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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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+<pre>
+
+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)
+
+
+
+
+
+
+</pre>
+
+<hr />
+<p class="fm14">Applied Psychology</p>
+<hr class="title" />
+<h1>POWER OF<br />
+MENTAL IMAGERY</h1>
+
+<p class="center"><i>Being the Fifth of a Series of</i><br />
+<i>Twelve Volumes on the Applications</i><br />
+  <i>of Psychology to the Problems of</i><br />
+        <i>Personal and Business</i><br />
+              <i>Efficiency</i>
+</p>
+<div class="pad2"><p class="fm10">BY</p></div>
+
+<p class="fm12">WARREN HILTON, A.B., L.L.B.</p>
+
+<div class="pad">
+<p class="fm8">FOUNDER OF THE SOCIETY OF APPLIED PSYCHOLOGY</p></div>
+<div class="pad3"><p class="fm8">ISSUED UNDER THE AUSPICES OF</p></div>
+<p class="fm10">THE LITERARY DIGEST</p>
+<div class="pad3"><p class="fm8">FOR</p></div>
+<p class="fm12">The Society of Applied Psychology</p>
+<div class="pad4"><p class="fm10">NEW YORK AND LONDON<br />
+1920</p></div>
+
+<hr />
+
+<p class="copy">
+COPYRIGHT <span class="num">1914</span><br />
+BY THE APPLIED PSYCHOLOGY PRESS<br />
+SAN FRANCISCO</p>
+<hr class="fm" />
+<p class="center">(<i>Printed in the United States of America</i>)</p>
+
+<hr />
+<h2>CONTENTS</h2>
+
+<dl class="toc">
+<dt><span class="ch">Chapter</span></dt>
+<dt>I. IMAGINATION AND RECOGNITION<span class="ph">Page</span></dt>
+
+     <dd>RECOGNIZING THE PAST AS PAST<a href="#Page_3" class="ralign">3</a></dd>
+     <dd>IMAGINATION, PAST, PRESENT AND FUTURE<a href="#Page_5" class="ralign">5</a></dd>
+
+<dt>II. KINDS OF MENTAL IMAGES</dt>
+
+     <dd>VISUAL IMAGERY<a href="#Page_9" class="ralign">9</a></dd>
+     <dd>AUDITORY IMAGERY<a href="#Page_11" class="ralign">11</a></dd>
+     <dd>IMAGERY OF TASTE AND SMELL<a href="#Page_12" class="ralign">12</a></dd>
+     <dd>MUSCULAR AND TACTUAL IMAGERY<a href="#Page_13" class="ralign">13</a></dd>
+     <dd>PERSONAL DIFFERENCES IN MENTAL IMAGERY<a href="#Page_14" class="ralign">14</a></dd>
+     <dd>INVESTIGATIONS OF DOCTOR GALTON<a href="#Page_15" class="ralign">15</a></dd>
+     <dd>INVESTIGATIONS OF PROFESSOR JAMES<a href="#Page_16" class="ralign">16</a></dd>
+     <dd>INVESTIGATIONS OF PROFESSOR SCOTT<a href="#Page_21" class="ralign">21</a></dd>
+
+<dt>III. HOW TO INFLUENCE OTHERS<br />&nbsp; &nbsp; &nbsp; THROUGH MENTAL IMAGERY</dt>
+
+     <dd>A RULE FOR INFLUENCING OTHERS<a href="#Page_31" class="ralign">31</a></dd>
+     <dd>APPLICATION TO PEDAGOGY<a href="#Page_32" class="ralign">32</a></dd>
+     <dd>HOW TO SELL GOODS BY MENTAL IMAGERY<a href="#Page_33" class="ralign">33</a></dd>
+     <dd>A STUDY OF ADVERTISEMENTS<a href="#Page_34" class="ralign">34</a></dd>
+     <dd>THE WORDS THAT CREATE DESIRE<a href="#Page_35" class="ralign">35</a></dd>
+     <dd>A KEY FOR SELECTING A CALLING<a href="#Page_36" class="ralign">36</a></dd>
+
+<dt>IV. HOW TO TEST YOUR MENTAL IMAGERY</dt>
+
+     <dd>FINDING OUT YOUR WEAK POINTS<a href="#Page_39" class="ralign">39</a></dd>
+     <dd>TESTS FOR VISUAL IMAGERY<a href="#Page_40" class="ralign">40</a></dd>
+     <dd>TESTS FOR AUDITORY AND OLFACTORY IMAGERY<a href="#Page_42" class="ralign">42</a></dd>
+     <dd>TESTS FOR IMAGERY OF TASTE AND TOUCH<a href="#Page_43" class="ralign">43</a></dd>
+     <dd>TESTS FOR IMAGERY OF HEAT AND COLD<a href="#Page_44" class="ralign">44</a></dd>
+     <dd>HOW TO CULTIVATE MENTAL IMAGERY<a href="#Page_45" class="ralign">45</a></dd>
+
+<dt>V. THE CREATIVE IMAGINATION</dt>
+
+     <dd>THE PROCESS OF CREATIVE IMAGINATION<a href="#Page_49" class="ralign">49</a></dd>
+     <dd>BUSINESS AND FINANCIAL IMAGINATION<a href="#Page_50" class="ralign">50</a></dd>
+     <dd>HOW WEALTH IS CREATED<a href="#Page_51" class="ralign">51</a></dd>
+     <dd>THE KLAMATH PHILOSOPHY<a href="#Page_52" class="ralign">52</a></dd>
+     <dd>HOW MEN GET THINGS<a href="#Page_53" class="ralign">53</a></dd>
+     <dd>PREREQUISITES TO ACHIEVEMENT<a href="#Page_54" class="ralign">54</a></dd>
+     <dd>HOW TO TAKE RADICAL STEPS IN BUSINESS<a href="#Page_55" class="ralign">55</a></dd>
+     <dd>THE EXPANSION OF BUSINESS IDEALS<a href="#Page_57" class="ralign">57</a></dd>
