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Chapter twenty six, Riding the Winged
Horse. To think and to feel constitute

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the two grand divisions of men of
genius, the men of reasoning and the

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men of imagination Isaac Disraeli Literary Character
of men of genius. And as imagination

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bodies forth the forms of things unknown, the poet's pen turns them to shapes,

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and gives to air in nothing,
a local habitation and a name Shakespeare,

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Midsummer Night's Dream. It is common
among those who deal chiefly with life's

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practicalities to think of imagination as having
little value in comparison with direct thinking.

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They smile with tolerance when Emerson says
that science does not know its debt to

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the imagination. For these the words
of a speculative essayist, a philosopher,

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a poet. But when Napoleon the
indomitable world empires declares that the human race

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is governed by its imagination, the
authoritative word commands their respect. Be it

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remembered. The faculty of forming mental
images is as efficient a cog as may

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be found in the whole mind machine. True, it must fit into the

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other vital cog, pure thought.
But when it does so, it may

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be questioned which is the more productive
of important results for the happiness and well

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being of man. There should become
more apparent as we go on. One

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what is imagination? Let us not
seek for a definition, for a score

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of varying ones may be found,
But let us grasp this fact. By

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imagination we mean either the faculty or
the process of forming mental images. The

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subject matter of imagination may be really
existent in nature, or not at all

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real, or a combination of both. It may be physical or spiritual,

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or both. The mental image is
at once the most lawless and the most

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law abiding child that has ever been
born of the mind. First of all,

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as its name suggests, the process
of imagination, for we are thinking

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of it now as a process rather
than as a faculty, is memory at

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work. Therefore we must consider it
primarily as one reproductive imagination. We see

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or hear, or feel or taste
or smell something, and the sensation passes

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away. Yet we're conscious of a
greater or lesser ability to reproduce such feelings

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at will. Two considerations, in
general, will govern the vividness of the

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image thus evoked, the strength of
the original impression and the reproductive power of

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one mind as compared with another.
Yet every normal person will be able to

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evoke images with some degree of clearness. The fact that not all minds possessed

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this imaging faculty in anything like equal
measure will have an important bearing on the

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public speaker's study of this question.
No man who does not feel at least

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some poetic impulses is likely to aspire
seriously to be a poet. Yet many

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whose imaging faculties are so dormant as
to seem actually dead, do aspire to

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be public speakers. To all such, we say, most earnestly, awaken

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your image making gift, for even
in the most coldly logical discourse, it

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is short approve of great service.
It is important that you find out at

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once just how full and how trustworthy
is your imagination, for it is capable

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of cultivation as well as of abuse. Francis Gorton footnote inquires into human faculty.

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Francis Gorton says the French appear to
possess the visual faculty in a high

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degree. The peculiar ability they show
in pre arranging ceremonials and fates of all

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kinds, and their undoubted genius for
tactics and strategy show that they're able to

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foresee effects with unusual clearness. Their
ingenuity in all technical contrivances is an additional

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testimony in the same direction, and
so is their singular clearness of expression.

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Their phrase figure revous or picture to
yourself seems to express their dominant mode of

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perception. Our equivalent of image is
ambiguous. But individuals differ in this respect

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just as markedly as, for instance, the Dutch do from the French.

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And this is true not only of
those who are classified by their friends as

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being respectively imaginative or unimaginative, but
of those whose gifts or habits are not

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well known. Let us take for
expe periments six are the best known types

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of imaging, and see in practice
how they arise in our own minds.

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By all odds, the most common
type is at the visual image. Children

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who more readily recall things seen than
things heard are called by psychologists I minded,

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and most of us are bent in
this direction. Close your eyes now

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and recall the word thus hyphenated as
more suggestive the scene around this morning's breakfast

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table. Possibly there was nothing striking
in the situation, and the images therefore

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not striking, then image any notable
table scene in your experience, how vividly

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it stands forth, Because at the
time you felt the impressions strongly just then,

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you may not have been conscious of
how strongly the scene was laying hold

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upon you. For often we are
so intent upon what we see that we

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give no particular thought to the fact
that it is impressing us. It may

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surprise you to learn and how accurately
you are able to image a scene when

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a long time has elapsed between the
conscious focusing of your attention on the image

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and the time when you saw the
original b The auditory image is probably the

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next most vivid of our recalled experiences. Here association is potent to suggest similarities.

