The polar opposite of sympathy is abstraction. The impulse of abstraction is conceived by Warringer "as the result of a great internal conflict of the human soul in the presence of the external world, and from the religious standpoint, it corresponds to a strong transcendental colouring of all the representations man has made to himself of reality." We recognise clearly in this definition the primordial tendency to introversion. To the introverted type the universe does not appear beautiful and desirable, but disquieting, and even dangerous; it is a manifestation against which the subject puts himself on the defensive; he entrenches himself in his inner fastness, and fortifies himself therein by the invention of geometrical figures, full of repose, perfectly clear even in their minutest details, the primitive magic power of which assures him of domination over the surrounding world. "The need of abstraction is the origin of all art," says Warringer. Here is a great principle, which gains weighty confirmation from the fact that precocious dements reproduce forms and figures which present the closest analogy to those of primitive humanity, not only in their thoughts but also in their drawings. We should recall that Schiller had already tried to formulate the same presentation in what he calls the naïve and sentimental types. The latter is in quest of nature, whilst the former is itself "all nature." Schiller also saw that these two types result from the predominance of psychological mechanisms which might be met with in one and the same individual. "It is not only in the same poet," he said, "but even in the same work that these two types of mentality are found united.... The naïve poet pursues only nature and feeling in their simplicity, and all his effort is limited to the imitation and reproduction of reality. The sentimental poet, on the contrary, reflects the impression he receives from objects. The object here is allied to an idea, and the poetic power of the work depends on this alliance." These quotations shew what types Schiller had in view, and one recognises their fundamental identity with those with which we are here dealing.