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 tition in the finite mind of the eternal act of creation in the infinite. The secondary I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to re-create; or where this process is rendered impossible, yet still at all events it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead.

, on the contrary, has no other counters to play with, but fixities and definites. The Fancy is indeed no other than a mode of Memory emancipated from the order of time and space; and blended with, and modified by that empirical phenomenon of the will, which we express by the word. But equally with the ordinary memory it must receive all its materials ready made from the law of association.

Whatever more than this, I shall think it fit to declare concerning the powers and privileges of the imagination in the present work, will be found in the critical essay on the uses of the Supernatural in poetry and the principles that regulate its introduction: which the reader will find prefixed to the poem of The Ancient Mariner.