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Close out all the world beside,
and listen to the peculiar wood against

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wood, sound of the sharp thunder
among rocky mountains. The crash of ball

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against tenpins may suggest it, or
image. The word is imperfect, for

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it seems to suggest only the eye
the sound of tearing ropes when some precious

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weight hangs in danger, or record
the bay of a hound almost upon you

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in pursuit. Choose your own sound
and see how pleasantly or terribly real it

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becomes when imaged in your brain.
See. The motor image is a close

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competitive with the auditory for the second
place. Have you ever awakened in the

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night, every muscle taut and striving
to feel yourself straining against the opposing football

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line that held like a stone wall, or as firmly as the headboard of

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your bed, Or voluntarily recall the
movement of the boat when you cried inwardly

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it's all up with me. The
perilous lurch of a train, the sudden

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sinking of an elevator, or the
unexpected toppling of a rocking chair may serve

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as further experiments d The gustatory image
is common enough, as the idea of

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eating lemons will testify. Sometimes the
pleasurable recollection of a delightful dinner will cause

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the mouth to water years afterward,
while the image of particularly atrocious medicine will

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wrinkle the nose long after it has
made one day in boyhood wretched d The

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olfactory image is even more delicate.
Some there are who are affected to illness

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by the memory of certain odors,
while others experience the most delectable sensations by

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the rise of pleasing olfactory images.
F The tactile image to name no others

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is well nigh as potent. Do
you shudder at the thought of velvet rubbed

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by short nailed finger tips? Or
were you ever burned by touching an ice

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cold stove? Or happier memory,
can you still feel the touch of a

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well loved absent hand. Be it
remembered that few of these images are present

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in our minds, excepting combination.
The sight and sound of the crashing avalanche

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are one. So are the flash
and report of the huntman's gun that came

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so near doing for us. Thus, imaging, especially conscious reproductive imagination,

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will become a valuable part of our
mental processes portion as we direct and control

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it. Two productive imagination all of
the foregoing examples, and doubtless also many

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of the experiments you yourself may originate
are merely reproductive. Pleasurable or horrific.

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As these may be, they're far
less important than the images evoked by the

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productive imagination, though that does not
infer a separate faculty. Recall again,

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for experiment, some scene whose beginning
you once saw enacted on a street corner,

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but passed by before the day numon
was ready to be disclosed. Recall

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it all that far the image is
reproductive. But what followed, Let your

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fantasy roam at pleasure. The succeeding
scenes are productive, for you have more

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or less consciously invented the unreal on
the basis of the real. And just

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here the fictionist, the poem,
and the public speaker will see the value

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of productive imagery. True, the
feet of the idol you build on the

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ground, but its head pierces the
clouds. It is a sun of both

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earth and heaven. One fact it
is important to note here imagery is a

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valuable mental asset in proportion as it
is controlled by the higher intellectual power of

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pure reason. The untutored child of
nature thinks largely in images, and therefore

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attaches to them undue importance. He
readily confuses the real with the unreal.

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To him, they are of like
value. But the man of training readily

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distinguishes the one from the other and
evaluates each with some if not with perfect

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justice. So we see, the
unrestrained imaging may produce a rudderless steamer,

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while the trained faculty is the graceful
sloop, skimming the seas at her skill,

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as will her course, steaded by
the helm of reason and her lightsome

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wings catching every air of heaven,
the game of chess, the warlord's tactical

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plan, the evolution of a geometrical
theorem, the devising of a great business

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campaign, the elimination of waste in
a factory, the day numa of a

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powerful drama, the overcoming of an
economic obstacle, the scheme for a sublime

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poem, and the convincing siege of
an audience. May, nay, indeed

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must each be conceived in an image
and wrought to reality according to the plans

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and specifications laid upon the trestle board
by some modern imaginative hireum. The farmer

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who would be content with the seed
he possesses, would have no harvest.

