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+The Project Gutenberg EBook of Power of Mental Imagery, by Warren Hilton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Power of Mental Imagery
+       Being the Fifth of a Series of Twelve Volumes on the
+       Applications of Psychology to the Problems of Personal and
+       Business Efficiency
+
+Author: Warren Hilton
+
+Release Date: September 2, 2007 [EBook #22489]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK POWER OF MENTAL IMAGERY ***
+
+
+
+
+Produced by David Clarke, Suzan Flanagan and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Million Book Project)
+
+
+
+
+
+------------------------------------------------------------
+
+Applied Psychology
+
+POWER OF
+MENTAL IMAGERY
+
+_Being the Fifth of a Series of_
+_Twelve Volumes on the Applications_
+_of Psychology to the Problems of_
+_Personal and Business_
+_Efficiency_
+
+
+BY
+
+WARREN HILTON, A.B., L.L.B.
+
+FOUNDER OF THE SOCIETY OF APPLIED PSYCHOLOGY
+
+
+ISSUED UNDER THE AUSPICES OF
+THE LITERARY DIGEST
+FOR
+The Society of Applied Psychology
+NEW YORK AND LONDON
+1920
+
+------------------------------------------------------------
+
+COPYRIGHT 1914
+BY THE APPLIED PSYCHOLOGY PRESS
+SAN FRANCISCO
+
+(_Printed in the United States of America_)
+
+------------------------------------------------------------
+
+
+
+
+CONTENTS
+
+     Chapter
+
+     I. IMAGINATION AND RECOGNITION                 Page
+
+          RECOGNIZING THE PAST AS PAST                 3
+          IMAGINATION, PAST, PRESENT AND FUTURE        5
+
+     II. KINDS OF MENTAL IMAGES
+
+          VISUAL IMAGERY                               9
+          AUDITORY IMAGERY                            11
+          IMAGERY OF TASTE AND SMELL                  12
+          MUSCULAR AND TACTUAL IMAGERY                13
+          PERSONAL DIFFERENCES IN MENTAL IMAGERY      14
+          INVESTIGATIONS OF DOCTOR GALTON             15
+          INVESTIGATIONS OF PROFESSOR JAMES           16
+          INVESTIGATIONS OF PROFESSOR SCOTT           21
+
+     III. HOW TO INFLUENCE OTHERS THROUGH MENTAL IMAGERY
+
+          A RULE FOR INFLUENCING OTHERS               31
+          APPLICATION TO PEDAGOGY                     32
+          HOW TO SELL GOODS BY MENTAL IMAGERY         33
+          A STUDY OF ADVERTISEMENTS                   34
+          THE WORDS THAT CREATE DESIRE                35
+          A KEY FOR SELECTING A CALLING               36
+
+     IV. HOW TO TEST YOUR MENTAL IMAGERY
+
+          FINDING OUT YOUR WEAK POINTS                39
+          TESTS FOR VISUAL IMAGERY                    40
+          TESTS FOR AUDITORY AND OLFACTORY IMAGERY    42
+          TESTS FOR IMAGERY OF TASTE AND TOUCH        43
+          TESTS FOR IMAGERY OF HEAT AND COLD          44
+          HOW TO CULTIVATE MENTAL IMAGERY             45
+
+     V. THE CREATIVE IMAGINATION
+
+          THE PROCESS OF CREATIVE IMAGINATION         49
+          BUSINESS AND FINANCIAL IMAGINATION          50
+          HOW WEALTH IS CREATED                       51
+          THE KLAMATH PHILOSOPHY                      52
+          HOW MEN GET THINGS                          53
+          PREREQUISITES TO ACHIEVEMENT                54
+          HOW TO TAKE RADICAL STEPS IN BUSINESS       55
+          THE EXPANSION OF BUSINESS IDEALS            57
+          RISING TO THE EMERGENCY                     58
+          THE CONSTRUCTIVE IMAGINATION                59
+          LITTLE TASKS AND BIG TASKS                  60
+          WORKING UP A DEPARTMENT                     61
+          IMAGINATION IN HANDLING EMPLOYEES           62
+          HOW TO TEST AN EMPLOYEE'S IMAGINATION       63
+          IMAGINATION IN BUSINESS GENERALLY           64
+          IMAGINATION AND ACTION                      65
+
+
+
+
+IMAGINATION AND RECOGNITION
+
+
+
+
+[Illustration]
+
+CHAPTER I
+
+IMAGINATION AND RECOGNITION
+
+
+[Sidenote: _Recognizing the Past as Past_]
+
+In the preceding volume of this _Course_, entitled "The Trained
+Memory," you learned that the memory process involves four
+elements, Retention, Recall, Recognition and Imagination; and the
+scope and operation of two of these elements, Retention and
+Recall, were explained to you.
