causes are, in
the physiological sphere, the formation of an organism and a fully
developed brain; in the psychologic order, the antagonism between the
pure subjectivity of the imagination and the objectivity of
ratiocinative processes; in other words, between mental instability and
stability. As for the results, they appear only in the third period, the
resultant of this obscure, metamorphic stage.

_Third Period._ It is definite: in some way or another and in some
degree the imagination has become rationalized, but this change is not
reducible to a single formula.

(1) The creative imagination falls, as is indicated in the figure, where
the imagination curve MN' descends rapidly toward the line of abcissas
without ever reaching it. This is the most general case; only truly
imaginative minds are exceptions. One falls little by little into the
prose of practical life--such is the downfall of love which is treated
as a phantom, the burial of the dreams of youth, etc. This is a
regression, not an end; for the creative imagination disappears
completely in no man; it only becomes accessory.

(2) It keeps up but becomes transformed; it adapts itself to the
conditions of rational thought; it is no longer pure imagination, but
becomes a mixed form--the fact is indicated in the diagram by the union
of the two lines, MN, the imagination, and XO, the rational. This is the
case with truly imaginative beings, in whom inventive power long remains
young and fresh.

This period of preservation, of definitive constitution with rational
transformation, presents several varieties. First, and simplest,
_transformation into logical form_. The creative power manifested in the
first stage remains true to itself, and always follows the same trend.
Such are the precocious inventors, those whose vocation appeared early
and never changed direction. Invention loses its childish or juvenile
character in becoming virile; there are no other changes. Compare
Schiller's _Robbers_, written in his teens, with his _Wallenstein_,
dating from his fortieth year; or the vague sketches of the adolescent
James Watt with his inventions as a man.

Another case is the _metamorphosis_ or _deviation_ of creative power. We
know what numbers of men who have left a great name in science,
politics, mechanical or industrial invention started out with mediocre
efforts in music, painting, and especially poetry, the drama, and
fiction. The imaginative impulse did no