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Do not rest satisfied with the ability
to recall images, but cultivate your creative

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imagination by building what might be upon
the foundation of what is. Two the

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uses of imaging in public speaking.
By this time you will have already made

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some general application of these ideas to
the art of the platform. But in

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several specific uses we must now refer. One Imaging in speech preparation. A

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set the image of your audience before
you while you prepare, Disappointment may lurk

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here, and you cannot be forearmed
for every emergency. But in the main,

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you must meet your audience before you
actually do. Image its probable mood

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and attitude toward the occasion, the
theme and the speaker b conceive your speech

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as a whole while you are preparing
its parts. Else can you not see

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image how its parts shall be fitly
framed together? See image. The language

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you will use, so far as
written or extemporaneous speech, may dictate the

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habit of imaging, will give you
choice of varied figures of speech. For

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remember that an address without fresh comparisons
is like a garden without blooms. Do

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not be content with the first hackneyed
figure that comes flowing to your pen point,

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but dream on until the striking,
the unusual, yet the vividly real,

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comparison points your thought like steel does
the arrow tip. Note the freshness

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and effectiveness of the following description from
the opening of o'henles's story The Harbinger,

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Long before the springtide has felt in
the dull bosom of the yokel does a

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city man know that the grass green
goddess is upon her throne? He sits

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at his breakfast, eggs and toast, begirt by stone Walls opens his morning

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paper and sees journalism leave vernalism at
the post. For whereas Spring's couriers were

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once the evidence of their finer senses, now the Associated Press does the trick.

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The warble of the first robin in
Hackensack, the stirring of the maple

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sap in Bennington, the budding of
the pussy willows along the main street in

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Syracuse, the first chirp of the
blue bird, the swan song of the

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Blue Point, the annual tornado in
Saint Louis, the plaint of the peach

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pessimists from Pompton, New Jersey.
The regular visit of the tame wild goose

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with the broken leg to the pond
near build Water Junction. The base attempt

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of the Drug Trust to boost the
price of quinine foiled in the house by

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Congressman Jinks. The first tall poplar
struck by lightning, and the usual stunned

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picnickers who had taken refuge. The
first crack of the ice jam in the

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Allegheny River. The finding of a
viole in its mossy bed by the correspondent

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at Round Corners. These are the
advanced signs of the burgeoning season that are

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wired into the wise city, while
the pharmacies nothing but winter upon his dreary

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fields. But these be mere externals. The true harbinger is the heart.

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When Streffen seeks his Chloe, and
Mike is Maggie. Then, only as

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spring arrived and the newspaper report of
the five foot rattler killed in Squire's Pettigrew's

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pasture confirmed, a hackneyed writer would
probably have said that the newspaper told the

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city man about spring before the farmer
could see any evidence of it, but

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that the real harbinger of spring was
love, and that in the spring a

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young man's fancy lightly turns to thoughts
of love. Two. Imaging in speech

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delivery. When once the passion of
speech is on you, and you are

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warmed up by striking till the iron
is hot, so that you may not

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fail to strike when it is hot, your mood will be one of vision,

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then a reimage past emotion, of
which more elsewhere, the actor recalls

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the old feelings every time he renders
his telling lines. B reconstruct In image

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the scenes, you are to describe
ce image the objects in nature whose tone

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you are delineating, so that bearing
and voice and movement gesture will picture forth

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the whole convincingly. Instead of merely
stating the fact that whiskey ruins homes.

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The temperance speaker paints a drunkard coming
home to abuse his wife and strike his

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children. It is much more effective
than telling the truth in abstract terms.

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To depict the cralness of war,
do not assert the fact abstractly war is

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cruel. Show the soldier an arm
swept away by a bursting shell, lying

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on the battlefield pleading for water.
Show the children with tear stained faces pressed

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against the window pane, praying for
their dead father to return. Avoid general

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and prosaic terms. Paint pictures.
Evolve images for the imagination of your audience

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to construct into pictures of their own. Three. How to acquire the imaging

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habit. You remember the American statesman
who asserted that the way to resume is

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to resume. The application is obvious. Beginning with the first simple analyzes of

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this chapter, test your own qualities
of image making. One by one,

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practice to several kinds of images,
then add even invent others in combination.