+
+There remain Recognition and Imagination, which we shall make the
+subject of this book. We shall treat of them, however, not only
+as parts of the memory process, but also as distinct operations,
+with an individual significance and value.
+
+Both Recognition and Imagination have to do with mental images.
+
+Recognition relates exclusively to those mental images that are
+the replica of former experiences. _It is the faculty of the mind
+by which we recognize remembered experiences as a part of our own
+past._ If it were not for this sense of familiarity and of
+ownership and of the past tense of recalled mental images, there
+would be no way for us to distinguish the sense-perceptions of
+the past from those of the present.
+
+Recognition is therefore an element of vital necessity to every
+act of memory.
+
+[Sidenote: _Imagination, Past, Present and Future_]
+
+Imagination relates either to the past, the present or the
+future. On the one hand, it is the outright re-imagery in the
+mind's eye of past experiences. On the other hand, it is the
+creation of new and original mental images or visions by the
+recombination of old experiential elements.
+
+[Illustration: _Girls_--
+
+You'll want to have it taste just right, especially if it's for
+"him," so be careful of the directions: Make a paste, using a
+tablespoonful of
+
+Anderson's Chocolate
+
+--to a cup of boiling milk--stir for a moment--then serve
+this delightful beverage. Watch his eyes sparkle--note the
+satisfaction in every sip--hear him murmur "You're a dear."
+
+THIS ADVERTISEMENT COMBINES DIFFERENT ELEMENTS IN A SKILFUL
+APPEAL TO THE SENSES. SEE TEXT, PAGE 34]
+
+
+
+
+KINDS OF MENTAL IMAGES
+
+
+
+
+[Illustration]
+
+CHAPTER II
+
+KINDS OF MENTAL IMAGES
+
+
+[Sidenote: _Visual Imagery_]
+
+When we speak of "images" in connection with Imagination and
+Recognition we do not refer merely to mental pictures of things
+seen. _Mental images are representations of past mental
+experiences of any and every kind._ They include past sensations
+of sound, taste, smell, feeling, pain, motion and the other
+senses, as well as sensations of sight. One may have a mental
+image of the voice of a friend, of the perfume of a flower, just
+as he may have mental images of their appearance to the eye.
+Indeed, the term "image" is perhaps unfortunately used in this
+way, since it must be made to include not only mental pictures in
+a visual sense, but all forms of reproductive mental activity.
+
+Our recollection of past experiences may be either full and
+distinct or hazy and inadequate. Some persons are entirely unable
+to reproduce certain kinds of sensory experiences. Somehow they
+are aware of having had these experiences, but they cannot
+reproduce them. Every one of us has his own peculiarities.
+
+[Sidenote: _Auditory Imagery_]
+
+This morning I called upon a friend in his office. I was there
+but a short time. Yet I can easily call to mind every detail
+of the surroundings. I can see the exterior of the building,
+its form, size, color, window-boxes with flowers, red tile
+roof, formal gardens in the open court, and even many of the
+neighboring buildings. I can plainly recall the color of the
+carpet on his office floor, the general tone of the paper on the
+wall, the size, type and material of his desk, and many other
+elements going to make up an almost perfect mental duplicate of
+the scene itself. I can even see my friend sitting at his desk,
+and can distinctly remember the color, cut and texture of his
+clothing and just how he looked when he smiled.
+
+[Sidenote: _Imagery of Taste and Smell_]
+
+Last evening we entertained a number of friends at dinner. One of
+the ladies was an accomplished musician, and later in the
+evening she delighted us with her exquisite playing upon the
+piano. The airs she played were familiar to me. I am fond of
+music and I enjoyed her playing. I can sit here today and in
+imagination I can see her seated before the piano and remember
+just how her hands looked as she fingered the keys. But I find it
+difficult to recall the air of the selection or the tones of the
+piano. My mental images of the notes as they came from the piano
+are faint and uncertain and not nearly so distinct and clear as
+my recollection of the scene.
+
+[Sidenote: _Muscular and Tactual Imagery_]
+
+I find it easy to recall the appearance of the food that was
+served me for breakfast this morning. I can also faintly imagine
+the odor and taste of the coffee and toast, but I find that these
+images of taste and smell are not nearly so realistic as my
+mental images of what I saw and heard during the course of the
+meal.
+
+When I was in college I was very fond of handball and was a
+member of the handball team. It has been many years since I
+played the game, yet I can distinctly feel the peculiar tension
+of the right arm and shoulder muscles that accompanied the
+"service." Nor do I feel the slightest difficulty in evoking a
+distinct mental image of the prickly sensations that so annoyed
+me as a boy when I would first put on woolen underwear in the
+fall of the year.