+     <dd>RISING TO THE EMERGENCY<a href="#Page_58" class="ralign">58</a></dd>
+     <dd>THE CONSTRUCTIVE IMAGINATION<a href="#Page_59" class="ralign">59</a></dd>
+    <dd>LITTLE TASKS AND BIG TASKS<a href="#Page_60" class="ralign">60</a></dd>
+     <dd>WORKING UP A DEPARTMENT<a href="#Page_61" class="ralign">61</a></dd>
+     <dd>IMAGINATION IN HANDLING EMPLOYEES<a href="#Page_62" class="ralign">62</a></dd>
+    <dd>HOW TO TEST AN EMPLOYEE&#8217;S IMAGINATION<a href="#Page_63" class="ralign">63</a></dd>
+     <dd>IMAGINATION IN BUSINESS GENERALLY<a href="#Page_64" class="ralign">64</a></dd>
+     <dd>IMAGINATION AND ACTION<a href="#Page_65" class="ralign">65</a></dd>
+</dl>
+
+<hr />
+<h2>IMAGINATION AND<br />
+RECOGNITION</h2>
+
+<hr />
+<p><span class='pagenum'><a name="Page_3" id="Page_3" href="#Page_3">[Pg 3]</a></span></p>
+<div class="figcenter" style="width: 434px;">
+<img src="images/border.jpg" width="434" height="120" alt="Decorative border" title="Decorative border" />
+</div>
+
+<h3><span class="smcap">Chapter I</span></h3>
+
+<h2>IMAGINATION AND
+RECOGNITION</h2>
+
+
+<div class="sidenote"><i>Recognizing
+the Past
+as Past</i></div>
+<p class="cap"><span class="smcap">In the</span> preceding volume of this
+<i>Course</i>, entitled &ldquo;The Trained
+Memory,&rdquo; 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.</p>
+
+<p>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<span class='pagenum'><a name="Page_4" id="Page_4" href="#Page_4">[Pg 4]</a></span>
+memory process, but also as distinct
+operations, with an individual significance
+and value.</p>
+
+<p>Both Recognition and Imagination
+have to do with mental images.</p>
+
+<p>Recognition relates exclusively to
+those mental images that are the replica
+of former experiences. <i>It is the faculty
+of the mind by which we recognize remembered
+experiences as a part of our
+own past.</i> 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.</p>
+
+<p>Recognition is therefore an element
+of vital necessity to every act of
+memory.</p>
+
+<div class="sidenote"><i>Imagination,
+Past,
+Present
+and Future</i></div>
+
+<p>Imagination relates either to the past,<span class='pagenum'><a name="Page_5" id="Page_5" href="#Page_5">[Pg 5]</a></span>
+the present or the future. On the one
+hand, it is the outright re-imagery in
+the mind&#8217;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.<span class='pagenum'><a name="Page_6" id="Page_6" href="#Page_6">[Pg 6]</a></span></p>
+<p><span class='pagenum'><a name="Page_7" id="Page_7" href="#Page_7">[Pg 7]</a></span></p>
+
+<div class="figcenter" style="width: 394px;">
+<a name="ad" id="ad"></a><img src="images/ill-11tn.jpg" width="394" height="600" longdesc="#chocolate" alt="ADVERTISEMENT" title="ADVERTISEMENT" />
+<span class="caption">THIS ADVERTISEMENT COMBINES DIFFERENT ELEMENTS IN A
+SKILFUL APPEAL TO THE SENSES. SEE TEXT, <a href="#Page_34">PAGE&nbsp;34</a></span><br />
+<span class="caption2">[<a href="#chocolate">Textual representation of advertisement</a>]</span>
+</div>
+
+<hr />
+<p><span class='pagenum'><a name="Page_8" id="Page_8" href="#Page_8">[Pg 8]</a></span></p>
+<h2>KINDS OF MENTAL<br />
+IMAGES</h2>
+
+<hr />
+<p><span class='pagenum'><a name="Page_9" id="Page_9" href="#Page_9">[Pg 9]</a></span></p>
+<div class="figcenter" style="width: 434px;">
+<img src="images/border.jpg" width="434" height="120" alt="Decorative border" title="Decorative border" />
+</div>
+
+<h3><span class="smcap">Chapter II</span></h3>
+
+<h2>KINDS OF MENTAL
+IMAGES</h2>
+
+
+<div class="sidenote"><i>Visual
+Imagery</i></div>
+<p class="cap"><span class="smcap">When</span> we speak of &ldquo;images&rdquo;
+in connection
+with Imagination and
+Recognition we do not
+refer merely to mental pictures of
+things seen. <i>Mental images are representations
+of past mental experiences of
+any and every kind.</i> 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<span class='pagenum'><a name="Page_10" id="Page_10" href="#Page_10">[Pg 10]</a></span>
+appearance to the eye. Indeed, the term
+&ldquo;image&rdquo; 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.</p>
+
+<p>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.</p>
