radictory, gathered up under a single luminous
law. In his famous essay on "The Scientific Uses of the
Imagination," Tyndall writes:

We are gifted with the power of Imagination, ... and by this
power we can lighten the darkness which surrounds the world of the
senses. There are tories even in science who regard imagination as
a faculty to be feared and avoided rather than employed. They had
observed its action in weak vessels and were unduly impressed by its
disasters. But they might with equal justice point to exploded
boilers as an argument against the use of steam. Bounded and
conditioned by cooeperant Reason, imagination becomes the mightiest
instrument of the physical discoverer. Newton's passage from a
falling apple to a falling moon was, at the outset, a leap of the
imagination. When William Thomson tries to place the ultimate
particles of matter between his compass points, and to apply to them
a scale of millimetres, he is powerfully aided by this faculty. And
in much that has been recently said about protoplasm and life, we
have the outgoings of the imagination guided and controlled by the
known analogies of science. In fact, without this power, our knowledge
of Nature would be a mere tabulation of coexistences and
sequences. We should still believe in the succession of day and
night, of summer and winter; but the soul of Force would be
dislodged from our universe; causal relations would disappear, and
with them that science which is now binding the parts of nature into
an organic whole.[1]

[Footnote 1: Tyndall: _Fragments of Science_, pp. 130-31.]

As we shall presently see, this imaginative leap is guarded
and controlled, so that no flash of insight, however attractive,
is uncritically accepted. But the origin of every eventually
accepted hypothesis lies in the upshoot of irresponsible fancy,
differing not at all from the images in the mind of a poet or
painter or the melodies that unpredictably occur to a musician.

THE AESTHETIC EXPERIENCE. Art is, on its creative side, as we
have seen, the control of Nature in the practical or imaginative
realization of ideals. The industrial arts are pursued out
of necessity, because man must find himself ways of living
in a world which he must inhabit, though it is not _a prior_
arranged for his habitation. The fine arts are pursued as
ends in themselves.[1] The genuinely gifted sing, paint, write
poetry, apart from fame and reward, for the sheer pleasure of
cre