d some trouble to make him
understand the term "symphonic music," never goes to concerts. However,
he went once, fifteen years ago, and there remains in his memory very
clearly the principal phrase of a minuet (he hums it)--he cannot recall
it without seeing people dancing a minuet.

M. O. L...... has been kind enough to question in my behalf sixteen
non-musical persons. Here are the results of his inquiry:

Eight see curved lines.

Three see images, figures springing in the air, fantastic designs.

Two see the waves of the ocean.

Three do not see anything.

FOOTNOTES:

[165] See Part Three, Chapter II.

[166] _Ibid._, IV.

APPENDIX E

THE IMAGINATIVE TYPE AND ASSOCIATION OF IDEAS[167]

I have questioned a very great number of imaginative persons, well known
to me as such, and have chosen preferably those who, not making a
profession of creating, let their fancy wander as it wills, without
professional care. In all the mechanism is the same, differing scarcely
more than temperament and degree of culture. Here are two examples.

B......, forty-six years of age, is acquainted with a large part of
Europe, North America, Oceania, Hindoostan, Indo-China, and North
Africa, and has not passed through these countries on the run, but,
because of his duties, resided there some time. It is worthy of remark,
as will be seen from the following observation, that the remembrance of
such various countries does not have first place in this brilliant,
fanciful personage--which fact is an argument in favor of the very
personal character of the creative imagination.

"In a general way, imagination, very lively in me, functions by
association of ideas. Memory or the outer world furnishes me some data.
On this data there is not always, though there should be, imaginative
work proper, and then things remain as they are, without end.

"But when I meet a construction--it matters little whether ancient or in
the course of erection--the formula, 'That ought to be fixed,' is one
that rises mechanically to my mind in such a case; often it happens that
I think aloud and say it, although alone. When going away from the
architectural subject[168] under consideration, I make up infinite
variations upon it, one after another. Sometimes the things start from a
reflex...."

After having noted his preference for the architecture of the Middle
Ages, B...... adds (here he touches on the unconscious factor):

"Were I to explain o