+
+<div class="sidenote"><i>Auditory
+Imagery</i></div>
+
+<p>This morning I called upon a friend
+in his office. I was there but a short
+time. Yet I can easily call to mind<span class='pagenum'><a name="Page_11" id="Page_11" href="#Page_11">[Pg 11]</a></span>
+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.</p>
+
+<div class="sidenote"><i>Imagery
+of Taste
+and Smell</i></div>
+
+<p>Last evening we entertained a number
+of friends at dinner. One of the<span class='pagenum'><a name="Page_12" id="Page_12" href="#Page_12">[Pg 12]</a></span>
+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.</p>
+
+<div class="sidenote"><i>Muscular
+and Tactual
+Imagery</i></div>
+
+<p>I find it easy to recall the appearance
+of the food that was served me for
+breakfast this morning. I can also<span class='pagenum'><a name="Page_13" id="Page_13" href="#Page_13">[Pg 13]</a></span>
+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.</p>
+
+<p>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 &ldquo;service.&rdquo; 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.</p>
+
+<div class="sidenote"><i>Personal
+Differences
+in Mental
+Imagery</i></div>
+
+<p>From these examples, it is apparent<span class='pagenum'><a name="Page_14" id="Page_14" href="#Page_14">[Pg 14]</a></span>
+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.</p>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_15" id="Page_15" href="#Page_15">[Pg 15]</a></span>
+&ldquo;Inquiries into Human Faculties,&rdquo; he
+says:</p>
+
+<div class="sidenote"><i>Investigations
+of Doctor
+Galton</i></div>
+
+<p>&ldquo;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
+&lsquo;mental imagery&rsquo; 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.&rdquo;</p>
+
+<div class="sidenote"><i>Investigations
+of Professor
+James</i></div>
+
+<p>The investigations of Dr. Galton<span class='pagenum'><a name="Page_16" id="Page_16" href="#Page_16">[Pg 16]</a></span>
+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:</p>
+
+<p>&ldquo;This morning&#8217;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.<span class='pagenum'><a name="Page_17" id="Page_17" href="#Page_17">[Pg 17]</a></span>
+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<span class='pagenum'><a name="Page_18" id="Page_18" href="#Page_18">[Pg 18]</a></span>
+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:</p>
+
+<p>&ldquo;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:</p>
+
+<p class="blockquot">
+Etant fait<br />
+Tous .............<br />
+A des ............<br />
+Que fit ..........<br />
+Ceres ............<br />
+<span style="margin-left: 1em;">Avec ...........</span><br />
+Un fleur .........<br />
+<span style="margin-left: 1em;">Comme ..........</span><br />
+<span style="margin-left: 2em;">(La Fontaine S. IV.)&rdquo;</span><br />
+</p>
+
+<p>The poor visualizer says:<span class='pagenum'><a name="Page_19" id="Page_19" href="#Page_19">[Pg 19]</a></span></p>
+
+<p>&ldquo;My ability to form mental images
+seems, from what I have studied of
+other people&#8217;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&mdash;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<span class='pagenum'><a name="Page_20" id="Page_20" href="#Page_20">[Pg 20]</a></span>
+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.&rdquo;</p>
+
+<p>This difference between individuals
+is just as marked in the matter of ability
+to form <i>auditory</i> images as in respect to
+<i>visual</i> images.</p>
+
+<div class="sidenote"><i>Investigations
+of Professor
+Scott</i></div>
+
+<p>Thus, Professor Walter Dill Scott,<span class='pagenum'><a name="Page_21" id="Page_21" href="#Page_21">[Pg 21]</a></span>
+of Northwestern University, cites the
+following:</p>
+
+<p>&ldquo;One student who has strong auditory
+imagery writes as follows: &lsquo;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&mdash;though I can&#8217;t tell the color
+or shape of these&mdash;the white cloth and
+something on it, but I can&#8217;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 <span class='pagenum'><a name="Page_22" id="Page_22" href="#Page_22">[Pg 22]</a></span>or anybody. I hear the
+stillness when everyone is intent and
