First of all, then, we note that the order in respect of precocity answers roughly to the degree of abstractness of the faculty employed. At the one extreme musicians and artists represent sensuous faculty, or the least abstract mode of mental activity, while philosophers at the other extreme illustrate the highest degree of abstraction. Between these come the men of imagination, the poets and novelists. And this is the very order we should antecedently expect from a consideration of the general laws of intellectual development; for sense, imagination, and abstract thought are the three well-marked stages of intellectual progress. Or, to express the same fact in physiological terms, one may say that the nerve-centers specially engaged in the production of sense impressions, mental images, and abstract ideas, develop and are perfected in this order.
Taking up the classes seriatim, one may say that the clear primacy of musical genius is probably connected with the fact that the faculty for music has, as its main ingredient, a very special and restricted sense-endowment, viz., a fine sensibility to tones and their musical relations, which, again, seems to be correlated with a special functional endowment of the organ of hearing. One may add to this that musical inventiveness presupposes no experience or knowledge of things, but merely an accumulation of tone-material.
Painting, like music, seems to depend on a special sense-endowment, viz., an eye for form and color, and also a finely organized hand, which endowments might be expected to be well marked from the first. On the other hand, it involves much more in the way of external observation and a knowledge of objects. Hence, perhaps, its inferiority to music in the matter of precocity.
Passing to men of letters, we find that, on the whole, poets are the most precocious class. Here, too, we note the presence of a clearly marked sensuous ingredient, viz., a fine ear for rhythm and the musical qualities of verbal sounds. The poetic endowment includes, moreover, as a principal act, or a lively, sensuous imagination, a faculty that is in a manner based on a certain degree of perfection of the senses, and so may be expected to become prominent at an early period of life. If to this we add that lyrical poetry is to a very large extent the expression of erotic and kindred feelings which are known to be developed in great strength during the transition from childhood to youth, we are able, I imagine, to understand much of the daring precocity of poets. It is to be remarked that, though there are several instances of boys writing comedies, dramatic composition begins as a rule considerably later than lyrical, and this accords with the fact that dramatic conception presupposes much more objective knowledge of men and things.
The next class to claim attention is the scholars. At first one may well be surprised to find these so high up in our first table, for the critical faculty, judgment, is known to be late in its development. But