+
+[Sidenote: _Personal Differences in Mental Imagery_]
+
+From these examples, it is apparent that we can form mental
+images of past sensations of sight, sound, taste, smell and
+feeling, and indeed of every kind, including the muscular or
+motor sense and the sense of heat and cold.
+
+But there is the greatest possible difference in individuals in
+this respect. Some persons have distinct images of things they
+have seen, are good visualizers. Others are weak in this respect,
+but have clear auditory images. And so as to all the various
+kinds of sensory images.
+
+This is a fact of comparatively recent discovery. The first
+proponent of the idea was Fechner, but no statistical work was
+done in this line until Galton entered the field, in 1880. In
+his "Inquiries into Human Faculties," he says:
+
+[Sidenote: _Investigations of Doctor Galton_]
+
+"To my astonishment, I found that the great majority of the men
+of science to whom I first applied protested that mental imagery
+was unknown to them, and they looked on me as fanciful and
+fantastic in supposing that the words 'mental imagery' really
+expressed what I believed everybody supposed them to mean. They
+had no more notion of its true nature than a color-blind man, who
+has not discerned his defect, has of the nature of color. They
+had a mental deficiency of which they were unaware and naturally
+enough supposed that those who affirmed they possessed it were
+romancing."
+
+[Sidenote: _Investigations of Professor James_]
+
+The investigations of Dr. Galton were continued by Professor
+James, of Harvard University. He collected from hundreds of
+persons descriptions of their own mental images. The following
+are extracts from two cases of distinctly different types. The
+one who is a good visualizer says:
+
+"This morning's breakfast-table is both dim and bright; it is dim
+if I try to think of it with my eyes closed. All the objects are
+clear at once, yet when I confine my attention to any one object
+it becomes far more distinct. I have more power to recall color
+than any other one thing; if, for example, I were to recall a
+plate decorated with flowers I could reproduce in a drawing the
+exact tone, etc. The color of anything that was on the table is
+perfectly vivid. There is very little limitation to the extent
+of my images; I can see all four sides of a room; I can see all
+four sides of two, three, four, even more rooms with such
+distinctness that if you should ask me what was in any particular
+place in any one, or ask me to count the chairs, etc., I could do
+it without the least hesitation. The more I learn by heart the
+more clearly do I see images of my pages. Even before I can
+recite the lines I see them so that I could give them very slowly
+word for word, but my mind is so occupied in looking at my
+printed image that I have no idea of what I am saying, of the
+sense of it, etc. When I first found myself doing this I used to
+think it was merely because I knew the lines imperfectly; but I
+have quite convinced myself that I really do see an image. The
+strongest proof that such is really the fact is, I think, the
+following:
+
+"I can look down the mentally seen page and see the words that
+commence all the lines, and from any one of these words I can
+continue the line. I find this much easier to do if the words
+begin as in a straight line than if there are breaks. Example:
+
+          Etant fait
+          Tous .............
+          A des ............
+          Que fit ..........
+          Ceres ............
+            Avec ...........
+          Un fleur .........
+            Comme ..........
+              (La Fontaine S. IV.)"
+
+The poor visualizer says:
+
+"My ability to form mental images seems, from what I have studied
+of other people's images, to be defective, and somewhat peculiar.
+The process by which I seem to remember any particular event is
+not by a series of distinct images, but a sort of panorama, the
+faintest impressions of which are perceptible through a thick
+fog--I cannot shut my eyes and get a distinct image of anyone,
+although I used to be able to a few years ago, and the faculty
+seems to have gradually slipped away. * * * In my most vivid
+dreams, where the events appear like the most real facts, I am
+often troubled with a dimness of sight which causes the images to
+appear indistinct. * * * To come to the question of the
+breakfast-table, there is nothing definite about it. Everything
+is vague. I cannot say what I see. I could not possibly count the
+chairs, but I happen to know that there are ten. I see nothing in
+detail. * * * The chief thing is a general impression that I
+cannot tell exactly what I do see. The coloring is about the
+same, as far as I can recall it, only very much washed out.
+Perhaps the only color I can see at all distinctly is that of the
+tablecloth, and I could probably see the color of the wall paper
+if I could remember what color it was."
+
+This difference between individuals is just as marked in the
+matter of ability to form _auditory_ images as in respect to
+_visual_ images.
+
+[Sidenote: _Investigations of Professor Scott_]
+
+Thus, Professor Walter Dill Scott, of Northwestern University,
+cites the following:
+
+"One student who has strong auditory imagery writes as follows:
+'When I think of the breakfast-table I do not seem to have a
+clear visual image of it. I can see the length of it, the three
+chairs--though I can't tell the color or shape of these--the
+white cloth and something on it, but I can't see the pattern of
+the dishes or any of the food. I can very plainly hear the rattle
+of the dishes and of the silver and above this hear the
+conversation, also the other noises, such as a train which passes
+every morning while we are at breakfast. Again, in a football
+game I distinctly hear the noise, but do not see clearly
+anything or anybody. I hear the stillness when everyone is intent
+and then the loud cheering. Here I notice the differences of
+pitch and tone.'