+then the loud cheering. Here I notice
+the differences of pitch and tone.&rsquo;</p>
+
+<p>&ldquo;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:
+&lsquo;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.&rsquo;</p>
+
+<div class="figcenter" style="width: 420px;">
+<a name="ad2" id="ad2"></a><img src="images/ill26atn.jpg" width="420" height="600" longdesc="#cocoa" alt="ADVERTISEMENT" title="ADVERTISEMENT" />
+<span class="caption">THIS ADVERTISEMENT AWAKENS THE WRONG KIND OF
+MENTAL IMAGES. SEE TEXT, <a href="#Page_34">PAGE&nbsp;34</a></span><br />
+<span class="caption2">[<a href="#cocoa">Textual representation of advertisement</a>]</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_23" id="Page_23" href="#Page_23">[Pg 23]</a></span></p>
+<p>&ldquo;Another in describing his image of
+a railroad-train, writes: &lsquo;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.&rsquo;</p>
+
+<p>&ldquo;Another, who seems to have no
+vivid images of any kind, writes:
+&lsquo;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<span class='pagenum'><a name="Page_24" id="Page_24" href="#Page_24">[Pg 24]</a></span>
+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.&rsquo;</p>
+
+<p>&ldquo;Another writes: &lsquo;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.<span class='pagenum'><a name="Page_25" id="Page_25" href="#Page_25">[Pg 25]</a></span>
+One sound from the play &ldquo;Robespierre,&rdquo;
+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.&rsquo;</p>
+
+<p>&ldquo;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<span class='pagenum'><a name="Page_26" id="Page_26" href="#Page_26">[Pg 26]</a></span>
+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.</p>
+
+<p>&ldquo;One writes: &lsquo;When the word
+&ldquo;breakfast-table&rdquo; 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<span class='pagenum'><a name="Page_27" id="Page_27" href="#Page_27">[Pg 27]</a></span>
+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 &ldquo;railroad-train&rdquo;
+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<span class='pagenum'><a name="Page_28" id="Page_28" href="#Page_28">[Pg 28]</a></span>
+seem to feel the movements most distinctly.&rsquo;</p>
+
+<p>&ldquo;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&#8217;s nose, the discomfort
+of a tight shoe, and the pleasure of
+stroking a smooth marble surface.&rdquo;</p>
+
+<hr />
+<p><span class='pagenum'><a name="Page_29" id="Page_29" href="#Page_29">[Pg 29]</a></span></p>
+
+<h2>HOW TO INFLUENCE<br />
+OTHERS THROUGH MENTAL<br />
+IMAGERY</h2>
+
+
+<p><span class='pagenum'><a name="Page_30" id="Page_30" href="#Page_30">[Pg 30]</a></span>
+</p>
+<hr />
+<p><span class='pagenum'><a name="Page_31" id="Page_31" href="#Page_31">[Pg 31]</a></span></p>
+<div class="figcenter" style="width: 434px;">
+<img src="images/border.jpg" width="434" height="120" alt="Decorative border" title="Decorative border" />
+</div>
+
+<h3><span class="smcap">Chapter III</span></h3>
+
+<h2>HOW TO INFLUENCE
+OTHERS THROUGH MENTAL
+IMAGERY</h2>
+
+
+<div class="sidenote"><i>A Rule
+for
+Influencing
+Others</i></div>
+<p class="cap"><span class="smcap">The</span> 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.</p>
+
+<div class="sidenote"><i>Application
+to Pedagogy</i></div>
+
+<p>The underlying principle in such
+cases is this: <i>To the mind you are seeking
+to convince or educate, present<span class='pagenum'><a name="Page_32" id="Page_32" href="#Page_32">[Pg 32]</a></span>
+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.</i></p>
+
+<p>We cannot do more at this point than
+indicate a few minor phases of the practical
+application of the principles of
+mental imagery.</p>
+
+<p>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.</p>
+
+<p>In the days of the oral &ldquo;spelling
+match&rdquo; 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<span class='pagenum'><a name="Page_33" id="Page_33" href="#Page_33">[Pg 33]</a></span>
+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.</p>
+
+<div class="sidenote"><i>How to
+Sell Goods
+by Mental
+Imagery</i></div>
+
+<p>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 &ldquo;the best.&rdquo; Pianos are musical
