If we look at the history of mental science we are immediately struck by diverse tendencies among its several cultivators, the consequence being a certain opposition of schools and some repugnance among their disciples. Apart from the great contrasts between minds that are teleological or biological and minds that are mechanical, between the animists and the associationists in psychology, there is the entirely different contrast between what I will call the classic-academic and the romantic type of imagination. The former has a fondness for clean pure lines and noble simplicity in its constructions. It explains things by as few principles as possible and is intolerant of either nondescript facts or clumsy formulas. The facts must lie in a neat assemblage, and the psychologist must be enabled to cover them and "tuck them in" as safely under his system as a mother tucks her babe in under the down coverlet on a winter night. Until quite recently all psychology, whether animistic or associationistic, was written on classic-academic lines. The consequence was that the human mind, as it is figured in this literature, was largely an abstraction. Its normal adult traits were recognized. A sort of sun-lit terrace was exhibited on which it took its exercise. But where that terrace stopped, the mind stopped; and there was nothing farther left to tell of in this kind of philosophy but the brain and the other physical facts of nature on the one hand, and the absolute metaphysical ground of the universe on the other. But of late years the terrace has been overrun by romantic improvers, and to pass to their work is like going from classic to gothic architecture, where few outlines are pure and where uncouth forms lurk in the shadows. A mass of mental phenomena are now seen in the shrubbery beyond the parapet. Fantastic, ignoble, hardly human, or frankly non-human are some of these new candidates for psychological description. The menagerie and the madhouse, the nursery, the prison, and the hospital, have been made to deliver up their material. The world of mind is shown as something infinitely more complex than was suspected; and whatever beauties it may still possess, it has lost at any rate the beauty of academic neatness.