:17
  Speaker 1: types the mental images which constitute the elemental and essential
• 2:58:21
  Speaker 1: basis of the character of those things. The operation and
• 2:58:25
  Speaker 1: manifestation of these inner natures or creative ideal forms has
• 2:58:30
  Speaker 1: a striking illustration. In the case of the crystallization of
• 2:58:33
  Speaker 1: the minerals or chemical elements. These crystals are formed in
• 2:58:37
  Speaker 1: the mother liquor according to well known and clearly defined shape, form,
• 2:58:41
  Speaker 1: and order. Each species of crystal has its own particular
• 2:58:46
  Speaker 1: form and arrangement. Some have a range of several of
• 2:58:48
  Speaker 1: such forms. Each However, being true to type and pattern,
• 2:58:53
  Speaker 1: each species of crystal obeys its own order and rule
• 2:58:56
  Speaker 1: concerning its form. Crystals grow just aiy as do plants,
• 2:59:00
  Speaker 1: according to a certain pattern in type form. These forms
• 2:59:04
  Speaker 1: and orders of arrangement are not caused by outside forces
• 2:59:08
  Speaker 1: or energies. They result from the in forces of the
• 2:59:11
  Speaker 1: mineral or chemical substance, from the operation of internal inherent energy,
• 2:59:16
  Speaker 1: and in response to some inner idea, form or pattern
• 2:59:19
  Speaker 1: which constitutes the inner nature of the mineral or chemical compound.
• 2:59:24
  Speaker 1: In the same way we find that in the material
• 2:59:27
  Speaker 1: form of the germ of the acorn, there dwells and
• 2:59:29
  Speaker 1: inner nature composed of these ideal forms or mental images,
• 2:59:33
  Speaker 1: these inner patterns, these inner forces determine the material form
• 2:59:38
  Speaker 1: which the sprout, root leaves, and the complete tree shall assume.
• 2:59:43
  Speaker 1: The deviations from the ideal forms result from the influence
• 2:59:46
  Speaker 1: of external forces, serving to modify and deflect, to cramp,
• 2:59:49
  Speaker 1: and to hinder the expression of the inner form. But
• 2:59:52
  Speaker 1: the inner pattern is always their doing the best it
• 2:59:55
  Speaker 1: can to represent itself truly in material appearance. In every acorn,
• 2:59:59
  Speaker 1: their af abides the design, pattern form, an idea of
• 3:00:03
  Speaker 1: the future oak, and the acorn never evolves and unfolds
• 3:00:06
  Speaker 1: anything not according to that pattern, design or idea. In
• 3:00:10
  Speaker 1: the same way, the seed or germ, or every plant,
• 3:00:14
  Speaker 1: animal or human being contains within itself its inner nature,
• 3:00:18
  Speaker 1: composed of ideal form and pattern, type or mold. It
• 3:00:22
  Speaker 1: is this inner nature or ideal form that causes the
• 3:00:25
  Speaker 1: acorn to develop into the oak instead of into the
• 3:00:28
  Speaker 1: pine tree. It causes the egg of the chicken to
• 3:00:32
  Speaker 1: develop into a chick and not into a baby hawk.
• 3:00:35
  Speaker 1: It causes the creature to develop from seed germ into
• 3:00:38
  Speaker 1: completed adult form, always true to type an ideal pattern.
• 3:00:43
  Speaker 1: Scientists who have witnessed the unfoldment of living forms from
• 3:00:46
  Speaker 1: the reproductive cells or egg body have testified in glowing
• 3:00:50
  Speaker 1: words of wonder and admiration to the evident presence of
• 3:00:53
  Speaker 1: something like a directive mind at work in the processes
• 3:00:56
  Speaker 1: underway in a tiny speck of protoplasm, which we call
• 3:00:59
  Speaker 1: the reproduct, ductive cell, or egg of the animal. Huxley,
• 3:01:03
  Speaker 1: describing the development of the tiny egg of a newt
• 3:01:06
  Speaker 1: small aquatic salamander, said, the plastic matter undergoes changes so
• 3:01:11
  Speaker 1: rapid and so purposelike in their succession that one can
• 3:01:14
  Speaker 1: only compare them to those operated by a skilled modler
• 3:01:17
  Speaker 1: upon a formless lump of clay, as with an invisible trowel.
• 3:01:21
  Speaker 1: The mass is divided and subdivided, then it is as
• 3:01:25
  Speaker 1: if a delicate finger traced out the lines to be
• 3:01:28
  Speaker 1: occupied by the spinal column and molded the contour of
• 3:01:31
  Speaker 1: the body, pinching up the head at one end, the
• 3:01:34
  Speaker 1: tail at the other, and fashioning flank and limb into
• 3:01:37
  Speaker 1: due salamandering proportions in so artistic a way that, after
• 3:01:41
  Speaker 1: watching the process hour by hour, one is almost involuntarily
• 3:01:45
  Speaker 1: possessed by the notion that some more subtle aid to
• 3:01:47
  Speaker 1: the vision than the achromatic lens would show the hidden
• 3:01:50
  Speaker 1: artist with his plan before him, striving with skillful manipulation
• 3:01:55
  Speaker 1: to perfect his work. The same great scientist, speaking of
• 3:01:59
  Speaker 1: the continued life of the newt, says, as life advances
• 3:02:03
  Speaker 1: and the young amphibian ranges the waters the terror of
• 3:02:06
  Speaker 1: his insect contemporaries. Not only the nutritious particles supplied by
• 3:02:10
  Speaker 1: its prey, by the addition of which to its frame
• 3:02:13
  Speaker 1: growth takes place, are laid down, each in its proper
• 3:02:16
  Speaker 1: spot and in due proportion to the rest, so as
• 3:02:19
  Speaker 1: to reproduce the parent stock. But even the wonderful powers
• 3:02:22
  Speaker 1: of reproducing lost parts, which are possessed by these animals,
• 3:02:27
  Speaker 1: are controlled by the same governing tendency. Cut off the legs,
• 3:02:31
  Speaker 1: the tail, the jaws, separately or all together, and these
• 3:02:35
  Speaker 1: parts not only grow again, but the new limb is
• 3:02:38
  Speaker 1: formed on the same type as those which were lost.
• 3:02:42
  Speaker 1: The new jaw or leg is a newt's, and never
• 3:02:45
  Speaker 1: by an accident more like that of a frog. In
• 3:02:48
  Speaker 1: the above graphic word picture of Huxley, we catch a
• 3:02:51
  Speaker 1: glimpse of the subtle, silent manifestations of this materialization of
• 3:02:55
  Speaker 1: mental images in nature. For the same kind of processes
• 3:02:58
  Speaker 1: are underway on all sides of us, on all planes
• 3:03:01
  Speaker 1: of nature's activities, and in all of her phases of life. Processes.
• 3:03:06
  Speaker 1: There is constantly under way a process of growth, production, reproduction, building, repairing, replacing,
• 3:03:13
  Speaker 1: in general creative construction. And in each and all such
• 3:03:16
  Speaker 1: forms and phases we may see the presence of a
• 3:03:19
  Speaker 1: given pattern, form, type, or mold, an ideal design or
• 3:03:23
  Speaker 1: scheme upon which the materialization is effected. The governing tendency
• 3:03:28
  Speaker 1: referred to by Huxley is seen to be none other
• 3:03:30
  Speaker 1: than the operation of that principle of creative mental form
• 3:03:33
  Speaker 1: upon which all materialization depends. Moreover, we may see the
• 3:03:38
  Speaker 1: operation of the same principle in the direction of the
• 3:03:41
  Speaker 1: variation of form, faculty, and function in the life forms. Indeed,
• 3:03:46
  Speaker 1: this principle constitutes the directing force of evolution. Lomark and
• 3:03:51
  Speaker 1: other scientists have shown us that evolution proceeds not only
• 3:03:54
  Speaker 1: by natural selection, but also by the unfoldment of ideal
• 3:03:57
  Speaker 1: forms or mental images. Thus, the new needs and requirements
• 3:04:02
  Speaker 1: of the evolving life forms are first manifested as ideal
• 3:04:05
  Speaker 1: forms or mental images, patterns, molds, or types in the
• 3:04:09
  Speaker 1: subconscious mentality of the creature. These then moving toward representation, expression,
• 3:04:14
  Speaker 1: and manifestation on the objective material plane. Thus, the inner
• 3:04:20
  Speaker 1: nature gradually becomes modified by environment, and the outer form
• 3:04:24
  Speaker 1: gradually responds to these changes. Illustrating this principle, we call
• 3:04:29
  Speaker 1: your attention to the fact that certain schools of scientific
• 3:04:32
  Speaker 1: thought hold that the long legs and long neck of
• 3:04:34
  Speaker 1: the giraffe were evolved in response to the creative idea
• 3:04:37
  Speaker 1: working through many generations of its ancestors. The ancestors found
• 3:04:42
  Speaker 1: it difficult to reach the tender, juicy branches of certain trees,
• 3:04:46
  Speaker 1: which were needed as food. This need and this difficulty
• 3:04:49
  Speaker 1: were recognized by the subconscious mentality of the animal, and
• 3:04:53
  Speaker 1: the creative idea began to shape and fashion the ideal
• 3:04:56
  Speaker 1: form or mental image of the long legs and long neck,
• 3:04:59
  Speaker 1: which afterward words manifested in physical form in the descendants
• 3:05:02
  Speaker 1: of the animal. In the same way were evolved and
• 3:05:06
  Speaker 1: perfected the long legs and long bills of the waiting
• 3:05:08
  Speaker 1: fish catching birds again thus were evolved, the cruel beaks
• 3:05:13
  Speaker 1: and talons of the hawks, eagles, and other carnivorous prey
• 3:05:17
  Speaker 1: capturing birds, and the claws and fangs of the carnivorous animals.