+instruments, and the descriptive words
+should first of all call up delightful
+<i>auditory images</i> in your reader&#8217;s mind.</p>
+
+<p>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 <i>taste it</i>, if you want
+him to call for it the next time he enters
+your store.</p>
+
+<div class="sidenote"><i>A Study
+of
+Advertisements</i></div>
+
+<p>Turn, for example, to the <a href="#ad">advertisement</a><span class='pagenum'><a name="Page_34" id="Page_34" href="#Page_34">[Pg 34]</a></span>
+of a certain brand of chocolate,
+facing <a href="#Page_6">page&nbsp;6</a>. The daintily spread
+table, the pretty girl, the steaming cup,
+the evident satisfaction of the man, who
+looks accustomed to good living,&mdash;these
+elements combine in a skilful appeal to
+the senses. Turn now to <a href="#ad2">another&nbsp;advertisement</a>
+of this same brand of chocolate,
+shown facing <a href="#Page_22">page&nbsp;22</a>. The purpose
+here is to inform you as to the large
+quantity of cocoa beans roasted in the
+company&#8217;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<span class='pagenum'><a name="Page_35" id="Page_35" href="#Page_35">[Pg 35]</a></span>
+about the floor remind one of a begrimed
+iron foundry.</p>
+
+<div class="sidenote"><i>The Words
+that Create
+Desire</i></div>
+
+<p><i>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.</i></p>
+
+<p>The more sensory images we have of
+any object the better we know it.</p>
+
+<p><i>If you want to make a first impression
+lasting, make it vivid. It will then
+photograph itself upon the memory and
+arouse the curiosity.</i></p>
+
+<p>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.</p>
+
+<div class="sidenote"><i>A Key for
+Selecting
+a Calling</i></div>
+
+<p>No person with weak auditory images
+should follow music as a profession<span class='pagenum'><a name="Page_36" id="Page_36" href="#Page_36">[Pg 36]</a></span>
+or attempt to sell phonographs or musical
+instruments or become a telephone
+or telegraph operator or stenographer.</p>
+
+<p>No man who can but faintly imagine
+the taste of things should try to write
+advertisements for articles of food.</p>
+
+<p>Remember the rule: <i>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.</i></p>
+
+<p>You can put this rule to practical use
+at once. Try it. You will be delighted
+with the result.</p>
+
+<hr />
+<p><span class='pagenum'><a name="Page_37" id="Page_37" href="#Page_37">[Pg 37]</a></span></p>
+
+
+<h2>HOW TO<br />
+TEST YOUR MENTAL<br />
+IMAGERY</h2>
+
+<p><span class='pagenum'><a name="Page_38" id="Page_38" href="#Page_38">[Pg 38]</a></span>
+</p>
+<hr />
+
+<p><span class='pagenum'><a name="Page_39" id="Page_39" href="#Page_39">[Pg 39]</a></span></p>
+<div class="figcenter" style="width: 434px;">
+<img src="images/border.jpg" width="434" height="120" alt="Decorative border" title="Decorative border" />
+</div>
+
+<h3><span class="smcap">Chapter IV</span></h3>
+
+<h2>HOW TO
+TEST YOUR MENTAL
+IMAGERY</h2>
+
+
+<div class="sidenote"><i>Finding Out
+Your
+Weak Points</i></div>
+<p class="cap"><span class="smcap">We</span> 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&mdash;that
+is to say, with what life-like
+clearness&mdash;the mental image is present<span class='pagenum'><a name="Page_40" id="Page_40" href="#Page_40">[Pg 40]</a></span>ed
+to your mind, how close it comes to a
+present reality.</p>
+
+<div class="sidenote"><i>Tests
+for Visual
+Imagery</i></div>
+
+<p>Go into a quiet room, close your eyes
+and try to bar from your mind every
+distraction. Now then, ask yourself
+these questions:</p>
+
+<div class="blockquot2">
+<p><span class="smcap">Visual.</span>&mdash;1. Can you remember just
+how your bedroom looked when you
+left it this morning&mdash;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?</p>
+
+<p>2. How clearly can you see the space<span class='pagenum'><a name="Page_41" id="Page_41" href="#Page_41">[Pg 41]</a></span>
+that intervenes between your house and
+some far-distant object? Have you a
+clear impression of the visual elements
+that determine this distance?</p>
+
+<p>3. Can you see a bird flying through
+the air? an automobile rushing down
+the street?</p>
+
+<p>4. Can you imagine a red surface?
