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first person
    singular
    indicative
    of the auxilliary
    verb
    to have
    everything
    I have done
    is the same
    if to do
    is capable
    of an
    infinity of
    combinations
    involving the
    moral
    physical
    and religious
    codes
    for everything
    and nothing
    are synonymous
    when
    energy in vacuuo
    has the power
    of confusion
    which only to
    have done nothing
    can make
    perfect
    The inevitable flux of the seeing eye toward measuring itself by the world it inhabits can only resultin himself crushing humiliation unless the individual raise to some approximate co-extension with the universe. This is possible by aid of the imagination. Only through the agency of this force can a man feel himself moved largely with sympathetic pulses at work —
    A work of the imagination which fails to release the senses in accordance with this major requisite — the sympathies, the intelligence in its selective world, fails at the elucidation, the alleviation which is —
    In the composition, the artist does exactly what every eye must do with life, fix the particular with the universality of his own personality — Taught by the largeness of his imagination to feel every form which he sees moving within himself, he must prove the truth of this by expression.
    The contraction which is felt.
    All this being anterior to technique, that can have only a sequent value; but since all that appears to the senses on a work of art does so through fixation by the imagination of the external as well internal means of expression the essential nature of technique or transcription.
    Only when this position is reached can life properbe said to begin since only then can a value be affixed to Hthe forms and activities of which it consists.
    Only then can the sense of frustration which ends. All composition defeated.
    Only through the imagination is the advance of intelligence possible, to keep beside growing understanding.
    Complete lack of imagination would be the same at the cost of intelligence, complete.
    Even the most robust constitution has its limits, though the Roman feast with its reliance upon regurgitation to prolong it shows an active ingenuity, yet the powers of a man are so pitifully small, with the ocean to swallow — that at the end of the feast nothing would be left but suicide.
    That or the imagination which in this case takes the form of humor, is known in that form — the release from physical necessity. Having eaten to the full we must acknowledge our insufficiency since we have not annihilated all food nor even the quantity of a good sized steer. However we have annihilated all eating: quite plainly we have no more appetite. This is to say that the imagination has removed us from the banal necessity of bursting ourselves — byacknowledging a new situation. We must acknowledge that the ocean we would drink is too vast — but at the same time we realize that extension in our case is not confined to the intestine only. The stomach is full, the ocean no fuller, both have the same quality of fullness. In that, then, one is equal to the other. Having eaten, the man has released his mind.
    THIS catalogue might be increased to larger proportions without stimulating the sense.
    In works of the imagination that which is taken for great good sense, so that it seems as if an accurate precept were discovered, is in reality not so, but vigor and accuracy of the imagination alone. In work such as Shakespeares —
    This leads to the discovery that has been made today — old catalogues aside — full of meat —
    “the divine illusion has about it that inaccuracy which reveals that which I mean”.
    There is only „ illusion” in art where ignorance of the bystander confuses imagination and its works with cruder processes. Truly men feel an enlargement before great or good work, an expansion but this is not, as so many believe today a „ lie”, a stupefaction, a kind of mesmerism, a thing to block out “life”, bitter to the individual, by a “vision of