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I wish to call special attention to the psychological fact, that fairies and demons, remote as they are from experience, are not created by a more vigorous effort of imagination than milk maids and poachers. The intensity of vision in the artist and of vividness in his creations are the sole tests of his imaginative power.

 

George Henry Lewes

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Minds differ in the vividness with which they recall the elements of previous experience, and mentally see the absent objects; they differ also in the aptitudes for selection, abstraction, and recombination: the fine selective instinct of the artist, which makes him fasten upon the details which will most powerfully affect us, without any disturbance of the harmony of the general impression, does not depend solely upon the vividness of his memory and the clearness with which the objects are seen, but depends also upon very complex and peculiar conditions of sympathy which we call genius.

 

George Henry Lewes

 

He believed that, in order to produce art that signifies at the exalted level he envisaged, the painter must develop the "eyes of the soul and spirit as well as the body." Moreau associated this inner vision with the predominant role of the imagination; following current ideas, he apparently connected this faculty with "psychological penetration" and the unconscious.... Moreau wrote that his "greatest effort" was devoted to directing his imaginative energies, to channeling "this outpouring of oneself."

 

Gustave Moreau

 

Should the believers in special creations consider it unfair thus to call upon them to describe how special creations take place, I reply that this is far less than they demand from the supporters of the Development Hypothesis. They are merely asked to point out a conceivable mode. On the other hand, they ask, not simply for a conceivable mode, but for the actual mode.

 

Herbert Spencer

 

There is a reality outside the world, that is to say, outside space and time, outside man's mental universe, outside any sphere whatsoever that is accessible to human faculties.
Corresponding to this reality, at the centre of the human heart, is the longing for an absolute good, a longing which is always there and is never appeased by any object in this world.
Another terrestrial manifestation of this reality lies in the absurd and insoluble contradictions which are always the terminus of human thought when it moves exclusively in this world.
Just as the reality of this world is the sole foundation of facts, so that other reality is the sole foundation of good.
That reality is the unique source of all the good that can exist in this world: that is to say, all beauty, all truth, all justice, all legitimacy, all order, and all human behaviour that is mindful of obligations.
Those minds whose attention and love are turned towards that reality are the sole intermediary through which good can descend from there and come among men.
Although it is beyond the reach of any human faculties, man has the power of turning his attention and love towards it.
Nothing can ever justify the assumption that any man, whoever he may be, has been deprived of this power.
It is a power which is only real in this world in so far as it is exercised. The sole condition for exercising it is consent.
This act of consent may be expressed, or it may not be, even tacitly; it may not be clearly conscious, although it has really taken place in the soul. Very often it is verbally expressed although it has not in fact taken place. But whether expressed or not, the one condition suffices: that it shall in fact have taken place.
To anyone who does actually consent to directing his attention and love beyond the world, towards the reality that exists outside the reach of all human faculties, it is given to succeed in doing so. In that case, sooner or later, there descends upon him a part of the good, which shines through him upon all that surrounds him.

 

Simone Weil

 

How often people speak of art and science as though they were two entirely different things, with no interconnection. An artist is emotional, they think, and uses only his intuition; he sees all at once and has no need of reason. A scientist is cold, they think, and uses only his reason; he argues carefully step by step, and needs no imagination. That is all wrong. The true artist is quite rational as well as imaginative and knows what he is doing; if he does not, his art suffers. The true scientist is quite imaginative as well as rational, and sometimes leaps to solutions where reason can follow only slowly; if he does not, his science suffers.

 

Isaac Asimov