• 3:05:22
  Speaker 1: In short, many thoughtful scientists recognize the existence and activity
• 3:05:26
  Speaker 1: in nature of a principle which tends to manifest an
• 3:05:28
  Speaker 1: objective material form that which has previously existed as a
• 3:05:32
  Speaker 1: mental form or ideal image in the subconscious mentality of
• 3:05:36
  Speaker 1: living creatures, the mental form or ideal image having arisen
• 3:05:39
  Speaker 1: in response to a strong need, want, lack, or desire
• 3:05:43
  Speaker 1: of the creature, as in the illustrative cases above cited.
• 3:05:47
  Speaker 1: The advance guard of the New psychology carries this principle
• 3:05:50
  Speaker 1: to its logical conclusion when it asserts that the human
• 3:05:53
  Speaker 1: being is able to set into operation great natural forces
• 3:05:56
  Speaker 1: tending to produce similar objective results when he deliberately created
• 3:06:00
  Speaker 1: it strong ideals, and then passes the same down to
• 3:06:03
  Speaker 1: his subconscious mentality. Here is a hint at a mighty principle.
• 3:06:08
  Speaker 1: Many persons are disposed to regard as more or less
• 3:06:11
  Speaker 1: unreal and unsubstantial anything that is purely ideal and mental
• 3:06:15
  Speaker 1: in its nature. To such, we would cite the celebrated
• 3:06:18
  Speaker 1: rule of Spinoza viz. A thing has only so much
• 3:06:21
  Speaker 1: reality as it possesses power. Applying this rule to the
• 3:06:25
  Speaker 1: ideal forms or mental images underlying material forms, you will
• 3:06:29
  Speaker 1: discover that such possess a very high degree of reality
• 3:06:33
  Speaker 1: and substantiality. Ideal forms and creative mental images are not
• 3:06:38
  Speaker 1: merely such stuff as dreams are made of, but in
• 3:06:41
  Speaker 1: reality are strong, powerful forces. In fact, many manifestations of
• 3:06:46
  Speaker 1: natural forces are really efforts towards the expression of the
• 3:06:49
  Speaker 1: creative idea. The inner form striving to manifest in the
• 3:06:53
  Speaker 1: outer form, often exercises a tremendous force. The inner form
• 3:06:58
  Speaker 1: of a growing plant has been known to crack a
• 3:07:00
  Speaker 1: heavy concrete block, and the power of growing roots horising
• 3:07:04
  Speaker 1: from the inner urge of the ideal form has been
• 3:07:06
  Speaker 1: known to terrace under heavy foundation stones. John Burroughs, the
• 3:07:11
  Speaker 1: great naturalist, says, concerning this force of the inner form
• 3:07:14
  Speaker 1: striving for outward expression, we know that the roots of
• 3:07:18
  Speaker 1: trees insert themselves into seams in the rocks and force
• 3:07:21
  Speaker 1: the rocks asunder. This force is measurable, and often is
• 3:07:25
  Speaker 1: very great. Its seat seems to be in the soft,
• 3:07:28
  Speaker 1: milky substance called the cambium layer under the bark. These
• 3:07:33
  Speaker 1: minute cells, when their forces combined, may become regular rock splitters.
• 3:07:38
  Speaker 1: One of the most remarkable exhibitions of plant force I
• 3:07:41
  Speaker 1: ever saw was in a western city where I observed
• 3:07:43
  Speaker 1: a species of wild sunflower forcing its way up through
• 3:07:46
  Speaker 1: the asphalt pavement. The folded and compressed leaves of the plant,
• 3:07:51
  Speaker 1: like a man's fist had pushed against the hard but
• 3:07:54
  Speaker 1: flexible concrete until it had bulged up, and then split
• 3:07:57
  Speaker 1: and let the irrepressible plant through. The force exerted must
• 3:08:01
  Speaker 1: have been many pounds. I think it doubtful if the
• 3:08:04
  Speaker 1: strongest man could have pushed his fist through such a
• 3:08:07
  Speaker 1: resisting medium. If it was not life which exerted this force,
• 3:08:11
  Speaker 1: what was it. In the same way, the great giants
• 3:08:15
  Speaker 1: of the forest have pushed their way up toward the skies,
• 3:08:18
  Speaker 1: counteracting the pull of gravitation and lifting weights which it
• 3:08:21
  Speaker 1: would have required mighty machinery to move. The mental pattern
• 3:08:25
  Speaker 1: in the giant redwood trees proceeds to the materialization of
• 3:08:28
  Speaker 1: the gigantic outer form of the tree, and the inner
• 3:08:31
  Speaker 1: urge of the ideal form calls to its aid the
• 3:08:34
  Speaker 1: mighty latent forces of nature in order to materialize that
• 3:08:37
  Speaker 1: which is contained in the ideal form or mental image
• 3:08:40
  Speaker 1: of the living organism of the tree. Nature seems ready
• 3:08:44
  Speaker 1: to furnish such power to the inner urge, provided that
• 3:08:47
  Speaker 1: such is sufficiently needed, insistently desired, and persistently demanded, and
• 3:08:51
  Speaker 1: provided that it is called for in the right way.
• 3:08:54
  Speaker 1: If man ever obtains the inner secret of this demand,
• 3:08:57
  Speaker 1: he will have the creative powers and force of nature
• 3:09:00
  Speaker 1: in his hands. Already he has acquired a portion of
• 3:09:04
  Speaker 1: this secret and is able to perform mighty creative work
• 3:09:07
  Speaker 1: by directing his mental powers toward the physical plane. In
• 3:09:11
  Speaker 1: this instruction we seek to disclose the principles of this
• 3:09:14
  Speaker 1: process to you. The attention of certain philosophers has been
• 3:09:18
  Speaker 1: attracted by this manifestation in nature's activities of a process
• 3:09:22
  Speaker 1: closely resembling constructive imagination. They venture the hypothesis that the
• 3:09:27
  Speaker 1: creative powers and processes of the human mind have an
• 3:09:30
  Speaker 1: equivalent in nature's processes of growth in living forms, vegetable
• 3:09:34
  Speaker 1: and animal. A little known, though worthy metaphysician has gone
• 3:09:38
  Speaker 1: so far as to elevate to the rank of the
• 3:09:40
  Speaker 1: ultimate world principle, that which we know as the constructive imagination.
• 3:09:45
  Speaker 1: He asserts that there is a cosmic constructive imagination working
• 3:09:48
  Speaker 1: in nature, producing the myriad forms and varieties of vegetable
• 3:09:52
  Speaker 1: and animal forms. He holds further that the same principle,
• 3:09:57
  Speaker 1: in the form of the human constructive imagination, enables man
• 3:10:00
  Speaker 1: to become a creator on his own plane of life.
• 3:10:04
  Speaker 1: This metaphysician, holds that constructive imagination is the essential characteristic
• 3:10:08
  Speaker 1: attribute of the ultimate principle of the cosmos. He holds
• 3:10:12
  Speaker 1: that this essential attribute is inherent in the very essence
• 3:10:15
  Speaker 1: of all things and in the world as a whole.
• 3:10:19
  Speaker 1: He postulates its existence in the all thing as an
• 3:10:21
  Speaker 1: imminent principle, just as in the kernel of the plant seed,
• 3:10:24
  Speaker 1: there exists an imminent principle which will give to the
• 3:10:27
  Speaker 1: evolving plant its form and its type of organism. This
• 3:10:31
  Speaker 1: cosmic principle, he asserts, has manifested the myriads of vegetable
• 3:10:35
  Speaker 1: and animal forms which have existed or now exist, and
• 3:10:38
  Speaker 1: will so manifest those forms which shall in the future
• 3:10:41
  Speaker 1: exist in the world. He holds that the first creations
• 3:10:45
  Speaker 1: were quite simple, but that little by little the cosmic
• 3:10:48
  Speaker 1: constructive imagination increased its energy and manifested in more complex forms.