+a green surface? Try each primary
+color; which is most distinct to your
+mind&#8217;s eye?</p>
+
+<p>5. Can you see a smooth surface? a
+rough surface? a curved surface? a flat
+surface? a cube? Does the cube look
+solid?</p>
+
+<p>6. When you memorize a poem do
+you remember just how each word
+looked on the printed page?</p>
+</div>
+
+<div class="sidenote"><i>Tests for
+Auditory and
+Olfactory
+Imagery</i></div>
+
+<div class="blockquot2">
+<p><span class="smcap">Auditory.</span>&mdash;1. <span class='pagenum'><a name="Page_42" id="Page_42" href="#Page_42">[Pg 42]</a></span>Can you in imagination
+hear your door-bell ringing?</p>
+
+<p>2. Can you form an auditory image
+of thunder? of waves breaking on a
+rocky shore? of a passing street-car?</p>
+
+<p>3. Can you mentally hear the squeak
+of a mouse? the twitter of a bird? the
+breathing of a sleeping child?</p>
+
+<p>4. Do these images come to you with
+the distinctness of reality?</p>
+
+<p>5. Can you distinctly remember a
+voice you have not heard for a long
+time?</p>
+
+<p>6. Can you recall the tones of an entire
+selection of music played on the
+piano?</p>
+</div>
+
+<div class="sidenote"><i>Tests for
+Imagery of
+Taste and
+Touch</i></div>
+
+<div class="blockquot2">
+<p><span class="smcap">Smell.</span>&mdash;Can you distinctly recall
+the odor of strong cheese? of violets? of
+roses? of coffee? of your favorite cigar?<span class='pagenum'><a name="Page_43" id="Page_43" href="#Page_43">[Pg 43]</a></span>
+Is it clear to your mind that it is the
+odor you are recalling and not the taste?</p>
+</div>
+
+<div class="blockquot2">
+<p><span class="smcap">Taste.</span>&mdash;1. Can you remember just
+how butter tastes? an apple?</p>
+
+<p>2. Try to imagine that you are sucking
+a lemon. Does it pucker your
+mouth? Does it seem like a real lemon?</p>
+
+<p>3. Can you imagine the taste of
+sugar? of salt? of pepper?</p>
+</div>
+
+<div class="blockquot2">
+<p><span class="smcap">Pain and Touch.</span>&mdash;1. Can you in
+imagination live over again any past
+physical suffering?</p>
+
+<p>2. Can you recall the feeling of woolen
+underwear? of bedclothes resting
+upon you?</p>
+
+<p>3. Can you re-experience a <span class='pagenum'><a name="Page_44" id="Page_44" href="#Page_44">[Pg 44]</a></span>feeling of
+exhaustion? of exhilaration?</p>
+</div>
+
+<div class="sidenote"><i>Tests for
+Imagery of
+Heat and
+Cold</i></div>
+<div class="blockquot2">
+<p><span class="smcap">Heat and Cold.</span>&mdash;Can you imagine
+a feeling of warmth? of cold? Does
+your recollection of the feeling of ice
+differ from your memory of a burn?</p>
+</div>
+
+<p>Go through the above list of questions,
+carefully noting down your answers.
+You will discover some personal
+peculiarities in yourself you never
+dreamed existed.</p>
+
+<p>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.</p>
+
+<div class="sidenote"><i>How to
+Cultivate
+Mental
+Imagery</i></div>
+
+<p>Think what an immense part imagination<span class='pagenum'><a name="Page_45" id="Page_45" href="#Page_45">[Pg 45]</a></span>
+plays in the world of business,
+and you will see how important it is to
+know your own type of sense-imagery.</p>
+
+<p>To some extent the power of forming
+mental images can be cultivated so as
+to improve one&#8217;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)
+<i>Keep the appropriate sense-organs in
+good condition, and</i> (2) <i>When sense-perceptions
+of the kind in question
+come to you, give your undivided attention
+to your consciousness of them.</i></p>
+
+<p><span class='pagenum'><a name="Page_46" id="Page_46" href="#Page_46">[Pg 46]</a></span></p>
+
+<hr />
+<p><span class='pagenum'><a name="Page_47" id="Page_47" href="#Page_47">[Pg 47]</a></span></p>
+<h2>THE<br />
+CREATIVE IMAGINATION</h2>
+
+<p><span class='pagenum'><a name="Page_48" id="Page_48" href="#Page_48">[Pg 48]</a></span></p>
+<hr />
+
+<p><span class='pagenum'><a name="Page_49" id="Page_49" href="#Page_49">[Pg 49]</a></span></p>
+<div class="figcenter" style="width: 434px;">
+<img src="images/border.jpg" width="434" height="120" alt="Decorative border" title="Decorative border" />
+</div>
+
+<h3><span class="smcap">Chapter V</span></h3>
+
+<h2>THE
+CREATIVE IMAGINATION</h2>
+
+
+<div class="sidenote"><i>The Process
+of Creative
+Imagination</i></div>
+<p class="cap"><span class="smcap">There</span> is another type of imagination
+from the purely
+reproductive memory imagination
+of which we
+have been speaking in this book.</p>
+
+<p>There is also Creative Imagination.</p>
+
+<p>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 im<span class='pagenum'><a name="Page_50" id="Page_50" href="#Page_50">[Pg 50]</a></span>pulses
+to muscular activity, the elements
+of mental &ldquo;complexes.&rdquo; It recombines
+these elements into new and original
+mental pictures, the creations of the
+inventive mind.</p>
+
+<div class="sidenote"><i>Business
+and Financial
+Imagination</i></div>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_51" id="Page_51" href="#Page_51">[Pg 51]</a></span>
+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.</p>
+
+<div class="sidenote"><i>How
+Wealth
+is Created</i></div>
+
+<p>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&#8217;s dream. The great factory, with
+its whirling mechanisms and glowing
+furnaces, is the material manifestation
+of the promoter&#8217;s financial imagination.
