production and production; to show the common origin of the two forms
of imagination--the purely representative faculty and the faculty of
creating by means of the intermediation of images;--and to show at the
same time the work of separation, of severance between the two.

II

Since the chief aim of this study is to prove that the basis of
invention must be sought in motor manifestations, I shall not hesitate
to dwell on it, and I take the subject up again under another, clearer,
more precise, and more psychological form, in putting the following
question: Which one among the various modes of mind-activity offers the
closest analogy to the creative imagination? I unhesitatingly answer,
_voluntary activity_: Imagination, in the intellectual order, is the
equivalent of will in the realm of movements. Let us justify this
comparison by some proof.

1. Likeness of development in the two instances. Growth of voluntary
control is progressive, slow, crossed and checked. The individual has to
become master of his muscles and by their agency extend his sway over
other things. Reflexes, instinctive movements, and movements expressive
of emotion constitute the primary material of voluntary movements. The
will has no movements of its own as an inheritance: it must coordinate
and associate, since it separates in order to form new associations. It
reigns by right of conquest, not by right of birth. In like manner, the
creative imagination does not rise completely armed. Its raw materials
are images, which here correspond to muscular movements. It goes through
a period of trial. It always is, at the start (for reasons indicated
later on), an imitation; it attains its complex forms only through a
process of growth.

2. But this first comparison does not go to the bottom of the matter;
there are yet deeper analogies. First, the completely subjective
character of both instances. The imagination is subjective, personal,
anthropocentric; its movement is from within outwards toward an
objectification. The understanding, i.e., the intellect in the
restricted sense, has opposite characteristics--it is objective,
impersonal, receives from outside. For the creative imagination the
inner world is the regulator; there is a preponderance of the inner over
the outer. For the understanding, the outside world is the regulator;
there is a preponderance of the outer over the inner. The world of my
imagination is _my_ world as opposed to the world