• 3:10:53
  Speaker 1: He cites Darwin as testimony that in nature there has
• 3:10:56
  Speaker 1: been a slow evolution of organized forms, proceeding from them
• 3:11:00
  Speaker 1: simple to the more complex, and so on. We are
• 3:11:03
  Speaker 1: not here concerned with philosophical hypotheses, nor with metaphysical speculations,
• 3:11:09
  Speaker 1: but at the same time we feel it proper to
• 3:11:11
  Speaker 1: direct your attention to the fact that there is manifest
• 3:11:14
  Speaker 1: in all nature the operation of a powerful principle which
• 3:11:17
  Speaker 1: proceeds from the inner form to the outer manifestation, from
• 3:11:21
  Speaker 1: the ideal image to its materialization in objective form. We
• 3:11:25
  Speaker 1: have given you in the foregoing pages certain typical illustrations
• 3:11:28
  Speaker 1: of the operation of this natural principle or process. By
• 3:11:32
  Speaker 1: looking around you at the world of living and growing things,
• 3:11:36
  Speaker 1: you will be able to perceive countless instances of the
• 3:11:38
  Speaker 1: operation of the same power, once your attention has been
• 3:11:41
  Speaker 1: called to it. Likewise, we wish to call to your
• 3:11:45
  Speaker 1: attention the fact that many earnest thinkers hold that that
• 3:11:48
  Speaker 1: which is called the constructive imagination in the mind of
• 3:11:50
  Speaker 1: man is but a special form of the same great
• 3:11:53
  Speaker 1: natural principle, and that man himself, like nature as a whole,
• 3:11:57
  Speaker 1: has within himself the power of creation, by means of
• 3:11:59
  Speaker 1: the man materialization of his ideal forms. Your experience has
• 3:12:04
  Speaker 1: taught you that the men who have accomplished the great
• 3:12:06
  Speaker 1: creative achievements in art, literature, mechanics, invention, building, and business
• 3:12:11
  Speaker 1: construction have created the outer manifestation in accordance with the
• 3:12:15
  Speaker 1: inner ideal or mental picture, the latter serving as the model, type, mold,
• 3:12:20
  Speaker 1: or pattern of the former. But the principle operates over
• 3:12:23
  Speaker 1: a much wider area and extends to a much deeper
• 3:12:26
  Speaker 1: level of being than you have realized. It is a
• 3:12:30
  Speaker 1: fact acknowledged by many very careful observers and reasoners that
• 3:12:33
  Speaker 1: the man of strong ideals, he whose mind contains strong,
• 3:12:37
  Speaker 1: dear mental pictures of that which he hopes to accomplish,
• 3:12:40
  Speaker 1: actually sets into operation the forces, powers, and energies of
• 3:12:44
  Speaker 1: his entire mental and physical being. These, in turn draw
• 3:12:48
  Speaker 1: upon the common source of nature for their nourishment and subsistence,
• 3:12:52
  Speaker 1: and all the power so generated tends toward manifestation and
• 3:12:55
  Speaker 1: expression in the material form which is being built upon
• 3:12:58
  Speaker 1: the mental framework or patterns of the creative idea. Just
• 3:13:02
  Speaker 1: as the oak is able to draw upon nature for
• 3:13:04
  Speaker 1: power with which it may lift itself far above the
• 3:13:07
  Speaker 1: surface of the earth and to send forth mighty limbs
• 3:13:10
  Speaker 1: and branches, just as the growing plant is able to
• 3:13:13
  Speaker 1: secure from nature sufficient force to enable it to push
• 3:13:15
  Speaker 1: aside or break through the obstacles in a path of
• 3:13:18
  Speaker 1: its progress, even through concrete blocks, as we have seen,
• 3:13:22
  Speaker 1: so may the creative idea of the man who knows
• 3:13:25
  Speaker 1: be able to draw upon nature for the still more
• 3:13:27
  Speaker 1: subtle forces of her laboratory needed to materialize his ideal
• 3:13:32
  Speaker 1: forms to make his ideals become real. Not only this,
• 3:13:36
  Speaker 1: but there is a rapidly growing body of human thinkers
• 3:13:39
  Speaker 1: who hold that man, in such cases is not necessarily
• 3:13:43
  Speaker 1: limited to the mechanism of his own organism in the
• 3:13:45
  Speaker 1: expression of his inner urge by means of the forces
• 3:13:48
  Speaker 1: which he has attracted to him. They hold that he
• 3:13:51
  Speaker 1: even may and often really does, throw out mental or
• 3:13:54
  Speaker 1: spiritual filaments which contact the things of the outside world,
• 3:13:58
  Speaker 1: thereby attracting to himself the external forces and things requisite
• 3:14:02
  Speaker 1: for the successful materialization of his inner ideal, his mental forms,
• 3:14:06
  Speaker 1: his creative idea. In this book, we have sought to
• 3:14:09
  Speaker 1: present to you the essential principles of this great subject
• 3:14:12
  Speaker 1: of creative power, of the materialization and actualization of your
• 3:14:16
  Speaker 1: creative ideas. In doing so, however, we first asked you
• 3:14:21
  Speaker 1: to become far better acquainted with an existing field of
• 3:14:24
  Speaker 1: mental activity which you have previously undervalued and grossly misunderstood
• 3:14:28
  Speaker 1: your power of constructive imagination. This mental stone, heretofore rejected
• 3:14:34
  Speaker 1: by the builders of the Temple of mental power, is
• 3:14:36
  Speaker 1: now being recognized by advanced thinkers as quite worthy of
• 3:14:39
  Speaker 1: being given the place of honor as the cornerstone of
• 3:14:42
  Speaker 1: the great structure. We are fast approaching the place in
• 3:14:46
  Speaker 1: which we shall see the inner meaning of the ancient
• 3:14:48
  Speaker 1: philosophers who asserted that in will and imagination combined and
• 3:14:52
  Speaker 1: harmonized are to be found. The Secret of Power, Creative Power,
• 3:14:56
  Speaker 1: Your Constructive Forces by William way Walker Atkinson, Dynamic idealization.
• 3:15:04
  Speaker 1: In the instruction contained in the several books of the
• 3:15:07
  Speaker 1: series of which the present volume is a part, there
• 3:15:09
  Speaker 1: is frequent reference made to the master Formula of attainment,
• 3:15:13
  Speaker 1: which is as follows. One definite ideals, two insistent desire,
• 3:15:20
  Speaker 1: three confident expectation, four persistent determination, five balanced compensation. The
• 3:15:30
  Speaker 1: spirit of the master formula is expressed in popular phrasing
• 3:15:33
  Speaker 1: as follows. You may have anything you want, provided that
• 3:15:37
  Speaker 1: you one know exactly what you want, two want it
• 3:15:40
  Speaker 1: hard enough, three confidently expect to obtain it for persistently
• 3:15:45
  Speaker 1: determined to obtain it, and five are willing to pay
• 3:15:48
  Speaker 1: the price of its attainment. In other books of the series,
• 3:15:52
  Speaker 1: these several elements of the Master Formula are considered in detail,
• 3:15:56
  Speaker 1: are fully explained, and methods for their effective application are
• 3:15:59
  Speaker 1: indicated in this concluding section of the present book. However,
• 3:16:04
  Speaker 1: we ask you to consider the first element, i e.
• 3:16:07
  Speaker 1: That of definite ideals from an angle somewhat different from
• 3:16:11
  Speaker 1: that adopted in the other books of the series. In
• 3:16:14
  Speaker 1: these other considerations of the subject of definite ideals, that
• 3:16:18
  Speaker 1: important element of the master formula generally has been treated
• 3:16:21
  Speaker 1: as practically synonymous with the idea of definite purpose. But
• 3:16:26
  Speaker 1: definite purpose really is but one of the several phases
• 3:16:29
  Speaker 1: or forms of definite ideals, the particular phase or form
• 3:16:33
  Speaker 1: which is involved in the manifestation of will power, to
• 3:16:36
  Speaker 1: some extent, in that of desire power, and in that
• 3:16:39
  Speaker 1: of logical power. In faith power, however, there is manifest
• 3:16:43
  Speaker 1: a somewhat higher form of definite ideals. Likewise, in some
• 3:16:48
  Speaker 1: of the higher mental and spiritual activities, there is found
• 3:16:51
  Speaker 1: present in active a transcendental phase or form of definite ideals. Thus,
• 3:16:57
  Speaker 1: you see, the term definite ideals represents a general concept
• 3:17:01
  Speaker 1: or idea which has several lesser elements. It includes the
• 3:17:04
  Speaker 1: concept of definite purpose and also several other important secondary concepts.
• 3:17:10
  Speaker 1: In our present consideration of the subject, we shall confine
• 3:17:13
  Speaker 1: our attention to that aspect of definite ideals, which may
• 3:17:16
  Speaker 1: be called creative ideals. The term is appropriate for the
• 3:17:21
  Speaker 1: essential nature and characteristic activities of such ideals are primarily creative.