+The jeweled ornament, the book, the
+steamship, the office building, all are<span class='pagenum'><a name="Page_52" id="Page_52" href="#Page_52">[Pg 52]</a></span>
+but concrete realizations of human
+thought molded out of formless matter.</p>
+
+<p>Mind, finite and infinite, is eternally
+creative and creating in the organization
+of formless matter and material
+forces into concrete realities.</p>
+
+<div class="sidenote"><i>The
+Klamath
+Philosophy</i></div>
+
+<p>Says Max M&uuml;ller in his &ldquo;Psychological
+Religion&rdquo;: &ldquo;The Klamaths,
+one of the Red Indian tribes, believe in
+a Supreme God whom they call &lsquo;The
+Most Ancient One,&rsquo; &lsquo;Our Old Father,&rsquo;
+or &lsquo;The Old One on High.&rsquo; He is believed
+to have created the world&mdash;that
+is, to have made plants, animals and
+man. But when asked how the Old
+Father created the world, the Klamath
+philosopher replies: <i>&lsquo;By thinking and
+willing.&rsquo;&rdquo;</i></p>
+
+<div class="sidenote"><i>How
+Men
+Get Things</i></div>
+
+<p>We get what we desire because the<span class='pagenum'><a name="Page_53" id="Page_53" href="#Page_53">[Pg 53]</a></span>
+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.</p>
+
+<p>Behind every thing and every act is,
+and always has been, thought&mdash;thought
+of sufficient intensity to shape and
+fashion the physical event.</p>
+
+<p>Mind, and mind alone, possesses the
+inscrutable power to create.</p>
+
+<p>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<span class='pagenum'><a name="Page_54" id="Page_54" href="#Page_54">[Pg 54]</a></span>
+rather than tear down the structure of
+your fortunes.</p>
+
+<div class="sidenote"><i>Prerequisites
+to
+Achievement</i></div>
+
+<p>Creative imagination is an absolute
+prerequisite to material achievement.</p>
+
+<p>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.</p>
+
+<div class="sidenote"><i>How
+to Take
+Radical Steps
+in Business</i></div>
+
+<p>With these principles before you,
+you can plainly see that the <i>creative<span class='pagenum'><a name="Page_55" id="Page_55" href="#Page_55">[Pg 55]</a></span>
+imagination must be called upon in the
+solution of every practical question in
+every hour of the business day.</i></p>
+
+<p>Consider its part in two phases of
+your business life&mdash;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.</p>
+
+<div class="sidenote"><i>How
+to Take
+Radical Steps
+in Business</i></div>
+
+<p>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&#8217;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<span class='pagenum'><a name="Page_56" id="Page_56" href="#Page_56">[Pg 56]</a></span>
+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 dif<span class='pagenum'><a name="Page_57" id="Page_57" href="#Page_57">[Pg 57]</a></span>ficulties
+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.</p>
+
+<div class="sidenote"><i>The Expansion
+of Business
+Ideals</i></div>
+
+<p>There is excellent practical psychology
+in the following from &ldquo;Thoughts
+on Business&rdquo;:</p>
+
+<p>&ldquo;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<span class='pagenum'><a name="Page_58" id="Page_58" href="#Page_58">[Pg 58]</a></span>
+otherwise, and gave the place to another
+man who soon made the position worth
+$8,000 a year&mdash;at exactly the same
+commission.</p>
+
+<div class="sidenote"><i>Rising
+to the
+Emergency</i></div>
+
+<p>&ldquo;The difference was in the men&mdash;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.</p>
+
+<p>&ldquo;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<span class='pagenum'><a name="Page_59" id="Page_59" href="#Page_59">[Pg 59]</a></span>
+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&mdash;when you turn
+your mind to contemplate it. The mind
+is like a rubber band&mdash;you can stretch
+it to fit almost anything, but it draws in
+to a small scope when you let go.</p>
+
+<div class="sidenote"><i>The
+Constructive
+Imagination</i></div>
+
+<p>&ldquo;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.</p>
+
+<div class="sidenote"><i>Little Tasks
+and
