So much I wanted to tell you about symptom development in the neuroses. Yes, but do not let me neglect to emphasize this especially: everything I have said here relates to the symptom development in hysteria. Even in compulsion neuroses, which retain the same fundamentals, much is found that is different. The counter-siege directed against the claims of the instincts, of which we have spoken in connection with hysteria, press to the fore in compulsion neuroses, and control the clinical picture by means of so-called "reaction-formations." The same kind and more far-reaching variations are discoverable among the other neuroses, where the investigations as to the mechanism of symptom development have in no way been completed. Before I leave you today I should like to have your attention for a while for an aspect of imaginative life which is worthy of the most general interest. For there is a way back from imagination to reality and that is--art. The artist is an incipient introvert who is not far from being a neurotic. He is impelled by too powerful instinctive needs. He wants to achieve honor, power, riches, fame and the love of women. But he lacks the means of achieving these satisfactions. So like any other unsatisfied person, he turns away from reality, and transfers all his interests, his libido, too, to the elaboration of his imaginary wishes, all of which might easily point the way to neurosis. A great many factors must combine to present this termination of his development; it is well known how often artists especially suffer from a partial inhibition of their capacities through neurosis. Apparently their constitutions are strongly endowed with an ability to sublimize and to shift the suppression determining their conflicts. The artist finds the way back to reality in this way. He is not the only one who has a life of imagination. The twilight-realm of phantasy is upheld by the sanction of humanity and every hungry soul looks here for help and sympathy. But for those who are not artists, the ability to obtain satisfaction from imaginative sources is very restricted. Their relentless suppressions force them to be satisfied with the sparse day dreams which may become conscious. If one is a real artist he has more at his disposal. In the first place, he understands how to elaborate his day dreams so that they lose their essentially personal element, which would repel strangers, and yield satisfaction to others as well. He also knows how to disguise them so that they do not easily disclose their origin in their despised sources. He further possesses the puzzling ability of molding a specific material into a faithful image of the creatures of his imagination, and then he is able to attach to this representation of his unconscious phantasies so much pleasurable gratification that, for a time at least, it is able to outweigh and release the suppressions. If he is able to accomplish all this, he makes