The "sketched" form is or remains an elementary, primitive, automatic form. Conformably to the general law ruling the development of mind--passage from indefinite to definite, from the incoherent to the coherent, from spontaneity to reflection, from the reflex to the voluntary period--the imagination comes out of its swaddling-clothes, is changed--through the intervention of a teleological act that assigns it an end; through the union of rational elements that subdue it for an adaptation. Then appear the other two forms. (b) The _fixed_ form comprises mythic and esthetic creations, philosophical and scientific hypotheses. While the "outline" imagination remains an internal phenomenon, existing only in and for a single individual, the fixed form is projected outwards, made something else. The former has no reality other than the momentary belief accompanying it; the latter exists by itself, for its creator and for others; the work is accepted, rejected, examined, criticised. Fiction rests on the same level as reality. Do not people discuss seriously the objective value of certain myths, and of metaphysical theories? the action of a novel or drama as though it were a matter of real events? the character of the _dramatis personae_ as though they were living flesh and blood? The fixed imagination moves in an elastic frame. The material elements circumscribing it and composing it have a certain fluidity; they are language, writing, musical sounds, colors, forms, lines. Furthermore, we know that its creations, in spite of the spontaneous adherence of the mind accepting them, are the work of a free will; they could have been otherwise--they preserve an indelible imprint of contingency and subjectivity. (c) This last mark is rubbed out without disappearing (for a thing imagined is always a personal thing) in the objectified form that comprises successful practical inventions--whether mechanical, industrial, commercial, military, social, or political. These have no longer an arbitrary, borrowed reality; they have their place in the totality of physical and social phenomena. They resemble creations of nature, subject like them to fixed conditions of existence and to a limited determinism. We shall not dwell longer on this last character, so often pointed out.