• 3:17:26
  Speaker 1: Creative ideals call into operation the strongest and most intense
• 3:17:30
  Speaker 1: activities of desire power, the most earnest and inspiring faith power,
• 3:17:34
  Speaker 1: the most persistent and determined will power, the most capable
• 3:17:38
  Speaker 1: and efficient subconscious power. In fact, it acts upon and
• 3:17:42
  Speaker 1: through the most potent energies of all of the mental, emotional,
• 3:17:46
  Speaker 1: and volitional elements of the mind, soul, or spirit of man.
• 3:17:50
  Speaker 1: More than that, it reaches out into the great world,
• 3:17:53
  Speaker 1: beyond the personal limits of the individual, and, operating through
• 3:17:56
  Speaker 1: some of nature's subtle but potent forces, it sets in
• 3:18:00
  Speaker 1: to motion and activity many things, persons, events, causes, and
• 3:18:04
  Speaker 1: processes over which, in the ordinary view, the individual apparently
• 3:18:08
  Speaker 1: has no direct control. Perhaps it will be as well
• 3:18:12
  Speaker 1: to begin by arriving at a clear and definite understanding
• 3:18:15
  Speaker 1: of the term ideal as employed in this instruction. It
• 3:18:19
  Speaker 1: has well been said that there is a mighty magic
• 3:18:21
  Speaker 1: in words rightly understood. The old Chaldean oracle announced this
• 3:18:27
  Speaker 1: ancient thought in these lines. There are names in every
• 3:18:31
  Speaker 1: nation God given of unexplained power in the mysteries. First
• 3:18:35
  Speaker 1: of all, we find that our term has its origin
• 3:18:38
  Speaker 1: in the term idea, which evolved from an old Greek
• 3:18:41
  Speaker 1: word meaning to see. Idea is defined as one a
• 3:18:45
  Speaker 1: mental image of any visible object, object of sense, or
• 3:18:49
  Speaker 1: spiritual object. Two a general notion or a conception formed
• 3:18:53
  Speaker 1: by generalization, hence three any object apprehended, conceived, or thought
• 3:18:59
  Speaker 1: of by the mind. Also for a belief, opinion, doctrine,
• 3:19:04
  Speaker 1: or principle, and five a plan or purpose of action.
• 3:19:09
  Speaker 1: Underlying all of these meanings is found the essential notion
• 3:19:12
  Speaker 1: of existing in the mind. An idea is always mental,
• 3:19:17
  Speaker 1: never material. The term ideal as an adjective means one
• 3:19:23
  Speaker 1: existing in idea or thought, two existing in imagination only,
• 3:19:27
  Speaker 1: and three reaching an imaginary standard of excellence, efficiency, beauty, utility,
• 3:19:33
  Speaker 1: et cetera. As a noun, the term is defined as
• 3:19:37
  Speaker 1: a mental conception regarded as a standard of perfection, a
• 3:19:41
  Speaker 1: model of excellence, beauty, efficiency, utility, et cetera. Here we
• 3:19:46
  Speaker 1: have the blending of the two essential attributes, viz. One
• 3:19:50
  Speaker 1: existing in thought or imagination, and two a standard of excellence.
• 3:19:56
  Speaker 1: Excellence is synonymous with superiority, worth, goodnesess, greatness. So in
• 3:20:02
  Speaker 1: the end we have a concept of an ideal defined
• 3:20:06
  Speaker 1: as a mental image of something of superior worth, goodness,
• 3:20:09
  Speaker 1: and value, serving as a standard of excellence, beauty, efficiency, utility,
• 3:20:14
  Speaker 1: et cetera. As we always desire, hope for, and strive
• 3:20:19
  Speaker 1: to attain things of superior worth, goodness, and value, the
• 3:20:23
  Speaker 1: degree of worth, goodness, and value being determined by the
• 3:20:26
  Speaker 1: comparative resemblance of such things to the accepted standard of excellence, beauty, efficiency, utility,
• 3:20:33
  Speaker 1: et cetera. It follows that desire, faith, and will are
• 3:20:37
  Speaker 1: always consciously or unconsciously striving to reach, achieve, or attain
• 3:20:42
  Speaker 1: an ideal. To the end of such achievement, to attainment,
• 3:20:46
  Speaker 1: the forces of creative power, desire power, faith power, and
• 3:20:50
  Speaker 1: will power are set into activity. In many cases, the
• 3:20:54
  Speaker 1: ideal manifests in the form of purpose or plan of action,
• 3:20:57
  Speaker 1: one of the above definitions of idea you will remember.
• 3:21:01
  Speaker 1: But in other cases it manifests rather as a mental
• 3:21:04
  Speaker 1: or spiritual germ, striving to express and manifest itself in
• 3:21:08
  Speaker 1: objective material form, drawing to itself and reaching out after
• 3:21:13
  Speaker 1: that which promises to contribute to or aid in such
• 3:21:16
  Speaker 1: objective and material expression and manifestation. Here, then we have
• 3:21:21
  Speaker 1: the concept of the ideal seeking to express and manifest
• 3:21:24
  Speaker 1: itself in objective and material expression, in manifestation, and by
• 3:21:28
  Speaker 1: reason of this innerurge drawing to itself and reaching out
• 3:21:32
  Speaker 1: after that which promises to contribute or aid in such
• 3:21:34
  Speaker 1: expression and manifestation. But you may ask, why and how
• 3:21:39
  Speaker 1: is this ideal entitled to be termed creative? Let us
• 3:21:43
  Speaker 1: answer this question in the first place by asking you
• 3:21:46
  Speaker 1: another question, thinking over the subject discussed in the preceding
• 3:21:50
  Speaker 1: section of this book of what does this concept of
• 3:21:53
  Speaker 1: the striving, seeking, acting, mental or spiritual germ remind you?
• 3:21:58
  Speaker 1: We think that the following several pairs will represent the
• 3:22:01
  Speaker 1: essence and spirit of your answer. You will be reminded,
• 3:22:05
  Speaker 1: first of all of the fact that in all man's
• 3:22:07
  Speaker 1: material creations there has been, and necessarily must have been
• 3:22:11
  Speaker 1: a preceding mental image or form, an ideal, in fact
• 3:22:15
  Speaker 1: of which the later material objective form of the created
• 3:22:18
  Speaker 1: thing was merely a copy. That there must always be
• 3:22:21
  Speaker 1: the mental pattern, map, design, or mold which is reproduced
• 3:22:26
  Speaker 1: in the material creation. There must always be the inner
• 3:22:30
  Speaker 1: form before there can be the outer form. But you
• 3:22:33
  Speaker 1: may object here the ideal is merely the pattern, model
• 3:22:37
  Speaker 1: or mold which the imagination and will employ in their
• 3:22:40
  Speaker 1: creative work. The ideal in itself is not creative dot
• 3:22:45
  Speaker 1: This is true, at least to a certain extent. We
• 3:22:48
  Speaker 1: need not here argue the fine distinctions, however, for we
• 3:22:52
  Speaker 1: have a clear case presented in nature's activities, to the
• 3:22:55
  Speaker 1: consideration of which we shall now proceed. Letting your mind
• 3:22:59
  Speaker 1: dwell upon the subject considered in the preceding section of
• 3:23:02
  Speaker 1: this book, you will remember that in all material creations
• 3:23:05
  Speaker 1: of form, in all purposive groupings, arrangements, conformations, configurations, there
• 3:23:11
  Speaker 1: is found to be present in inner ideal form, composed
• 3:23:14
  Speaker 1: of the aggregate of mental forms striving to express itself
• 3:23:17
  Speaker 1: in action and objective manifestation. You will remember that we
• 3:23:22
  Speaker 1: found this inner ideal form operative in the cases of
• 3:23:24
  Speaker 1: the grouping of the atoms and of the smaller particles
• 3:23:27
  Speaker 1: composing the atoms, in all chemical processes, in the processes
• 3:23:31
  Speaker 1: of crystallization, in the life processes, and the growth of plants,
• 3:23:36
  Speaker 1: in the sprouting of seeds, of the development and evolution
• 3:23:39
  Speaker 1: of the germ in the egg. You will remember the
• 3:23:42
  Speaker 1: interesting description of the development of the newt's egg given
• 3:23:45
  Speaker 1: by Huxley. You will remember the instances of great power
• 3:23:49
  Speaker 1: exerted by growing roots, plants, and sprouting seeds. You will
• 3:23:54
  Speaker 1: remember what was said concerning the evolution of needed physical
• 3:23:57
  Speaker 1: instruments manifested by the lower animals, the explanation of the
• 3:24:01
  Speaker 1: long legs of the wading birds, the claws and beaks
• 3:24:04
  Speaker 1: of the birds of prey, the long neck and legs
• 3:24:06
  Speaker 1: of the giraffe. Finally, you will remember the logical conclusion
• 3:24:11
  Speaker 1: parrived at by those observing these and similar instances of
• 3:24:14
  Speaker 1: this wonderful working of nature's forces, viz. That there exists,
• 3:24:18
  Speaker 1: and is manifest in all nature, the operation of a
• 3:24:21
  Speaker 1: mighty principle which proceeds from the inner form to the
• 3:24:24
  Speaker 1: outer manifestation, from the ideal image to its materialization in
• 3:24:28
  Speaker 1: objective form, you will find yourself compelled to think that
• 3:24:32
  Speaker 1: in all of Nature's activities and processes in which is
• 3:24:35
  Speaker 1: performed the work of creation, of form, combination, composition, or coordination,
• 3:24:40
  Speaker 1: there certainly exists an ideal form serving as a pattern, plan, mold, map, chart,
• 3:24:46
  Speaker 1: or design upon which and by means of which nature
• 3:24:49
  Speaker 1: builds and creates more than this. When you carefully reason
• 3:24:54
  Speaker 1: concerning this matter, you will find yourself becoming impressed by
• 3:24:57
  Speaker 1: the idea and conviction that the essence in space, spirit
• 3:25:00
  Speaker 1: of such manifestations and expressions abide in the germ ideal
• 3:25:03
  Speaker 1: form itself, and that instead of being a mere inert pattern,
• 3:25:07
  Speaker 1: model or mold, the ideal form is a living, acting,
• 3:25:10
  Speaker 1: creative force, drawing to itself the materials needed for its
• 3:25:14
  Speaker 1: outward objective expression and manifestation. Such expression and manifestation being
• 3:25:19
  Speaker 1: there essential desire, need, and energizing principle of its being. Thus,
• 3:25:25
  Speaker 1: the ideal form is seen to be not only an
• 3:25:28
  Speaker 1: inner form, but also a something or somewhat which may
• 3:25:31
  Speaker 1: be described as a power with the desire to act,
• 3:25:34
  Speaker 1: or a desire with the power to act, a definition
• 3:25:37
  Speaker 1: which has also been applied to will. It may be
• 3:25:39
  Speaker 1: noted here once more is seen the close relation of
• 3:25:43
  Speaker 1: imagination to will, a resemblance which by many philosophers and
• 3:25:48
  Speaker 1: by all occultists is regarded as of the deepest significance.