+Big Tasks</i></div>
+
+<p>&ldquo;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<span class='pagenum'><a name="Page_60" id="Page_60" href="#Page_60">[Pg 60]</a></span>
+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.</p>
+
+<p>&ldquo;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.</p>
+
+<div class="sidenote"><i>Working Up
+a Department</i></div>
+
+<p>&ldquo;It is encouraging to think of this<span class='pagenum'><a name="Page_61" id="Page_61" href="#Page_61">[Pg 61]</a></span>
+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.&rdquo;</p>
+
+<p>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.</p>
+
+<div class="sidenote"><i>Imagination
+in Handling
+Employees</i></div>
+
+<p>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 im<span class='pagenum'><a name="Page_62" id="Page_62" href="#Page_62">[Pg 62]</a></span>mediate
+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.</p>
+
+<p>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,<span class='pagenum'><a name="Page_63" id="Page_63" href="#Page_63">[Pg 63]</a></span>
+Cornell and many other colleges and
+schools.</p>
+
+<div class="sidenote"><i>How to
+Test an
+Employee&#8217;s
+Imagination</i></div>
+
+<p>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 cre<span class='pagenum'><a name="Page_64" id="Page_64" href="#Page_64">[Pg 64]</a></span>ative
+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.</p>
+
+<div class="sidenote"><i>Imagination
+in Business
+Generally</i></div>
+
+<p>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 <i>your</i> best interest at <i>their</i><span class='pagenum'><a name="Page_65" id="Page_65" href="#Page_65">[Pg 65]</a></span>
+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.</p>
+
+<div class="sidenote"><i>Imagination
+and Action</i></div>
+
+<p>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
+<i>creative imagination, in a psychological
+and scientific sense, begets action.
+Every thought carries with it the impellent
+energy to effect its realization.</i>
+Use your imagination in your business
+and the action will take care of itself.
+Given imagination and action, and you
+are sure to win.</p>
+
+
+
+<hr />
+
+
+<div class='center'>
+<table class="bbox" border="0" cellpadding="5" cellspacing="2" summary="Transcriber Note">
+<tr><td align='center'><b>TRANSCRIBER&#8217;S NOTES</b></td></tr>
+<tr><td align='left'><ul><li>Removed duplicate sidenotes and adjusted placement of sidenotes.</li>
+<li>The original book used asterisks as ellipses.</li>
+<li>Added textual descriptions of advertisements for accessibility reasons.</li>
+</ul></td></tr>
+</table></div>
+
+<hr />
+<div class='center'>
+<table class="bbox" border="0" cellpadding="5" cellspacing="2" summary="Ad Text">
+<tr><td align='center'><b><a name="chocolate" id="chocolate"></a>TEXT OF FIRST ADVERTISEMENT</b></td></tr>
+<tr><td>
+<div class="pad5">
+<p>Girls&mdash;</p>
+
+<p>You'll want to have it taste<br />
+just right, especially if it's for<br />
+"him," so be careful of the directions:<br />
+Make a paste, using a tablespoonful of</p>
+
+<p>Anderson's<br />
+Chocolate</p>
+
+<p>&mdash;to a cup of boiling milk&mdash;stir for a<br />
+moment&mdash;then serve this delightful beverage.<br />
+Watch his eyes sparkle&mdash;note the<br />
+satisfaction in every sip&mdash;hear him murmur<br />
+"You're a dear."</p>
+</div>
+</td></tr>
+
+<tr><td align='center'><b><a name="cocoa" id="cocoa"></a>TEXT OF SECOND ADVERTISEMENT</b></td></tr>
+<tr><td>
+<div class="pad5">
+<p>A feature in the making of<br />
+Anderson's Cocoa</p>
+
+<p>The manner in which thousands of pounds of Cocoa beans<br />
+are daily roasted</p>
+
+<p>Anderson &amp; Co. N.Y.</p>
+</div>
+</td></tr>
+</table></div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Power of Mental Imagery, by Warren Hilton
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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: ASCII
+
+*** 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 Mueller 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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