Finally we come to music and the stage. The case of music is admirably suited for our purpose, is really a perfect test case. What do we find? As performers, where minor creativeness suffices, women have equaled the best among men. As composers, where creativeness of the highest order is essential, they have failed. We have a Carreño or Novaes to match a Hofmann or Levitski, a Melba or Sembrich to match a Caruso or deReszke, a Morini or Powell or Parlow to match a Heifetz or Elman or Kreisler; but there is no woman to match a Beethoven or Wagner or Strauss or Mahler or Stravinsky, or Rachmaninoff--a composer-performer. The situation in drama is almost equally illuminating. Here women have reached the top, have done it so frequently and persistently, in fact, as to challenge men, some think successfully so. But as dramatic writers the few women who tried have never succeeded to rise above moderate excellence. A Rachel or Duse can hold her own as against a Possart or Orlenyev, a Bernhardt looms as high as an Irving, Booth or Salvini; but there is no woman to compare with a Molière or Ostrovski or Rostand or Hauptmann or Chekhov or Kapek. If now we glance once more at the primitive record the conclusion suggested by an analysis of music and the drama is greatly reënforced. In primitive society woman, whenever opportunity was given her, equaled man in creativeness; in modern society she has uniformly failed in the highest ranges. The results are not incompatible. As indicated before, in early days cultural conditions precluded the exercise of creativeness on the part of the individual except on a minor scale, in modern society major creativeness is possible and has been realized. Woman’s creative achievement reaches the top when the top is relatively low; when the top itself rises, she falls behind. To analyze this fact further is no easy task. We may not assume, as some do, that the difference between major and minor creativeness lies in degrees of rationality. This is certainly erroneous. The true creator is what he is, not because of his rationality but because of what he does with it. The differentia, as I see them, are two: boldness of imagination and tremendous concentration on self. The creator, when he creates, is spiritually alone; he dominates his material by drawing it into the self and he permits his imagination, for once torn off the moorings of tradition and precedent, to indulge in flights of gigantic sweep. Imagination and personality exalted to the _n_th power--not rationality--are the marks of the highest creativeness. In the possession of these traits, then, as here understood, woman is somehow restricted. She has them, of course, and exercises them, but not on the very highest level. We might stop right here, but it is hard to suppress at least a tentative interpretation.