This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1916 edition. Excerpt: ...as against discursive analytic knowledge; the belief in a way of wisdom, sudden, penetrating, coercive, which is contrasted with the slow and fallible study of outward appearance by a science relying wholly upon the senses." Developing this idea, he continues: " It is common to speak of an opposition between ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1916 edition. Excerpt: ...as against discursive analytic knowledge; the belief in a way of wisdom, sudden, penetrating, coercive, which is contrasted with the slow and fallible study of outward appearance by a science relying wholly upon the senses." Developing this idea, he continues: " It is common to speak of an opposition between instinct and reason; in the eighteenth century the opposition was drawn in favour of reason, but under the influence of Rousseau and the romantic movement instinct was given the preference, first by those who rebelled against artificial forms of government and thought, and then, as the purely rationalistic defence of traditional theology became increasingly difficult, by all who felt in science a menace to creeds which they associated with a spiritual outlook on life and the world." But we must always be on our guard against the common unthinking view that imagination deals with unrealities, and the almost equally false view that it deals only with the general, and not the particular. Nor does it operate only by a process of comparison. Imagination works primarily by appreciating that which is unique, and which therefore cannot be wholly expressed in terms of anything extraneous. This, at least, is the first step. Every object in the universe is unique. Not all poets are imaginative, by any means, but an imaginative poet understands the things of nature by exercising what we may call, in a phrase of M. Bergson's, "the kind of intellectual sympathy by which one places oneself within an object in order to coincide with what is unique in it, and therefore inexpressible." In thus reverencing the concrete, science and the highest poetry agree, and they have their reward in the discovery of laws which are both general and...
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