The logical axioms are the foundation of all formation of mental conceptions, and women are devoid of these; the principle of identity is not for them an inevitable standard, nor do they fence off all other possibilities from their conception by using the principle of contradictories. This want of definiteness in the ideas of women is the source of that “sensitiveness” which gives the widest scope to vague associations and allows the most radically different things to be grouped together. And even women with the best and least limited memories never free themselves from this kind of association by feelings. For instance, if they “feel reminded” by a word of some definite colour, or by a human being of some definite thing to eat--forms of association common with women--they rest content with the subjective association, and do not try to find out the source of the comparison, and if there is any relation in it to actual fact. The complacency and self-satisfaction of women corresponds with what has been called their intellectual unscrupulousness, and will be referred to again in connection with their want of the power to form concepts. This subjection to waves of feeling, this want of respect for conceptions, this self-appreciation without any attempt to avoid shallowness, characterise as essentially female the changeable styles of many modern painters and novelists. Male thought is fundamentally different from female thought in its craving for definite form, and all art that consists of moods is essentially a formless art.