understanding of life. Emotion therefore leads to appreciation, which,
when logically developed, becomes expression. Fairy tales, thus, in
conducting emotional capacity through this varied growth and toward
this high development, hold an educational value of no mean order.

(2) The power to appeal to the imagination. Emotion can be aroused by
showing the objects which excite emotion. Imagination is this power to
see and show things in the concrete. Curry says, "Whenever the soul
comes vividly in contact with any fact, truth, etc., whenever it takes
them home to itself with more than common intensity, out of that
meeting of the soul and its object there arises a thrill of joy, a
glow of feeling. It is the faculty that can create ideal presence."
When through imagination we select spontaneously from the elements of
experience and combine into new wholes, we call it creative
imagination.--Thecreative imagination will be viewed here as it
appears in action in the creative return given by the child to his
fairy tales.--When we emphasize a similarity seen in mere external or
accidental relations or follow suggestions not of an essential nature
in the object, we call it fancy. Ruskin, in his _Modern Painters_,
vol. I, part III, _Of the Imaginative Faculty_, would distinguish
three classes of the imagination:--

(a) _The associative imagination_. This is the power of imagination by
which we call into association other images that tend to produce the
same or allied emotion. When this association has no common ground of
emotion it is fancy. The test for the associative imagination, which
has the power to combine ideas to form a conception, is that if one
part is taken away the rest of the combination goes to pieces. It
requires intense simplicity, harmony, and absolute truth. Andersen's
_Fairy Tales_ are a perfect drill for the associative imagination.