If the personality-imagination complex is where woman fails at the top, then it becomes _a priori_ probable that this difference between man and woman constitutes a remote sex characteristic. And if this is so, then it may prove worth our while to look for a corresponding difference on a level more directly connected with sex life. No sooner is this done than a difference does indeed appear, and it meets our expectations, for it lies in the direction of personality or self-concentration as well as of imagination. Woman is never so much “a part of” as when she loves, man never so “whole”; her self dissolves, his crystallizes. Also, woman’s love is less imaginative than man’s: man is more like what woman’s love makes him out to be than woman is like what man’s love makes her out to be. Relatively speaking, his love is romantic, hers realistic. This difference in the diagnostic features of man’s love and woman’s love confirms our suspicion that the discrepancy in performance, where the personality-imagination complex is involved, constitutes a remote sex characteristic. We must now turn once more to woman’s achievement in the different fields of cultural creativeness, for the variation in the degree of excellence reached by her provides a valuable clue as to where her strength lies. In an ascending series of woman’s achievements musical composition is at the bottom of the list, then come sculpture and painting, then literature (with a strange drop in dramatic writing), then instrumental and vocal performance; acting, finally, heads the list. This order is most illuminating. The relative excellence of woman’s achievement is seen to rise with the concreteness of the task and the prominence of the technical and human elements. Creativeness is more abstract in music than in the plastic and graphic arts, more abstract in these than in literature; and in each case woman’s relative achievement increases as abstractness decreases. Even the peculiar drop in dramatic writing when compared with other forms of literature is explicable in terms of a more abstract sort of creativeness required by the formal elements of dramatic art. Again, the high position in the list of musical performers and actresses, must in part be ascribed to the importance of the technical element in these arts. The preeminence of the musical performers is probably entirely due to this factor, although the intrusion of the human element (performing for an audience) may also have a share in the result.