The Imagination
De la Mare described two distinct "types" of imagination – although "aspects" might be a better term: the childlike and the boylike. It was at the border between the two that Shakespeare, Dante, and the rest of the great poets lay.
De la Mare claimed that all children fall into the category of having a childlike imagination at first, which is usually replaced at some point in their lives. He explained in the lecture "Rupert Brooke and the Intellectual Imagination". Children "are not so closely confined and bound in by their groping senses. Facts to them are the liveliest of chameleons. ... They are contemplatives, solitaries, fakirs, who sink again and again out of the noise and fever of existence and into a waking vision." His biographer Doris Ross McCrosson summarises this passage, "Children are, in short, visionaries." This visionary view of life can be seen as either vital creativity and ingenuity, or fatal disconnection from reality (or, in a limited sense, both).
The increasing intrusions of the external world upon the mind, however, frighten the childlike imagination, which "retires like a shocked snail into its shell." From then onward the boyish imagination flourishes, the "intellectual, analytical type."
By adulthood (de la Mare proposed), the childlike imagination has either retreated for ever or grown bold enough to face the real world. Thus emerge the two extremes of the spectrum of adult minds: the mind moulded by the boylike is "logical" and "deductive". That shaped by the childlike becomes "intuitive, inductive". For de la Mare, "The one knows that beauty is truth, the other reveals that truth is beauty." Yet another way he puts it is that the visionary's source of poetry is within, while the intellectual's sources are without – external – in "action, knowledge of things, and experience" (McCrosson's terms). De la Mare hastens to add that this does not make the intellectual's poetry any less good, but it is clear where his own preference lies.
Writer Joan Aiken cited some of his short stories such as Almond Trees and Snow Mountains for their sometimes unexplained quality, which she also employed in her own work.
Read more about this topic: Walter De La Mare
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