le combinations, which it expresses and fixes in language
peculiar to itself, of which it has been able to make wonderful use.
Taking it altogether, the only great division possible between the
different types of imagination is perhaps reducible to this: To speak
more exactly, there are exterior and interior imaginations. These two
chapters have given a sketch of them. There now remains for us to study
the less general forms of the creative power.

FOOTNOTES:

[86] See Appendix E.

[87] Let us cite merely the case of Balzac who, says one of his
biographers, "was always odd." He buys a property, in order to start
a dairy there with "the best cows in the world," from which he
expects to receive a net income of 3,000 francs. In addition,
high-grade vegetable gardens, same income; vineyard, with Malaga
plants, which should bring about 2,000 fr. He has the commune of
Sevres deed over to him a walnut tree, worth annually 2,000 francs
to him, because all the townspeople dump their rubbish there. And so
on, until at the end of four years he sees himself obliged to sell
his domain for 3,000 francs, after spending on it thrice that sum.

[88] Usener, _Goetternamen_, 1896.

[89] _Nouveaux Essais de critique_, p. 320.

[90] Or, as it has been expressed, "human qualities raised to their
highest power." (Tr.)

[91] The same statement holds good as regards the "Temptations of
Saint Anthony" and other analogous subjects that have often
attracted painters.

[92] R. Dubois, _Lecons de physiologie generale et comparee_, p.
286.

[93] Von Baer, in James, _Psychology_, I, 639.

[94] _Psychology of the Emotions_, Part I, Chapter IX.

[95] Arreat, _Memoire et Imagination_, p. 118.

[96] Mendelssohn wrote to an author who composed verses for his
_Lieder_: "Music is more definite than speech, and to want to
explain it by means of words is to make the meaning obscure. I do
not think that words suffice for that end, and were I persuaded to
the contrary, I would not compose music. There are people who accuse
music of being ambiguous, who allege that words are always
understood: for me it is just the other way; words seem to me vague,
ambiguous, unintelligible, if we compare them to the true music that
fills the soul with a thousand things better than words. What the
music that I like expresses to me seems to me too _definite_, rather
than too indefinite, for anyone to be able to match words to it."

[97] Oelzelt-Newin, _op. cit._