• 3:25:52
  Speaker 1: That there is a dynamic force in the ideal forms
• 3:25:55
  Speaker 1: which are found to be present in nature's creative processes
• 3:25:58
  Speaker 1: cannot be doubted. Everything points to this conclusion on all sides.
• 3:26:04
  Speaker 1: Proofs supporting this contention may be found in nature. It
• 3:26:08
  Speaker 1: is seen that there is a creative ideal form as
• 3:26:10
  Speaker 1: the nucleus of every creative process. Forms, combinations, coordinated activities,
• 3:26:17
  Speaker 1: arrangements of parts, elements, and factors of composition are found
• 3:26:21
  Speaker 1: to group themselves around the nucleus furnished by the creative ideal.
• 3:26:25
  Speaker 1: Just as the germ in the seed or egg gathers
• 3:26:28
  Speaker 1: to itself the material that it needs for growth. Just
• 3:26:31
  Speaker 1: as the seed or egg freely employs the natural forces
• 3:26:34
  Speaker 1: at its disposal, and they are always at its disposal,
• 3:26:37
  Speaker 1: he should note in order to manifest and express itself
• 3:26:40
  Speaker 1: in creative growth. So in every creative ideal form there
• 3:26:43
  Speaker 1: is found to be present that power to employ natural
• 3:26:46
  Speaker 1: forces for its purposes, the instinctive knowledge how and when
• 3:26:50
  Speaker 1: to employ those forces efficiently, and the desire will end
• 3:26:54
  Speaker 1: ability to draw to itself the material needed for its growth, development, expression,
• 3:27:00
  Speaker 1: and objective manifestation. Proceeding from the macrocosm to the microcosm,
• 3:27:05
  Speaker 1: from nature to man, and applying the ancient hermetic axiom
• 3:27:09
  Speaker 1: as above, so below we would consider it logically certain
• 3:27:12
  Speaker 1: that in man the individual we should find a corresponding
• 3:27:15
  Speaker 1: condition of things, i e. The presence and power of
• 3:27:19
  Speaker 1: the creative ideal form, the action of the latter in
• 3:27:22
  Speaker 1: the direction of drawing to itself, the material required for
• 3:27:25
  Speaker 1: its objective expression and manifestation, and the capacity for employing
• 3:27:29
  Speaker 1: natural forces for the purpose of accomplishing its end. We
• 3:27:34
  Speaker 1: should expect to find that in man, as in nature,
• 3:27:37
  Speaker 1: the creative ideal form not only seeks to express and
• 3:27:40
  Speaker 1: manifest itself in objective form and action, but also actually
• 3:27:44
  Speaker 1: does so express and manifest itself, and also is able
• 3:27:47
  Speaker 1: to press into its service the subtle forces of nature,
• 3:27:50
  Speaker 1: provided always that the creative ideal form be one sufficiently
• 3:27:55
  Speaker 1: strong and active, and two sufficiently clear and definite, the
• 3:27:59
  Speaker 1: spirit of the requirements being that of concentrated power. Discover
• 3:28:03
  Speaker 1: that we have not been deceived, nor conducting the above
• 3:28:07
  Speaker 1: mentioned inquiry we mocked. We find that the axiom as
• 3:28:11
  Speaker 1: above so below holds good in this as in many
• 3:28:14
  Speaker 1: another case. We find that the men and women who
• 3:28:17
  Speaker 1: have accomplished great things have always possessed these dynamic creative ideals,
• 3:28:22
  Speaker 1: and that those who have so possessed them have found
• 3:28:24
  Speaker 1: operating within themselves a mighty power of nature, and have
• 3:28:27
  Speaker 1: been conscious of the effects of these activities. Manifesting in
• 3:28:30
  Speaker 1: the world outside of themselves. The individuals of great attainment
• 3:28:35
  Speaker 1: sooner or later have become aware of this correspondence between
• 3:28:38
  Speaker 1: the inner dynamic creative ideal and the events and happenings
• 3:28:42
  Speaker 1: of the outside world, which are correlated to the inner purpose.
• 3:28:46
  Speaker 1: The individual with the dynamic creative ideal has established within
• 3:28:49
  Speaker 1: himself a great focal center of energy and power, and
• 3:28:52
  Speaker 1: to that center are being attracted and drawn things, persons, circumstances, thoughts, ideas, powers,
• 3:28:59
  Speaker 1: and others, things which are needed for the objective expression
• 3:29:02
  Speaker 1: manifestation of the inner ideal form, even in the lesser
• 3:29:06
  Speaker 1: activities of man. In the more mechanical forms of work,
• 3:29:10
  Speaker 1: he is able to perform better work and to perform
• 3:29:12
  Speaker 1: his work more efficiently, if he maintains a sufficiently clear
• 3:29:15
  Speaker 1: and strong creative ideal form of that which he wishes
• 3:29:18
  Speaker 1: to materialize in objective form. Psychologists have told us that
• 3:29:23
  Speaker 1: the best workmen are those who visualize the whole of
• 3:29:25
  Speaker 1: what they propose to do before they take a tool
• 3:29:28
  Speaker 1: in their hands, this being equally true of strategists, artists
• 3:29:32
  Speaker 1: of all kinds, physicists who contrive new experiments, and all
• 3:29:36
  Speaker 1: others who do not follow mere routine. They have told us,
• 3:29:40
  Speaker 1: for instance, that no man can be a good plumber
• 3:29:42
  Speaker 1: unless he uses his imagination. The ideal and its mental
• 3:29:46
  Speaker 1: image must precede the actual laying of the pipe. Likewise,
• 3:29:50
  Speaker 1: that the blacksmith is efficient only in the degree in
• 3:29:53
  Speaker 1: which he employs his imagination. Every time he strikes the
• 3:29:56
  Speaker 1: red hot iron, he makes it approximate the ideal image
• 3:30:00
  Speaker 1: in his mind. Kay says, a clear and accurate idea
• 3:30:04
  Speaker 1: of what we wish to do and how it is
• 3:30:06
  Speaker 1: to be affected, is of the utmost value and importance
• 3:30:09
  Speaker 1: in all of the affairs of life. A man's conduct
• 3:30:13
  Speaker 1: naturally shapes itself according to the ideas in his mind,
• 3:30:16
  Speaker 1: and nothing contributes more to success in life than having clear,
• 3:30:20
  Speaker 1: strong ideals and keeping them continually in view. Numerous unexpected
• 3:30:25
  Speaker 1: circumstances will be found to conspire to bring it about,
• 3:30:28
  Speaker 1: and even what seems at first hostile may be converted
• 3:30:31
  Speaker 1: into means for its furtherance. While by having the ideal
• 3:30:34
  Speaker 1: constantly before the mind, one will be ever ready to
• 3:30:37
  Speaker 1: take advantage of any favoring circumstances that may present themselves.