+
+"I had read that some people were unable to imagine sounds which
+they had heard, but it had not impressed me, for I had supposed
+that such persons were great exceptions. I was truly surprised
+when I found so many of my students writing papers similar to
+those from which extracts are here given: 'My mental imagery is
+visual, as I seem to see things and not hear, feel or smell them.
+The element of sound seems practically never to enter in. When I
+think of a breakfast-table or a football game I have a distinct
+image. I see colors, but hear no sound.'
+
+[Illustration: A feature in the making of Anderson's Cocoa
+
+The manner in which thousands of pounds of Cocoa beans are daily
+roasted
+
+Anderson & Co. N.Y.
+
+THIS ADVERTISEMENT AWAKENS THE WRONG KIND OF MENTAL IMAGES. SEE
+TEXT, PAGE 34]
+
+"Another in describing his image of a railroad-train, writes: 'I
+am not able to state whether I hear the train or not. I am
+inclined to think that it is a noiseless one. It is hard for me
+to conceive of the sound of a bell, for instance. I can see the
+bell move to and fro, and for an instant seem to hear the ding,
+dong; but it is gone before I can identify it. When I try to
+conceive of shouts I am like one groping in the dark. I cannot
+possibly retain the conception of a sound for any length of
+time.'
+
+"Another, who seems to have no vivid images of any kind, writes:
+'When I recall the breakfast-table I see it and the persons
+around it. The number of them is distinct, for there is only one
+of them on each side of the table. But they seem like mere
+objects in space. Only when I think of each separately do I
+clearly see them. As for the table, all I see is a general
+whiteness, interspersed with objects. I hear nothing at all, and
+indeed the whole thing is so indistinct it bewilders me when I
+think of it. My mental imagery is very vague and hazy, unless I
+have previously taken special notice of what I now have an image
+of. For instance, when I have an image of a certain person I
+cannot tell his particular characteristics unless my attention
+was formerly directed to them.'
+
+"Another writes: 'There is no sound in connection with any image.
+In remembering, I call up an incident and gradually fill out the
+details. I can very seldom recall how anything sounds. One sound
+from the play "Robespierre," by Henry Irving, which I heard about
+two years ago and which I could recall some time afterward, I
+have been unable to recall this fall, though I have tried to do
+so. I can see the scene quite perfectly, the position of the
+actors and stage setting, even the action of a player who brought
+out the sound.'
+
+"Quite a large proportion of persons find it impossible to
+imagine motion at all. As they think of a football game, all
+the players are standing stock-still; they are as they are
+represented in a photograph. They are in the act of running, but
+no motion is represented. Likewise, the banners and streamers
+are all motionless. They find it impossible to think of such a
+thing as motion. Others find that the motions are the most
+vivid part of their images. What they remember of a scene is
+principally movement.
+
+"One writes: 'When the word "breakfast-table" was given out I saw
+our breakfast-table at home, especially the table and the white
+tablecloth. The cloth seemed to be the most distinct object. I
+can see each one in his place at the table. I can see no color
+except that of the tablecloth. The dishes are there, but are very
+indistinct. I cannot hear the rattle of the dishes or the voices
+very distinctly; the voices seem much louder than the dishes, but
+neither are very clear. I can feel the motions which I make
+during the breakfast hour. I feel myself come in, sit down and
+begin to eat. I can see the motions of those about me quite
+plainly. I believe the feeling of motion was the most distinct
+feeling I had. When the word "railroad-train" was given I saw the
+train very plainly just stopping in front of the depot. I saw the
+people getting on the train; these people were very indistinct.
+It is their motions rather than the people themselves which I
+see. I can feel myself getting on the train, finding a seat, and
+sitting down. I cannot hear the noise of the train, but can hear
+rather indistinctly the conductor calling the stations. I believe
+my mental imagery is more motile (of movement) than anything
+else. Although I can see some things quite plainly, I seem to
+feel the movements most distinctly.'
+
+"A very few in describing their images of the breakfast-table
+made special mention of the taste of the food and of its odor. I
+have discovered no one whose prevailing imagery is for either
+taste or smell. With very many the image of touch is very vivid.
+They can imagine just how velvet feels, how a fly feels on one's
+nose, the discomfort of a tight shoe, and the pleasure of
+stroking a smooth marble surface."
