(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 not discover its true direction at the outset; it imitated while trying to invent. What has been said above concerning the chronological development of the imagination would be tiresome repetition. The need of creating followed from the first the line of least resistance, where it found certain materials ready to hand. But in order to arrive to full consciousness of itself it needed more time, more knowledge, more accumulated experience.