be so slow to our senses as to be
inferred, not seen. The sun would stand still in the sky, the moon be
almost free from change, and so on. But now reverse the hypothesis and
suppose a being to get only one 1,000th part of the sensations that we
get in a given time, and consequently to live 1,000 times as long.
Winters and summers will be to him like quarters of an hour. Mushrooms
and the swifter-growing plants will shoot into being so rapidly as to
appear instantaneous creations; annual shrubs will rise and fall from
the earth like restlessly boiling water springs; the motions of animals
will be as invisible as are to us the movements of bullets and
cannonballs; the sun will scour through the sky like a meteor, leaving a
fiery trail behind him, etc."[93]

The psychologic conditions of this variety of the creative imagination
are, then, these: Absence of limitation in time and space, whence the
possibility of an endless movement in all directions, and the
possibility of filling either with a myriad of dimly-perceived events.
These events not being susceptible of clear representation as to their
nature and quantity, escaping even a schematic representation, the
imagination makes its constructions with substitutes that are, in this
case, numbers.

IV

MUSICAL IMAGINATION

Musical imagination deserves a separate monograph. As the task requires,
in addition to psychological capacity, a profound knowledge of musical
history and technique, it cannot be undertaken here. I purpose only one
thing, namely, to show that it has its own individual mark--that it is
the type of affective imagination.

I have elsewhere[94] attempted to prove that, contrary to the general
opinion of psychologists, there exists, in many men at least, an
affective memory; that is, a memory of emotions strictly so called, and
not merely of the intellectual conditions that caused and accompanied
them. I hold that there exists also a form of the creative imagination
that is purely emotional--the contents of which are wholly made up of
states of mind, dispositions, wants, aspirations, feelings, and emotions
of all kinds, and that it is the characteristic of the composer of
genius, of the born musician.

The musician sees in the world what concerns him. "He carries in his
head a coherent system of tone-images, in which every element has its
place and value; he perceives delicate differences of sound, of
_timbre_; he succeeds, through exercise, in pen