Once, when I was treating a young man, I happened to say something on this subject and to assert that in spite of our apparent freedom of choice in such matters we cannot, in point of fact, think of any name which cannot be shown to be narrowly determined by the immediate circumstances, the idiosyncrasies, of the person experimented with and his situation at the moment. As he was inclined to be sceptical, I proposed that he should make the experiment himself then and there. I knew that he had unusually numerous relationships of all sorts with women and girls, so I told him that I thought he would have an exceptionally large number to choose from if he were to let the name of a woman occur to him. He agreed. To my surprise, or rather perhaps to his own, he did not overwhelm me with an avalanche of women’s names, but remained silent for a time, and then confessed that the only name which came into his mind at all was “Albine.” “How curious! What do you connect with this name? How many Albines do you know?” Strangely enough, he knew no one of the name of Albine, and he found no associations to the name. One might infer that the analysis had failed; but no, it was already complete, and no further association was required. The man himself was unusually fair in colouring, and whilst talking to him in analysis I had often jokingly called him an _albino_; moreover, we were just in the midst of tracing the _feminine_ element in his nature. So it was he himself who was this female albino, the “woman” who interested him most at the moment. In the same way, the tunes which suddenly come into a man’s head can be shown to be conditioned by some train of thought to which they belong, and which for some reason is occupying his mind without his knowing anything about it. It is easy to show that the connection with the tune is to be sought either in the words which belong to it or in the source from which it comes: I must, however, make this reservation, that I do not maintain this in the case of really musical people of whom I happen to have had no experience; in them the musical value of the tune may account for its suddenly emerging into consciousness. The first case is certainly much more common; I know of a young man who for some time was absolutely haunted by the tune (a charming one, I admit) of the song of Paris in _Helen of Troy_, until his attention was drawn in analysis to the fact that at that time an “Ida” and a “Helen” were rivals in his interest.