+
+
+
+
+HOW TO INFLUENCE OTHERS THROUGH MENTAL IMAGERY
+
+
+
+
+[Illustration]
+
+CHAPTER III
+
+HOW TO INFLUENCE OTHERS THROUGH MENTAL IMAGERY
+
+
+[Sidenote: _A Rule for Influencing Others_]
+
+The practical importance of the fact of mental imagery and of the
+individual differences in power of mental imagery is very great.
+They should be particularly taken into account in any business or
+profession in which one seeks to implant knowledge or conviction
+in the mind of another.
+
+[Sidenote: _Application to Pedagogy_]
+
+The underlying principle in such cases is this: _To the mind you
+are seeking to convince or educate, present your facts in as
+many different ways and as realistically as possible, so that
+there may be a variety of images, each serving as a clue to
+prompt the memory._
+
+We cannot do more at this point than indicate a few minor phases
+of the practical application of the principles of mental imagery.
+
+In the old days geography was taught simply with a book and maps.
+Today children also use their hands in molding relief maps in
+sand or clay, and mountains and rivers have acquired a meaning
+they never had before.
+
+In the days of the oral "spelling match" boys and girls were
+better spellers than products of a later school system, because
+they used not only the eye to see the printed word, the arm and
+hand to feel in writing it, but also the ear to hear it and the
+vocal muscles to utter it. And because of this fact oral spelling
+is being brought back to the schoolroom.
+
+[Sidenote: _How to Sell Goods by Mental Imagery_]
+
+If you have pianos to advertise, do not limit your advertisement
+to a beautiful picture of the mahogany case and general words
+telling the reader that it is "the best." Pianos are musical
+instruments, and the descriptive words should first of all call
+up delightful _auditory images_ in your reader's mind.
+
+If you have for sale an article of food, do not simply tell
+your customer how good it is. Let him see it, feel it, and
+particularly _taste it_, if you want him to call for it the next
+time he enters your store.
+
+[Sidenote: _A Study of Advertisements_]
+
+Turn, for example, to the advertisement of a certain brand of
+chocolate, facing page 6. The daintily spread table, the pretty
+girl, the steaming cup, the evident satisfaction of the man, who
+looks accustomed to good living,--these elements combine in a
+skilful appeal to the senses. Turn now to another advertisement
+of this same brand of chocolate, shown facing page 22. The
+purpose here is to inform you as to the large quantity of cocoa
+beans roasted in the company's furnaces. Whether this fact is of
+any consequence or not, the impression you get from the picture
+is of a wheelbarrow full of something that looks like coal being
+trundled by a dirty workman, while the shovel by the furnace door
+and the cocoa beans scattered about the floor remind one of a
+begrimed iron foundry.
+
+[Sidenote: _The Words that Create Desire_]
+
+_The only words that will ever sell anything are graphic words,
+picturesque words, words that call up distinct and definite
+mental pictures of an attractive kind._
+
+The more sensory images we have of any object the better we know
+it.
+
+_If you want to make a first impression lasting, make it vivid.
+It will then photograph itself upon the memory and arouse the
+curiosity._
+
+A boy who is a poor visualizer will never make a good artist. A
+man who is a poor visualizer is out of place as a photographer or
+a picture salesman.
+
+[Sidenote: _A Key for Selecting a Calling_]
+
+No person with weak auditory images should follow music as a
+profession or attempt to sell phonographs or musical instruments
+or become a telephone or telegraph operator or stenographer.
+
+No man who can but faintly imagine the taste of things should try
+to write advertisements for articles of food.
+
+Remember the rule: _To the mind you are seeking to convince or
+educate present your facts in as many different ways and as
+realistically as possible, so that there may be a variety of
+images, each serving as a clue to prompt the memory._
+
+You can put this rule to practical use at once. Try it. You will
+be delighted with the result.
+
+
+
+
+HOW TO TEST YOUR MENTAL IMAGERY
+
+
+
+
+[Illustration]
+
+CHAPTER IV
+
+HOW TO TEST YOUR MENTAL IMAGERY
+
+
+[Sidenote: _Finding Out Your Weak Points_]
+
+We suggest that you now test your own reproductive imagination
+with a view to determining your points of strength or weakness in
+this respect. And in doing so please bear in mind that the
+following questions are not asked with a view to determining what
+you know about the subject of the question, but simply how
+vividly--that is to say, with what life-like clearness--the
+mental image is presented to your mind, how close it comes to a
+present reality.
+
+[Sidenote: _Tests for Visual Imagery_]
+
+Go into a quiet room, close your eyes and try to bar from your
+mind every distraction. Now then, ask yourself these questions:
+
+     VISUAL.--1. Can you remember just how your bedroom
+     looked when you left it this morning--the appearance of
+     each separate article of furniture and decoration, the
+     design and color of the carpet, the color of the walls,
+     the arrangement of toilet articles upon the dresser,
+     and so on? Can you see the whole room just as clearly
+     as if you were in it at this moment? Or is your mental
+     picture blurred and doubtful?