• 3:30:41
  Speaker 1: Bain says, by aiming at a new construction, we must
• 3:30:45
  Speaker 1: clearly conceive what is aimed at. Where we have a
• 3:30:48
  Speaker 1: very distinct and intelligible model before us, we are in
• 3:30:52
  Speaker 1: a fair way to succeed. In proportion, as the ideal
• 3:30:55
  Speaker 1: is dim and wavering, we stagger and miscarry. John Burrows.
• 3:31:00
  Speaker 1: No one ever found a walking fern who did not
• 3:31:02
  Speaker 1: have the walking fern in his mind. A person whose
• 3:31:06
  Speaker 1: mind is full of Indian relics picks them up in
• 3:31:08
  Speaker 1: every field through which he walks. They are found and
• 3:31:12
  Speaker 1: quickly recognized because the eye has been commissioned to find them.
• 3:31:16
  Speaker 1: In the great field of activities comprising the realm of desire,
• 3:31:20
  Speaker 1: we find that the energizing force of desire is called
• 3:31:23
  Speaker 1: forth in proportion to the degree of clearness, definiteness, and
• 3:31:26
  Speaker 1: distinctness of the ideal presented to it. Desire always is
• 3:31:30
  Speaker 1: called into action by the presence and power of ideas
• 3:31:33
  Speaker 1: and ideals. Desire is always the want of this thing
• 3:31:38
  Speaker 1: or the want to do that thing. It cannot want
• 3:31:41
  Speaker 1: or want to unless an idea or ideal is present
• 3:31:44
  Speaker 1: in sufficient force and definiteness to call forth its activities.
• 3:31:48
  Speaker 1: In fact, a strong ideal often arouses and attracts to
• 3:31:52
  Speaker 1: itself such a degree and amount of desire, that the
• 3:31:54
  Speaker 1: ideal itself seems to be but a focal point of desire,
• 3:31:58
  Speaker 1: or the desire seems to be the very soul of
• 3:32:00
  Speaker 1: the ideal. In desire power, the dominant want or want
• 3:32:05
  Speaker 1: to is the definite purpose. The idea of the achievement
• 3:32:08
  Speaker 1: or attainment of the end of the want or want
• 3:32:11
  Speaker 1: to is the definite ideal. Likewise, in the activities of
• 3:32:15
  Speaker 1: faith power, there is always found present a definite ideal.
• 3:32:19
  Speaker 1: Faith must always have its object. The more definite and
• 3:32:22
  Speaker 1: certain its object, the greater and more stable is the faith.
• 3:32:27
  Speaker 1: Faith is one of the great elemental spiritual powers. In
• 3:32:31
  Speaker 1: its form of confident expectation and expectant attention, it powerfully
• 3:32:35
  Speaker 1: moves the will. But faith power is but latent and
• 3:32:39
  Speaker 1: static unless it be aroused into dynamic power by the
• 3:32:42
  Speaker 1: presentation to it of an appropriate idea or ideal. Finally,
• 3:32:46
  Speaker 1: the activities of power are called forth only in response
• 3:32:50
  Speaker 1: to the idea or ideal which has in the first
• 3:32:52
  Speaker 1: place aroused the desire which rises into will, and which
• 3:32:56
  Speaker 1: in the second place has served as a standard of
• 3:32:59
  Speaker 1: measurement of will values, and which in the third place
• 3:33:02
  Speaker 1: now serves as a beacon standard or mark placed far
• 3:33:06
  Speaker 1: ahead on the path of attainment, serving to point out
• 3:33:09
  Speaker 1: the way to be traveled and the direction to be followed.
• 3:33:12
  Speaker 1: It is an axiom of psychology that the will goes
• 3:33:15
  Speaker 1: out in action only toward an idea or ideal presented
• 3:33:18
  Speaker 1: to it. It might be added that the will is
• 3:33:21
  Speaker 1: held to its path only by the perception of the
• 3:33:23
  Speaker 1: idea or ideal, which marks its course and indicates its direction.
• 3:33:28
  Speaker 1: Certain philosophers and psychologists have noted that it is almost
• 3:33:32
  Speaker 1: impossible to distinguish between concentrated will and the highly developed,
• 3:33:36
  Speaker 1: definite concentrated idea or ideal. The two seem to have
• 3:33:39
  Speaker 1: been combined and blended into one mental power. This correspondence
• 3:33:44
  Speaker 1: between imagination and will frequently has been noted in the
• 3:33:47
  Speaker 1: present work. But in pursuance of the rule of the
• 3:33:50
  Speaker 1: unity of the mind, we find that just as truly
• 3:33:53
  Speaker 1: as desire, faith, imagination, and will may be and are
• 3:33:57
  Speaker 1: called into action, power and stress by the presentation of
• 3:34:01
  Speaker 1: an idea or ideal, so is it true that the
• 3:34:03
  Speaker 1: creative ideal may be strengthened, energized, and given definite form
• 3:34:08
  Speaker 1: by the application of the respective powers of desire, faith, imagination,
• 3:34:12
  Speaker 1: and will. There is always action, reaction, and interaction in
• 3:34:17
  Speaker 1: the realm of the mind. Its powers are correlated and coordinated.
• 3:34:20
  Speaker 1: Each is bound up with the others, and each aids
• 3:34:23
  Speaker 1: and helps the others when needed. We may concentrate our
• 3:34:27
  Speaker 1: attention upon any one of the great powers of the mind,
• 3:34:30
  Speaker 1: and that particular power will seem to be the dominant one. When, however,
• 3:34:35
  Speaker 1: we proceed to contemplate and to study the others, we
• 3:34:38
  Speaker 1: find that each, in turn seems to be the dominant power.
• 3:34:42
  Speaker 1: The truth is that no one of these great powers
• 3:34:44
  Speaker 1: can operate effectively unless the other powers co operate with
• 3:34:48
  Speaker 1: it and proceed with it in coordinated action. The creative ideal,
• 3:34:53
  Speaker 1: in order to be effective, indeed, in order to be
• 3:34:56
  Speaker 1: truly creative, must be one strong and too definite. Its
• 3:35:02
  Speaker 1: strength is increased by the energizing power of desire, the
• 3:35:05
  Speaker 1: inspiring power of faith, and the determining power of will. Moreover,
• 3:35:11
  Speaker 1: by means of imagination, presenting to it mental pictures of
• 3:35:14
  Speaker 1: itself as actually expressed and manifested in objective material form.
• 3:35:18
  Speaker 1: The creative ideal is further aroused into action in response
• 3:35:22
  Speaker 1: to that essential urge, instinct, or appotency of its nature
• 3:35:25
  Speaker 1: which causes it to strive ever to manifest itself in
• 3:35:28
  Speaker 1: outward action and form. In strengthening an ideal form which
• 3:35:32
  Speaker 1: you wish to raise to the rank and power of
• 3:35:34
  Speaker 1: a dynamic creative ideal, you should bring to bear upon
• 3:35:37
  Speaker 1: it the combined powers of your desire, faith, imagination, and will.
• 3:35:42
  Speaker 1: The creative ideal, in order to be effective and truly creative,
• 3:35:46
  Speaker 1: must be dear, positive, and definite. Here the ideal calls
• 3:35:51
  Speaker 1: upon those mighty twin elements of the spirit, the ideative
• 3:35:54
  Speaker 1: and volitional faculties, namely imagination and Willation supplies the definite pattern,
• 3:36:01
  Speaker 1: model or design which the ideal wishes to manifest, while
• 3:36:05
  Speaker 1: Will proceeds to cut away the encumbering marble or granite
• 3:36:08
  Speaker 1: which hides the definite form of the ideal as represented
• 3:36:11
  Speaker 1: by the artist's pattern, design or mold. Will, however, does
• 3:36:16
  Speaker 1: not create the ideal. The ideal is self created, or
• 3:36:20
  Speaker 1: else is originally created by that i ami which is
• 3:36:23
  Speaker 1: the center and focal point present in the mental kingdom.
