In the course of my treatment of a young man, I referred to this subject and mentioned the fact that despite the apparent volition it is impossible to have a name occur which does not appear to be limited by the immediate conditions, the peculiarities of the subject, and the momentary situation. He was doubtful, and I proposed that he make such an attempt immediately. I know he has especially numerous relations of every sort with women and girls, and so am of the opinion that he will have an unusually wide choice if he happens to think of a woman's name. He agrees. To my astonishment, and perhaps even more to his, no avalanche of women's names descends upon my head, but he is silent for a time, and then admits that a single name has occurred to him--and no other: _Albino_. How extraordinary, but what associations have you with this name? How many albinoes do you know? Strangely enough, he knew no albinoes, and there were no further associations with the name. One might conclude the analysis had proved a failure; but no--it was already complete; no further association was necessary. The man himself had unusually light coloring. In our talks during the cure I had frequently called him an albino in fun. We were at the time occupied in determining the feminine characteristics of his nature. He himself was the Albino, who at that moment was to him the most interesting feminine person. In like manner, melodies, which come for no reason, show themselves conditioned by and associated with a train of thought which has a right to occupy one, yet of whose activity one is unconscious. It is easily demonstrable that the attraction to the melody is associated with the text, or its origin. But I must take the precaution not to include in this assertion really musical people, with whom, as it happens, I have had no experience. In their cases the musical meaning of the melody may have occasioned its occurrence. More often the first reason holds. I know of a young man who for a time was actually haunted by the really charming melody of the song of Paris, from _The Beautiful Helen_, until the analysis brought to his attention the fact that at that time his interest was divided between an Ida and a Helen. If then the entirely unrestrained associations are conditioned in such a manner and are arranged in a distinct order, we are justified in concluding that associations with a single condition, that of an original premise, or starting point, may be conditioned to no less degree. The investigation does in fact show that aside from the conditioning which we have established by the premise, a second farther dependence is recognizable upon powerful affective thoughts, upon cycles of interest and complexes of whose influence we are ignorant, therefore unconscious at the time.