Another method of guarding against pain is by using the libido-displacements that our mental equipment allows of, by which it gains so greatly in flexibility. The task is then one of transferring the instinctual aims into such directions that they cannot be frustrated by the outer world. Sublimation of the instincts lends an aid in this. Its success is greatest when a man knows how to heighten sufficiently his capacity for obtaining pleasure from mental and intellectual work. Fate has little power against him then. This kind of satisfaction, such as the artist’s joy in creation, in embodying his phantasies, or the scientist’s in solving problems or discovering truth, has a special quality which we shall certainly one day be able to define metapsychologically. Until then we can only say metaphorically it seems to us ‘higher and finer’, but compared with that of gratifying gross primitive instincts, its intensity is tempered and diffused; it does not overwhelm us physically. The weak point of this method, however, is that it is not generally applicable; it is only available to the few. It presupposes special gifts and dispositions which are not very commonly found in a sufficient degree. And even to these few it does not secure complete protection against suffering; it gives no invulnerable armour against the arrows of fate, and it usually fails when a man’s own body becomes a source of suffering to him.[8] This behaviour reveals clearly enough its aim—that of making oneself independent of the external world, by looking for happiness in the inner things of the mind; in the next method the same features are even more marked. The connection with reality is looser still; satisfaction is obtained through illusions, which are recognized as such, without the discrepancy between them and reality being allowed to interfere with the pleasure they give. These illusions are derived from the life of phantasy which, at the time when the sense of reality developed, was expressly exempted from the demands of the reality-test and set apart for the purpose of fulfilling wishes which would be very hard to realize. At the head of these phantasy-pleasures stands the enjoyment of works of art which through the agency of the artist is opened to those who cannot themselves create.[9] Those who are sensitive to the influence of art do not know how to rate it high enough as a source of happiness and consolation in life. Yet art affects us but as a mild narcotic and can provide no more than a temporary refuge for us from the hardships of life; its influence is not strong enough to make us forget real misery.