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For many images has come to us
in complex form like the combined noise and

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shoving and hot odor of a cheering
crowd. After practicing on reproductive imaging,

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turn to the productive, beginning with
the reproductive and adding productive features for the

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sake of cultivating invention. Frequently allow
your originating gifts full swing by weaving complete

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imaginary fabrics, sights, sounds,
scenes, or the fine world of fantasy

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lies open to the journeyings of your
winged steed. In like manner, train

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yourself in the use of figurative language. Learn first to distinguish and then to

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use its varied forms. When used
with restraint, nothing can be more effective

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than the trope. But once let
extravagance creep in by the window, and

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power will flee by the door.
All in all, master your image,

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let not them master you. Questions
and exercises. One, give original examples

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of each kind of reproductive imagination.
Two Build two of these into imaginary incidents

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for platform use using your productive or
creative imagination. Three Define a fantasy b

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vision see fantastic d phantasmagoria e transmogrify
f recollection. Four What is a figure

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of speech? Five? Define and
give two examples of each of the following

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figures of speech. Footnote consult any
good rhetoric. An unabridged dictionary will also

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be of help. At least one
of the examples under each type would better

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be original A simile, B,
metaphor C metonymy D, sectarchie E apostrophe,

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F, vision, G personification,
H, hyperbole, I irony.

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Six A what is an allegory?
B Name one example? C How could

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a short allegory be used as part
of a public address? Seven Write a

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short fable footnote For a full discussion
of the form, see the Art of

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story Writing by j berg S and
Wine and Mary D. Chambers. Seven

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Write a short fable for use in
a speech, follow either the ancient form

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esop or the modern George Ade Josephine
Dodge Dascombe. Eight What do you understand

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and by the historical present, illustrate
how it may be used only occasionally in

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a public address. Nine. Recall
some disturbance on the street. A.

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Describe it as you would on the
platform. B. Imagine what preceded the

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disturbance. C Imagine what followed it. D. Connect the whole in a

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terse, dramatic narration for the platform, and deliver it with careful attention to

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all that you have learned of the
public speaker's art. Ten. Do the

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same with other incidents you have seen
or heard of or read of in the

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newspapers. Note it is hoped that
this exercise will be varied and expanded until

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the student has gained considerable mastery of
imaginative narration. See chapter on narration eleven.

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Experiments have proved that the majority of
people think most vividly in terms of

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visual images. However, some think
more readily in terms of auditory and motor

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images. It is a good plan
to mix all kinds of images in the

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course of your address, for you
will doubtless have all kinds of hearers.

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This plan will serve to give variety
and strengthen your effects by appealing to the

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several senses of each hearer, as
well as interesting many different auditors. For

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exercise A gives several original examples of
compound images and b construct beef descriptions of

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the scenes imagined, for example,
the falling of a bridge in process of

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building twelve. Read the following observantly. The Strikers suffered bitter poverty last winter

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in New York. Last winter,
a woman visiting the East side of New

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York City saw another woman coming out
of a tenement house wringing her hands.

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Upon inquiry, the visitor found that
a child had fainted in one of the

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apartments. She entered and saw the
child ill and in rags. While the

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father, a striker, was too
poor to provide medical help, a physician

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was called and said the child had
fainted from lack of food. The only

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food in the house was dried fish. The visitor provided grocers for the family

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and ordered the milkmen to leave milk
for them daily. A month later she

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returned. The father of the family
knelt down before her and, calling her

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an angel, said that she had
saved their lives, for the milk she

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had provided was all the food they
had had. In the too preceding paragraphs,

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we have substantially the same story told
twice. In the first paragraph a

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fact dated in general terms. In
the second, we have an outline picture

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of a specific happening. Now expand
this outline into a dramatic recital, drawing

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freely upon your imagination. End of
section twenty six