ean order.

(2) The power to appeal to the imagination. Emotion can be aroused by
showing the objects which excite emotion. Imagination is this power to
see and show things in the concrete. Curry says, "Whenever the soul
comes vividly in contact with any fact, truth, etc., whenever it takes
them home to itself with more than common intensity, out of that
meeting of the soul and its object there arises a thrill of joy, a
glow of feeling. It is the faculty that can create ideal presence."
When through imagination we select spontaneously from the elements of
experience and combine into new wholes, we call it creative
imagination.--The creative imagination will be viewed here as it
appears in action in the creative return given by the child to his
fairy tales.--When we emphasize a similarity seen in mere external or
accidental relations or follow suggestions not of an essential nature
in the object, we call it fancy. Ruskin, in his _Modern Painters_,
vol. I, part III, _Of the Imaginative Faculty_, would distinguish
three classes of the imagination:--

(a) _The associative imagination_. This is the power of imagination by
which we call into association other images that tend to produce the
same or allied emotion. When this association has no common ground of
emotion it is fancy. The test for the associative imagination, which
has the power to combine ideas to form a conception, is that if one
part is taken away the rest of the combination goes to pieces. It
requires intense simplicity, harmony, and absolute truth. Andersen's
_Fairy Tales_ are a perfect drill for the associative imagination.
Literature parallels life and what is presented calls up individual
experience. Any child will feel a thrill of kinship with the
experiences given in _The Tin Soldier_--a little boy's birthday, the
opening of the box, the counting of the soldiers, and the setting of
them upon the table. And because here Andersen has transformed this
usual experience with a vivacity and charm, the tale ranks high as a
tale of imagination. _Little Ida's Flowers_ and _Thumbelina_ are tales
of pure fancy. Grimm's _The Straw, the Coal, and the Bean_ and _The
Spindle, the Shuttle, and the Needle_ rank in the same class, as also
do the Norse _The Doll i' the Grass_ and the English _Tom Thumb_.

(b) _The penetrative imagination_. This power of imagination shows the
real character of a thing and describes it by its spiritual effects.
It sees the heart and inner