• 3:36:26
  Speaker 1: But will serve as a necessary purpose and an essential
• 3:36:29
  Speaker 1: task when it proceeds to chip away, to chisel away,
• 3:36:32
  Speaker 1: to hammer away all the great mass of mental granite
• 3:36:36
  Speaker 1: or marble which hides the beautiful inner form of the
• 3:36:38
  Speaker 1: ideal its pure form. The ideal form is actually existent,
• 3:36:44
  Speaker 1: never forget that. But before it may be perceived and
• 3:36:47
  Speaker 1: employed as a model, standard, and guide, it must be
• 3:36:50
  Speaker 1: released from that which encumbers its pure form and hides
• 3:36:53
  Speaker 1: it from view. In the master formula of attainment, the
• 3:36:56
  Speaker 1: first element is that of definite ideals, not merely ideals,
• 3:37:01
  Speaker 1: but particularly definite ideals. In all of the principal books
• 3:37:05
  Speaker 1: of this series, this element of definite ideals is dwelt
• 3:37:08
  Speaker 1: upon a considerable length in one form or another. In
• 3:37:12
  Speaker 1: the preceding sections of the present book, you will find
• 3:37:15
  Speaker 1: it presented under the form of definite purpose. The factor
• 3:37:19
  Speaker 1: of definiteness is emphasized in all such presentations, for upon
• 3:37:23
  Speaker 1: such definiteness depends much of the power of the ideal
• 3:37:26
  Speaker 1: standard or purpose. It must stand out in attention, perception,
• 3:37:32
  Speaker 1: and thought. It must represent that just what of the want, ambition, faith, effort,
• 3:37:38
  Speaker 1: or thought. It denotes just what you like, desire, believe in,
• 3:37:44
  Speaker 1: adopt as a standard of values, use as your guide
• 3:37:46
  Speaker 1: on the road of attainment, and strive to manifest and
• 3:37:49
  Speaker 1: express in thought, word, and deed an ideal standard or
• 3:37:54
  Speaker 1: purpose is definite in the degree in which it is certain, clear, plain, distinct, specific, exact, precise,
• 3:38:03
  Speaker 1: fixed in understanding and meaning. Its mental form must be distinct, clear, sharp,
• 3:38:08
  Speaker 1: clear cut, sharp cut. Indistinctness, indefiniteness, ambiguity, uncertainty, vagueness, and
• 3:38:16
  Speaker 1: obscurity of understanding and meaning are to be avoided in
• 3:38:19
  Speaker 1: your ideals, that is, if you wish to have them
• 3:38:22
  Speaker 1: creative and dynamic. Strong and definite creative ideals are properly
• 3:38:27
  Speaker 1: called dynamic ideals, for they manifest all the qualities and
• 3:38:31
  Speaker 1: powers which are indicated by the term dynamic. Dynamic means powerful,
• 3:38:37
  Speaker 1: filled with energy, capable of manifesting force, energy, power, motion,
• 3:38:42
  Speaker 1: and action. The dynamic aspect or phase of anything is
• 3:38:46
  Speaker 1: that in which the thing manifests motion, action, activity. Its
• 3:38:50
  Speaker 1: static aspect or phase is that in which it exists
• 3:38:53
  Speaker 1: in a state of rest and in action. Your dynamic
• 3:38:57
  Speaker 1: ideals are those ideals existing in your mind which are
• 3:39:00
  Speaker 1: one sufficiently powerful to move into action and to manifest
• 3:39:04
  Speaker 1: their inherent force and energy, and two sufficiently definite to
• 3:39:08
  Speaker 1: concentrate those forces and energies into a one pointed focus
• 3:39:12
  Speaker 1: of ideas and will. Only a dynamic ideal can be
• 3:39:16
  Speaker 1: a creative ideal, and all dynamic ideals are and must
• 3:39:20
  Speaker 1: be creative ideals by reason of their very nature. The
• 3:39:24
  Speaker 1: dynamic ideal must create, for creative activity is its essential nature. Creation,
• 3:39:31
  Speaker 1: as you know, consists of compounding, composing, building, putting together, making,
• 3:39:36
  Speaker 1: manufacturing new forms from the materials at hand. The dynamic
• 3:39:41
  Speaker 1: ideal tends to express and manifest itself in creating a
• 3:39:44
  Speaker 1: new environment for its possessor, in building a new set
• 3:39:47
  Speaker 1: of conditions for him. Such environment and conditions, however, being
• 3:39:51
  Speaker 1: in harmony in agreement with the spirit of the ideal.
• 3:39:55
  Speaker 1: In short, the dynamic ideal tends toward making the ideal
• 3:39:59
  Speaker 1: become real in building up a material world of experience
• 3:40:02
  Speaker 1: corresponding to its inner mental world of experience. It experiments
• 3:40:07
  Speaker 1: in order to build up the experience it tears down, rebuilds,
• 3:40:12
  Speaker 1: builds anew just as the mind of the inventor, the artist,
• 3:40:16
  Speaker 1: the writer proceeds in creating its particular form of expression.
• 3:40:20
  Speaker 1: The dynamic creative ideal, in fact, is composed of two
• 3:40:24
  Speaker 1: associated elements, namely, a, the element of definite and concentrated idea,
• 3:40:29
  Speaker 1: and B the element of definite and concentrated will. The
• 3:40:34
  Speaker 1: idea plans, invents, and points out the direction of the action,
• 3:40:38
  Speaker 1: though will execute the action according to the plan thus
• 3:40:41
  Speaker 1: furnished it. This brings us back once more to the
• 3:40:44
  Speaker 1: teachings of the ancient occultists, who held that, at the last,
• 3:40:48
  Speaker 1: there are but two fundamental mental or spiritual forces, and
• 3:40:52
  Speaker 1: these really are but twin aspects of spirit. These two
• 3:40:56
  Speaker 1: fundamental forces or aspects are one the matter, which was
• 3:41:01
  Speaker 1: held to involve all thinking, reasoning, and mental imaging of
• 3:41:04
  Speaker 1: any sort, and two will, which was held to involve
• 3:41:08
  Speaker 1: all feelings and desires, all voluntary action, all determination, judgment, decision,
• 3:41:14
  Speaker 1: and volition. All other mental faculties or powers were held
• 3:41:18
  Speaker 1: to be but a phases or derivative forms of imagination
• 3:41:22
  Speaker 1: or will, or be combinations and compositions of imagination and
• 3:41:27
  Speaker 1: will in which the elements of each are blended. In
• 3:41:31
  Speaker 1: that book of this series entitled Personal Power, we have
• 3:41:34
  Speaker 1: shown you that the twin giants of personal power are ideation, volition,
• 3:41:38
  Speaker 1: or in other words, idea will. The more you ponder
• 3:41:42
  Speaker 1: over this teaching, the stronger will grow your conviction of
• 3:41:45
  Speaker 1: the underlying identity of ideation and volition, That imagination and
• 3:41:49
  Speaker 1: will are twing giants inseparable, always operating in conjunction with
• 3:41:53
  Speaker 1: each other. This being so, you will begin to understand
• 3:41:56
  Speaker 1: how and why a strong, vigorous, definite ideal may be
• 3:41:59
  Speaker 1: become a dynamic creative ideal by means of calling into operation,
• 3:42:03
  Speaker 1: in effect its twin aspect of dynamic will. For the
• 3:42:07
  Speaker 1: purposes of easy thought on the subject and the manifestation
• 3:42:10
  Speaker 1: of this principle, you may think of the dynamic creative
• 3:42:13
  Speaker 1: ideal as having the soul of idea and the bodily
• 3:42:15
  Speaker 1: strength of will. You may render your ideals dynamic and
• 3:42:19
  Speaker 1: creative by means of the employment of desire, faith, imagination,
• 3:42:24
  Speaker 1: and will. Applying the principle of the master formula. You
• 3:42:28
  Speaker 1: one must know exactly what you want that creative ideal
• 3:42:32
  Speaker 1: to be. Two you must desire insistently that it be such.
• 3:42:36
  Speaker 1: Three you must confidently expect that it will be such.
• 3:42:39
  Speaker 1: Four you must persistently determine that it will be such.
• 3:42:42
  Speaker 1: And five you must pay the price of work, service, application, concentration,
• 3:42:48
  Speaker 1: and of the relinquishment of opposing ideas and ideals, desires,
• 3:42:52
  Speaker 1: and feelings. By means of insistent desire, confident expectation, and
• 3:42:57
  Speaker 1: persistent determination, the creative idea may be raised to the
• 3:43:01
  Speaker 1: rank and power of dynamic idealization. Keep your creative ideals
• 3:43:06
  Speaker 1: always before you think of them, dream of them, make
• 3:43:09
  Speaker 1: them a part of your very soul. Encourage them by
• 3:43:12
  Speaker 1: visualizations of their realization in objective form, Brace them with affirmations,
• 3:43:17
  Speaker 1: Give to them the force of habit by endeavoring to
• 3:43:20
  Speaker 1: act upon their principles as often in so far as
• 3:43:23
  Speaker 1: is possible, think, feel, and act in their terms. Assimilate
• 3:43:28
  Speaker 1: them to such an extent that your personal, mental, and
• 3:43:31
  Speaker 1: physical instruments of expression may become their outward machinery. Let
• 3:43:35
  Speaker 1: even your personal being become as the willing instrument of
• 3:43:38
  Speaker 1: the manifestation into objective form of these dynamic creative ideals.
• 3:43:43
  Speaker 1: Live for the purpose of making your ideals become real.
