CARS Sample Passage (Questions 1-4) Imagery is a topic which belongs both to psychology and to literary study. In psychology, the word "image" means a mental reproduction, a memory, of a past sensational or perceptual experience, not necessarily visual. The pioneer investigations of Francis Galton, in 1880, sought to discover how far men could visually reproduce the past, and found that men greatly differed in their degree of visualization. But imagery is not visual only. The classifications of psychologists and aestheticians are numerous. There are not only "gustatory" and "olfactory" images, but there are also thermal images and pressure images ("kinaesthetic," "haptic," "empathic"). There is the important distinction between static imagery and kinetic (or "dynamic"). The use of color imagery may or may not be traditionally or privately symbolic. Synaesthetic imagery (whether the result of the poet's abnormal psychological constitution or of literary convention) translates from one sense into another, e.g., sound into color. Finally, there is the distinction, useful for the reader of poetry, between "tied" and "free" imagery: the former, auditory and muscular imagery, necessarily aroused even though one reads to oneself and approximately the same for all adequate readers; the latter, visual and else, varying much from person to person or type to type. From images as the vestigial representatives of sensations we move with instructive ease to the second line which runs through our whole area-that of analogy and comparison. Even visual images are not to be looked for exclusively in descriptive poetry; and few who have attempted to write "imagist" or "physical" poetry have succeeded in restricting themselves to pictures of the external world. Rarely, indeed, have they wished to do so. Ezra Pound, theorist of several poetic movements, defined the "image" not as a pictorial representation but as "that which presents an intellectual and emotional complex in an instant of time," a "unification of disparate ideas." The image may exist as "description" or as metaphor. But may the images not offered as metaphor, as seen by the "mind's eye," also be symbolic? Is not every perception selective? So Middleton Murry, who thinks of "simile" and "metaphor" as associated with the "formal classification" of rhetoric, advises the use of "image" as a term to include both, but warns that we must "resolutely exclude from our minds the suggestion that the image is solely or even predominantly visual." The image "may be visual, may be auditory," or "may be wholly psychological." In writers as different as Shakespeare, Emily Brontë, and Poe, we can see that the setting (a system of "properties") is often a metaphor or symbol: the raging sea, the storm, the wild moor, the decaying castle by the dank, dark tarn. Like "image," "symbol" has given its name to a specific literary movement. Like "image," again, it continues to appear in widely different contexts and very different purposes. It appears as a term in logic, in mathematics, in semantics and semiotics and epistemology; it has also had a long history in the worlds of