We said once that the memories of the childhood relations with Zoë are in a state of “repression” with Norbert Hanold; and we have called them “unconscious memories.” Here we must, of course, turn our attention to the relation between the two technical terms which seem to coincide in meaning. It is not hard to clear this up. “Unconscious” is the broader term, “repressed” the narrower. Everything that is repressed is unconscious; but we cannot assert that everything unconscious is repressed. If Hanold, at the sight of the relief, had remembered his Zoë’s manner of walking, then a formerly unconscious memory would have become immediately active and conscious, and thus would have shown that it was not formerly repressed. “Unconscious” is a purely descriptive term, in many respects indefinite and, so to speak, static; “repressed” is a dynamic expression which takes into consideration the play of psychic forces and the fact that there is present an effort to express all psychic activities, among them that of becoming conscious again, but also a counterforce, a resistance, which might hinder a part of these psychic activities, among these, also, getting into consciousness. The mark of the repressed material is that, in spite of its intensity, it cannot break through into consciousness. In Hanold’s case, therefore, it was a matter, at the appearance of the bas-relief on his horizon, of a repressed unconscious, in short of a repression. The memories of his childhood association with the girl who walks beautifully are repressed in Norbert Hanold, but this is not yet the correct view of the psychological situation. We remain on the surface so long as we treat only of memories and ideas. The only valuable things in psychic life are, rather, the emotions. All psychic powers are significant only through their fitness to awaken emotions. Ideas are repressed only because they are connected with liberations of emotions, which are not to come to light; it would be more correct to say that repression deals with the emotions, but these are comprehensible to us only in connection with ideas. Thus, in Norbert Hanold, the erotic feelings are repressed, and, as his eroticism neither knows nor has known another object than Zoë Bertgang of his youth, the memories of her are forgotten. The antique bas-relief awakens the slumbering eroticism in him and makes the childhood memories active. On account of a resistance in him to the eroticism, these memories can become active only as unconscious. What now happens in him is a struggle between the power of eroticism and the forces that are repressing it; the result of this struggle is a delusion.