• 3:43:47
  Speaker 1: What will be the result of the creation and maintenance
• 3:43:50
  Speaker 1: of such dynamic creative ideals, you may ask, Here is
• 3:43:55
  Speaker 1: the answer of those wise and illumined members of the
• 3:43:57
  Speaker 1: race who establish the esoteric schools of ancient philosophy, and
• 3:44:01
  Speaker 1: of the equally wise and illumined members of the race
• 3:44:04
  Speaker 1: of today who are striving to sow the seeds of
• 3:44:06
  Speaker 1: the inner teachings in the minds of those who are
• 3:44:08
  Speaker 1: prepared to receive them, nourish them, and allow them to develop,
• 3:44:12
  Speaker 1: grow and bear blossom and fruit. Here is the answer
• 3:44:16
  Speaker 1: of such great souls. You are the creator of your
• 3:44:19
  Speaker 1: own world of experience. Consciously or unconsciously, You are molding
• 3:44:24
  Speaker 1: your world of experience and determining your own destiny, in
• 3:44:29
  Speaker 1: ignorance or in wisdom, for good or for evil. You
• 3:44:32
  Speaker 1: are creating, building, constructing the scenery of that world in
• 3:44:36
  Speaker 1: which you live and move and have your being. For
• 3:44:39
  Speaker 1: weal or for woe. You are thus building, for better
• 3:44:43
  Speaker 1: or for worse. You are thus constructing. Your personal world
• 3:44:47
  Speaker 1: of experience is largely what you, yourself, have made it.
• 3:44:51
  Speaker 1: Your ideals, ever, tend to become real. You are always
• 3:44:55
  Speaker 1: realizing your ideals. What you have been doing unconsciously, you
• 3:45:00
  Speaker 1: may now proceed to do consciously. By creating and controlling
• 3:45:04
  Speaker 1: your ideals, you create and control your world of experience.
• 3:45:08
  Speaker 1: You may become an active master of creation instead of
• 3:45:11
  Speaker 1: a passive slave. The strong, definite, dynamic, creative ideal will
• 3:45:17
  Speaker 1: call forth the full powers of your body, of your mind,
• 3:45:20
  Speaker 1: and of your spirit. Reason, imagination, invention will perform their
• 3:45:25
  Speaker 1: best work under its influence. Desire will energize more intensely,
• 3:45:29
  Speaker 1: and will determine more persistently. Under its influence. The wonderful
• 3:45:34
  Speaker 1: storehouse of the subconscious will open wide its doors when
• 3:45:37
  Speaker 1: the creative ideal gives the right knock. The still higher
• 3:45:41
  Speaker 1: realm of the super conscious will superimpose its wisdom and
• 3:45:44
  Speaker 1: knowledge upon the conscious mind. When this be demanded by
• 3:45:47
  Speaker 1: the dynamic ideal, all things will work together for good
• 3:45:51
  Speaker 1: for him in whom the dynamic creative ideal is manifesting
• 3:45:55
  Speaker 1: its power. I call them all forth, and forth come
• 3:45:58
  Speaker 1: they in answer to my call, says the Spirit of
• 3:46:01
  Speaker 1: the Ideal in the old allegory of the orient, and
• 3:46:04
  Speaker 1: chief of all. And the first to come forth is
• 3:46:06
  Speaker 1: my twin brother Will, concludes that ideal spirit. Definite ideal
• 3:46:11
  Speaker 1: and concentrated will. These are the twin giants of your
• 3:46:14
  Speaker 1: creative power. Cultivate and develop both of them, and to
• 3:46:18
  Speaker 1: an equal extent. Do not let your definite ideals suffer
• 3:46:22
  Speaker 1: by reason of the lack of pulling and pushing power
• 3:46:25
  Speaker 1: of your concentrated will. Neither let your concentrated will become
• 3:46:29
  Speaker 1: static and inert by reason of the lack of the
• 3:46:31
  Speaker 1: directing and guiding power of your definite ideals, grasp the
• 3:46:35
  Speaker 1: hands of the twin giants, one on the right of you,
• 3:46:38
  Speaker 1: one on your left, and then let the I am
• 3:46:41
  Speaker 1: I give the command forward march naught can oppose the
• 3:46:45
  Speaker 1: phalanx composed of your definite ideals, your real self, your
• 3:46:49
  Speaker 1: concentrated will. Rightly may such a combination shout its battle cry,
• 3:46:54
  Speaker 1: I can, I will, I dare I do. The will
• 3:46:58
  Speaker 1: that can is the will that knows. The ancient Buddhists
• 3:47:02
  Speaker 1: had an old aphorism which ran something like this. To
• 3:47:05
  Speaker 1: know rightly is to think rightly. To think rightly is
• 3:47:09
  Speaker 1: to will rightly. To will rightly is to act rightly.
• 3:47:12
  Speaker 1: The root of action is knowledge. The fruit of knowledge
• 3:47:15
  Speaker 1: is action. The ancient Chaldeans had a similar proverb. He
• 3:47:19
  Speaker 1: who knows is able to will effectively. He who wills
• 3:47:23
  Speaker 1: effectively creates his world. All through the secret doctrines runs
• 3:47:28
  Speaker 1: this song of ideal will, of knowing and doing, and
• 3:47:31
  Speaker 1: the most practical thinkers of our own times and lands
• 3:47:34
  Speaker 1: echo the ancient reports. Perhaps the highest phases of philosophical
• 3:47:39
  Speaker 1: metaphysical thought are those which hold that the only adequate
• 3:47:42
  Speaker 1: explanation of the universe is to be had In that hypothesis,
• 3:47:45
  Speaker 1: which postulates the existence of an eternal, infinite spiritual principle,
• 3:47:49
  Speaker 1: the essence of which is life, will and ideative consciousness,
• 3:47:53
  Speaker 1: the essential powers of which are animation, ideation, and volition, respectively.
• 3:47:59
  Speaker 1: In this view, universal creation creative evolution is accomplished by
• 3:48:04
  Speaker 1: means of the power of the living will, taking the
• 3:48:06
  Speaker 1: forms and configurations patterned by the living idealizing power. Daring
• 3:48:12
  Speaker 1: thinkers have likened the universe to a cosmic dramatization of
• 3:48:15
  Speaker 1: the ideas and ideals evolved by the infinite consciousness of spirit,
• 3:48:19
  Speaker 1: the machinery of creation being operated by the infinite will
• 3:48:22
  Speaker 1: of Spirit. Be this as it may, every careful and
• 3:48:26
  Speaker 1: honest thinker has been compelled, at least at times to
• 3:48:29
  Speaker 1: admit that there is no escape from the conviction that
• 3:48:32
  Speaker 1: the universe shows the progressive working out in manifestation of
• 3:48:35
  Speaker 1: a cosmic purpose, intention and aim. In short, that the
• 3:48:39
  Speaker 1: universe is the materialization of a pre existing cosmic idea
• 3:48:43
  Speaker 1: or ideal. The processes of cause and effect show the
• 3:48:47
  Speaker 1: presence and operation of something like pure deductive logic in
• 3:48:50
  Speaker 1: the activities of the universe. Many poets, writers, and dramatists
• 3:48:56
  Speaker 1: have pointed out that in the processes of the universe.
• 3:48:58
  Speaker 1: There is manifested the presence an action of something that
• 3:49:01
  Speaker 1: might he called the author, a something or somewhat that
• 3:49:04
  Speaker 1: develops a cosmic plot of creation, and then logically, consistently
• 3:49:08
  Speaker 1: and artistically proceeds to perform the work of material evolutionary
• 3:49:12
  Speaker 1: creation upon the lines of that ideal plot. They point
• 3:49:16
  Speaker 1: out that the characters, circumstances, actions, and events of the
• 3:49:20
  Speaker 1: universe always hang together, always manifesting that unity, coherence, and
• 3:49:25
  Speaker 1: balance which distinguished the literary compositions of the best writers.
• 3:49:30
  Speaker 1: This lofty conception may be but the fanciful expression of
• 3:49:33
  Speaker 1: the perception by competent observers of that something at work
• 3:49:36
  Speaker 1: in the universe which bears a close resemblance to the
• 3:49:39
  Speaker 1: something at work in their own minds. Or again, it
• 3:49:43
  Speaker 1: may be the result of a deep intuition of truth,
• 3:49:46
  Speaker 1: whatever it may be. At the last, it certainly expresses
• 3:49:49
  Speaker 1: a conviction that has come to many deep thinkers in
• 3:49:52
  Speaker 1: all ages and all lands, many of whom had never
• 3:49:55
  Speaker 1: heard the like expression of others of their kind. Whatever
• 3:49:58
  Speaker 1: may be the ultimate truth, it is certain that man
• 3:50:01
  Speaker 1: has at his disposal a mighty creative power, which, in
• 3:50:04
  Speaker 1: its more familiar phases is called constructive imagination, and which
• 3:50:08
  Speaker 1: in its less familiar esoteric transcendental phase, is called what
• 3:50:14
  Speaker 1: Man in his own realm is a creator, and the
• 3:50:17
  Speaker 1: limits of his realm are determined by himself, by his imagination,
• 3:50:21
  Speaker 1: by his will,