argument, of the highest consequence to mankind. It exceeds, indeed, in dignity and value all other knowledge; for to penetrate this inward or spiritual order, to grasp it with the mind and conform to it with the will, is not, as is the case with every other sort of knowledge, the special and partial effort of selected minds, but the daily business of all men in their lives. The method of the mind here is and must be the same with that by which it accomplishes its work elsewhere, its only method. Here, too, its concern is with the universal; its end is to know life—the life with which literature deals—not empirically in its facts, but scientifically in its necessary order, not phenomenally in the senses but rationally in the mind, not without relation in its mere procession but organically in its laws; and its instrument here, as through the whole gamut of the physical sciences and of philosophy itself, is the generalizing faculty.

One difference there is between scientific and imaginative truth,—a difference in the mode of statement. Science and also philosophy formulate truth and end in the formula; literature, as the saying is, clothes truth in a tale. Imagination is brought in, and by its aid the mind projects a world of its own, whose principle of being is that it reembodies general or abstract truth and presents it concretely to the eye of the mind, and in some arts gives it physical form. So, to draw an example from science itself, when Leverrier projected in imagination the planet Uranus, he incarnated in matter a whole group of universal qualities and relations, all that go to make up a world, and in so doing he created as the poet creates; there was as much of truth, too, in his imagined world before he found the actual planet as there was of reality in the planet itself after it swam into his ken. This creation of the concrete world of art is the joint act of the imagination and the reason working in unison; and hence the faculty to which this act is ascribed is sometimes called the creative reason, or shaping power of the mind, in distinction from the scientific intellect which merely knows. The term is intended to convey at once the double phase, under one aspect of which the reason controls imagination, and under the other aspect the imagination formulates the reason; it is meant to free the idea, on the one hand, from that suggestion of abstraction implied by the reason, and to disembarrass it, on the other, of any connection with the irrational fancy; for the world of art so conceived is necessarily both concrete, correspondent to the realities of experience, and truthful, subject to the laws of the universe; it cannot contain the impossible, it cannot amalgamate the actual with the 

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