§ 1. Having thus glanced at the principal modes in which the imagination works for evil, we must rapidly note also the principal directions in which its operation is admissible, even in changing or strangely combining what is brought within its sphere.

For hitherto we have spoken as if every change wilfully wrought by the imagination was an error; apparently implying that its only proper work was to summon up the memories of past events, and the anticipations of future ones, under aspects which would bear the sternest tests of historical investigation, or abstract reasoning. And in general this is, indeed, its noblest work. Nevertheless, it has also permissible functions peculiarly its own, and certain rights of feigning, adorning, and fancifully arranging, inalienable from its nature. Everything that is natural is, within certain limits, right; and we must take care not, in overseverity, to deprive ourselves of any refreshing or animating power ordained to be in us for our help.

§ 2. (A.) It was noted in speaking above of the Angelican or passionate ideal, that there was a certain virtue in it dependent on the expression of its loving enthusiasm. (Chap. IV. § 10.)

(B.) In speaking of the pursuit of beauty as one of the characteristics of the highest art, it was also said that there were certain ways of showing this beauty by gathering together, without altering, the finest forms, and marking them by gentle emphasis.