+
+     2. How clearly can you see the space that intervenes
+     between your house and some far-distant object? Have
+     you a clear impression of the visual elements that
+     determine this distance?
+
+     3. Can you see a bird flying through the air? an
+     automobile rushing down the street?
+
+     4. Can you imagine a red surface? a green surface? Try
+     each primary color; which is most distinct to your
+     mind's eye?
+
+     5. Can you see a smooth surface? a rough surface? a
+     curved surface? a flat surface? a cube? Does the cube
+     look solid?
+
+     6. When you memorize a poem do you remember just how
+     each word looked on the printed page?
+
+[Sidenote: _Tests for Auditory and Olfactory Imagery_]
+
+     AUDITORY.--1. Can you in imagination hear your
+     door-bell ringing?
+
+     2. Can you form an auditory image of thunder? of waves
+     breaking on a rocky shore? of a passing street-car?
+
+     3. Can you mentally hear the squeak of a mouse? the
+     twitter of a bird? the breathing of a sleeping child?
+
+     4. Do these images come to you with the distinctness of
+     reality?
+
+     5. Can you distinctly remember a voice you have not
+     heard for a long time?
+
+     6. Can you recall the tones of an entire selection of
+     music played on the piano?
+
+[Sidenote: _Tests for Imagery of Taste and Touch_]
+
+     SMELL.--Can you distinctly recall the odor of strong
+     cheese? of violets? of roses? of coffee? of your
+     favorite cigar? Is it clear to your mind that it is the
+     odor you are recalling and not the taste?
+
+     TASTE.--1. Can you remember just how butter tastes? an
+     apple?
+
+     2. Try to imagine that you are sucking a lemon. Does it
+     pucker your mouth? Does it seem like a real lemon?
+
+     3. Can you imagine the taste of sugar? of salt? of
+     pepper?
+
+     PAIN AND TOUCH.--1. Can you in imagination live over
+     again any past physical suffering?
+
+     2. Can you recall the feeling of woolen underwear? of
+     bedclothes resting upon you?
+
+     3. Can you re-experience a feeling of exhaustion? of
+     exhilaration?
+
+[Sidenote: _Tests for Imagery of Heat and Cold_]
+
+     HEAT AND COLD.--Can you imagine a feeling of warmth? of
+     cold? Does your recollection of the feeling of ice
+     differ from your memory of a burn?
+
+Go through the above list of questions, carefully noting down
+your answers. You will discover some personal peculiarities in
+yourself you never dreamed existed.
+
+Try these questions on other members of your own family. You will
+be surprised at the varying results. You will perceive the reason
+for many innate differences of ability to do and to enjoy.
+
+[Sidenote: _How to Cultivate Mental Imagery_]
+
+Think what an immense part imagination plays in the world of
+business, and you will see how important it is to know your own
+type of sense-imagery.
+
+To some extent the power of forming mental images can be
+cultivated so as to improve one's fitness for different kinds of
+employment. Such self-culture rests upon improvement in the
+vividness of your sense-perceptions. It suffices for your present
+purpose to know that to cultivate your power of sense-imagery in
+any respect you must (1) _Keep the appropriate sense-organs in
+good condition, and_ (2) _When sense-perceptions of the kind in
+question come to you, give your undivided attention to your
+consciousness of them._
+
+
+
+
+THE CREATIVE IMAGINATION
+
+
+
+
+[Illustration]
+
+CHAPTER V
+
+THE CREATIVE IMAGINATION
+
+
+[Sidenote: _The Process of Creative Imagination_]
+
+There is another type of imagination from the purely reproductive
+memory imagination of which we have been speaking in this book.
+
+There is also Creative Imagination.
+
+Creative Imagination is more than mere memory. It takes the
+elements of the past as reproduced by memory and rearranges
+them. It forms new combinations out of the material of the
+past. It forms new combinations of ideas, emotions and their
+accompanying impulses to muscular activity, the elements of
+mental "complexes." It recombines these elements into new and
+original mental pictures, the creations of the inventive mind.
+
+[Sidenote: _Business and Financial Imagination_]
+
+No particular profession or pursuit has a monopoly of creative
+imagination. It is not the exclusive property of the poet, the
+artist, the inventor, the philosopher. We tell you this because
+you have heard all your life of the poetic imagination, the
+artistic imagination, and so on, but it is rare indeed that you
+have heard mention of the business imagination.
+
+The fact is no man can succeed in any pursuit unless he has a
+creative imagination. Without creative imagination the human race
+would still be living in caves. Without creative imagination
+there would be no ships, no engines, no automobiles, no
+corporations, no systems, no plans, no business. Nothing exists
+in all the world that had not a previous counterpart in the mind
+of him who designed it. And back of all is the creative mind of
+God.
