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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 /> 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’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 “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.</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’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 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 “images” +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 +“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.</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 “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.</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> +“Inquiries into Human Faculties,” he +says:</p> + +<div class="sidenote"><i>Investigations +of Doctor +Galton</i></div> + +<p>“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.”</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>“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.<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>“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.)”</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>“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<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.”</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>“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 <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.’</p> + +<p>“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.’</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 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>“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.’</p> + +<p>“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<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.’</p> + +<p>“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.<span class='pagenum'><a name="Page_25" id="Page_25" href="#Page_25">[Pg 25]</a></span> +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.’</p> + +<p>“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>“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<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 “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<span class='pagenum'><a name="Page_28" id="Page_28" href="#Page_28">[Pg 28]</a></span> +seem to feel the movements most distinctly.’</p> + +<p>“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.”</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 “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<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 “the best.” Pianos are musical +instruments, and the descriptive words +should first of all call up delightful +<i>auditory images</i> in your reader’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 6</a>. 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 <a href="#ad2">another advertisement</a> +of this same brand of chocolate, +shown facing <a href="#Page_22">page 22</a>. 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<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—that +is to say, with what life-like +clearness—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>—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?</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’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>—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>—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>—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>—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>—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’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 “complexes.” 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’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<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 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: <i>‘By thinking and +willing.’”</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—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—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’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 “Thoughts +on Business”:</p> + +<p>“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—at exactly the same +commission.</p> + +<div class="sidenote"><i>Rising +to the +Emergency</i></div> + +<p>“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.</p> + +<p>“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—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.</p> + +<div class="sidenote"><i>The +Constructive +Imagination</i></div> + +<p>“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>“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>“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>“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.”</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’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’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—</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>—to a cup of boiling milk—stir for a<br /> +moment—then serve this delightful beverage.<br /> +Watch his eyes sparkle—note the<br /> +satisfaction in every sip—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 & Co. N.Y.</p> +</div> +</td></tr> +</table></div> + + + + + + + +<pre> + + + + + +End of Project Gutenberg's Power of Mental Imagery, by Warren Hilton + +*** END OF THIS PROJECT GUTENBERG EBOOK POWER OF MENTAL IMAGERY *** + +***** This file should be named 22489-h.htm or 22489-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/2/4/8/22489/ + +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) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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