However, the foregoing merely establishes, between the functions compared, a concomitance in the general course of their evolution and in their critical periods; it is insufficient for a conclusion. There would be needed clear, authentic and sufficiently numerous observations proving that individuals bereft of imagination of the creative type have acquired it suddenly through the sole fact of their sexual influences, and, inversely, that brilliant imaginations have faded under the contrary conditions. We find some of these evidences in Cabanis,[29] Moreau de Tours and various alienists; they would seem to be in favor of the affirmative, but some seem to me not sure enough, others not explicit enough. Despite my investigations on this point, and inquiry of competent persons, I do not venture to draw a definite conclusion. I leave the question open; it will perhaps tempt another more fortunate investigator. FOOTNOTES: [25] Flechsig, _Gehirn und Seele_, 1896. [26] Is it possible that this would explain the fact of Aristotle lecturing to his pupils while walking about, thus giving the name "peripatetic" to his school and system? (Tr.) [27] _Die Phantasie als Grundprincip der Weltprocesses_, Muenchen, 1877. For other details on the subject, see Appendix C. [28] A passage from Chateaubriand (cited by Paulhan, _Rev. Philos._, March, 1898, p. 237) is a typical description of the situation: "The warmth of my (adolescent) imagination, my shyness, and solitude, caused me, instead of casting myself on something without, to fall back upon myself. Wanting a real object, I evoked through the power of my desires, a phantom, which thenceforth never left me; I made a woman, composed of all the women that I had already seen. That charming idea followed me everywhere, though invisible; I conversed with her as with a real being; she would change according to my frenzy. Pygmalion was less enamored of his statue." [29] Cabanis, _Rapports du Physique et du Moral_, edition Peisse, pp. 248-249, an anecdote that he relates after Buffon. Analogous, but less clear, facts may also be found in Moreau de Tours' _Psychologie morbide_. CHAPTER V THE PRINCIPLE OF UNITY The psychological nature of the imagination would be very imperfectly known were we limited to the foregoing analytical study. Indeed, all creation whatever, great or small, shows an organic character; it implies a unifying, synthetic principle. Every one of the three factors--intellectual, emotional, unconscious--works not as an isolated fact on its own account; they have no worth save through their union, and no signification save through their common bearing. This principle of unity, which all invention demands and requires, is at one time intellectual in nature, i.e., as a fixed idea; at another time emotional, i.e., as a fixed emotion or passion. These terms--fixed idea, fixed emotion--are somewhat absolute and require restrictions and reservations, which will be made in what follows.