+
+[Sidenote: _How Wealth is Created_]
+
+Mind is supreme. Mind shapes and controls matter. Every concrete
+thing in the world is the product of a thinking consciousness.
+The richly tinted canvas is the physical expression of the
+artist's dream. The great factory, with its whirling mechanisms
+and glowing furnaces, is the material manifestation of the
+promoter's financial imagination. The jeweled ornament, the book,
+the steamship, the office building, all are but concrete
+realizations of human thought molded out of formless matter.
+
+Mind, finite and infinite, is eternally creative and creating in
+the organization of formless matter and material forces into
+concrete realities.
+
+[Sidenote: _The Klamath Philosophy_]
+
+Says Max Müller in his "Psychological Religion": "The Klamaths,
+one of the Red Indian tribes, believe in a Supreme God whom they
+call 'The Most Ancient One,' 'Our Old Father,' or 'The Old One on
+High.' He is believed to have created the world--that is, to have
+made plants, animals and man. But when asked how the Old Father
+created the world, the Klamath philosopher replies: _'By thinking
+and willing.'"_
+
+[Sidenote: _How Men Get Things_]
+
+We get what we desire because the things we desire are the
+things we think about. Love begets love. The man who is looking
+for trouble generally finds it. Despair is the forerunner of
+disaster, and fear brings failure, because despair and fear are
+the emotional elements attendant upon thoughts of defeat.
+
+Behind every thing and every act is, and always has been,
+thought--thought of sufficient intensity to shape and fashion the
+physical event.
+
+Mind, and mind alone, possesses the inscrutable power to create.
+
+Your career is ordered by the thoughts you entertain. Mental
+pictures tend to accomplish their own realization. Therefore, be
+careful to hold only those thoughts that will build up rather
+than tear down the structure of your fortunes.
+
+[Sidenote: _Prerequisites to Achievement_]
+
+Creative imagination is an absolute prerequisite to material
+achievement.
+
+The business man must scheme and plan and devise and foresee. He
+must create in imagination today the results that he is to
+achieve tomorrow. He must combine the elements of his past
+experiential complexes into a mental picture of future events as
+he would have them. Riches are but the material realization of a
+financial imagination. The wealth of the world is but the sum
+total of the contributions of the creative thoughts of the
+successful men of all ages.
+
+[Sidenote: _How to Take Radical Steps in Business_]
+
+With these principles before you, you can plainly see that the
+_creative imagination must be called upon in the solution of
+every practical question in every hour of the business day._
+
+Consider its part in two phases of your business life--first,
+when you are contemplating a radical change in your business
+situation; second, when you are seeking to improve some
+particular department of your business.
+
+[Sidenote: _How to Take Radical Steps in Business_]
+
+In the determination of how best you can better yourself, either
+in your present field of action or by the selection of a new one,
+take the following steps: (1) Pass in review before the mind's
+eye your present situation; (2) Your possible ways of betterment;
+(3) The various circumstances and individuals that will aid in
+this or that line of self-advancement; (4) The difficulties that
+may confront you. Having selected your field, (5) Consider
+various possible plans of action; (6) Have prevision of their
+working out; (7) Compare the ultimate results as you foresee
+them; (8) Decide upon the one most promising, and then with this
+plan as a foundation for further imaginings, (9) Once more call
+before you the elements that will contribute to success; (10) See
+the possible locations for your new place of business and choose
+among them; (11) Outline in detail the methods to be pursued in
+getting and handling business; (12) See the different kinds of
+employees and associates you will require, and select certain
+classes as best suited to your needs; (13) Foresee possible
+difficulties to be encountered and adjust your plans to meet
+them; and, most important of all, (14) Have a clear and
+persistent vision of yourself as a man of action, setting to work
+upon your plan at a fixed hour and carrying it to a successful
+issue within a given time.
+
+[Sidenote: _The Expansion of Business Ideals_]
+
+There is excellent practical psychology in the following from
+"Thoughts on Business":
+
+"Men often think of a position as being just about so big and no
+bigger, when, as a matter of fact, a position is often what one
+makes it. A man was making about $1,500 a year out of a certain
+position and thought he was doing all that could be done to
+advance the business. The employer thought otherwise, and gave
+the place to another man who soon made the position worth $8,000
+a year--at exactly the same commission.
+
+[Sidenote: _Rising to the Emergency_]
+
+"The difference was in the men--in other words, in what the two
+men thought about the work. One had a little conception of what
+the work should be, and the other had a big conception of it. One
+thought little thoughts, and the other thought big thoughts.
+
+"The standards of two men may differ, not especially because one
+is naturally more capable than the other, but because one is
+familiar with big things and the other is not. The time was when
+the former worked in a smaller scope himself, but when he saw a
+wider view of what his work might be he rose to the occasion and
+became a bigger man. It is just as easy to think of a mountain as
+to think of a hill--when you turn your mind to contemplate it.
+The mind is like a rubber band--you can stretch it to fit almost
+anything, but it draws in to a small scope when you let go.
+
+[Sidenote: _The Constructive Imagination_]
+
+"Make it your business to know what is the best that might be in
+your line of work, and stretch your mind to conceive it, and then
+devise some way to attain it.
+
+[Sidenote: _Little Tasks and Big Tasks_]
+
+"Big things are only little things put together. I was greatly
+impressed with this fact one morning as I stood watching the
+workmen erecting the steel framework for a tall office building.
+A shrill whistle rang out as a signal, a man over at the engine
+pulled a lever, a chain from the derrick was lowered, and the
+whistle rang out again. A man stooped down and fastened the chain
+around the center of a steel beam, stepped back and blew the
+whistle once more. Again the lever was moved at the engine, and
+the steel beam soared into the air up to the sixteenth story,
+where it was made fast by little bolts.
+
+"The entire structure, great as it was, towering far above all
+the neighboring buildings, was made up of pieces of steel and
+stone and wood, put together according to a plan. The plan was
+first imagined, then penciled, then carefully drawn, and then
+followed by the workmen. It was all a combination of little
+things.
+
+[Sidenote: _Working Up a Department_]
+
+"It is encouraging to think of this when you are confronted by a
+big task. Remember that it is only a group of little tasks, any
+of which you can easily do. It is ignorance of this fact that
+makes some men afraid to try."
+
+Suppose, now, that instead of making a radical change in your
+business situation, you are simply seeking to improve some
+particular department of your business.
+
+[Sidenote: _Imagination in Handling Employees_]
+
+In commercial affairs men are the great means to money-making,
+and efficient personal service the great key to prosperity. In
+your dealings with employees do not be guided by the necessities
+of the moment. Expediency is the poorest of all excuses for
+action. Have regard not only for your own immediate needs, but
+also for the welfare and future conduct of your employees. It is
+part of the burden of the executive head that he must do the
+forethinking not only for himself but for those under him.
+
+Perhaps the man you have under observation for advancement to
+some executive position has all the basic qualifications of
+judicial sense, discrimination and attentiveness to details, but
+you are uncertain whether he has enough imagination to devise new
+ways and means of doing things and developing business in new
+fields. If you wish to try a simple but very effective test along
+this line, you can adopt the following standard psychological
+experiment, which has been used at Harvard, Cornell and many
+other colleges and schools.
+
+[Sidenote: _How to Test an Employee's Imagination_]
+
+Let fall a drop of ink on each of several pieces of white paper,
+letterhead size. This will make irregular blotches of varying
+forms. Let the subject be seated at a desk and ask him to write
+briefly about what he sees in each blotched sheet, whether it be
+an animal form suggested by the outline of the blot, or anything
+else that comes into his mind while looking at the black spot.
+The principle involved here is the same as that involved in
+seeing pictures in a flickering log fire or having a vision of
+past or future events by gazing into a crystal. In any of these
+cases, it is not the blot, the fire or the crystal that produces
+the vision, but the creative imagination that recombines old
+elements into new forms. The number of images suggested to one by
+certain standard forms of ink-blot when compared with established
+results is a measure of his imaginative ability.
+
+[Sidenote: _Imagination in Business Generally_]
+
+In the choice of a location for your factory or store, you must
+foresee its future traffic and transportation possibilities. In
+passing upon a proposed advertisement you must get inside the
+head of the man on the street and see it as he will see it. In
+the purchase of your stock of goods you must gauge the trend of
+popular taste and foresee the big demand. In your dealings with
+creditors you must plan a course of action that will enable you
+to settle the account to _your_ best interest at _their_
+request. You must find a way to collect from your debtors and at
+the same time hold their business. And so in a hundred thousand
+different ways you are constantly required to use creative
+thought in laying every stone in the structure of your fortune.
+
+[Sidenote: _Imagination and Action_]
+
+Do not understand us as saying that imagination, as the
+term is popularly used, is all you need. There must be also
+action, incessant, persistent. But _creative imagination,
+in a psychological and scientific sense, begets action. Every
+thought carries with it the impellent energy to effect its
+realization._ Use your imagination in your business and the
+action will take care of itself. Given imagination and action,
+and you are sure to win.
+
+
+
+
+TRANSCRIBER'S NOTES
+
+Removed duplicate sidenotes and adjusted placement of sidenotes.
+
+The original book used asterisks as ellipses.
+
+
+
+
+
+End of Project Gutenberg's Power of Mental Imagery, by Warren Hilton
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