Policeman Day is the cause of terror because he represents the time when the dreams do not occur, day time, when he becomes the symbol of love unrealised, for in the day Georgie is no longer with his love. Policeman Day is consciousness opposed to unconsciousness, reality opposed to illusion. Miss Lacy also felt this when she sang the song with the refrain, Oh pity us! Ah, pity us! We wakeful! Oh, pity us! We that go back with Policeman Day Back from the City of Sleep. She also was with Georgie in her dreams and dreaded waking. He also was present in her unconscious and she never really forgot the boy she had met as a child, although she had no conscious memory of him. Their infantile impressions were powerful and ruled them all the time till they met again. They dreamed they were with each other because they wanted to be with each other. He guessed she wrote the poem because she had felt as he did. The poem was an anxiety poem, voicing the unconscious desire to be with the loved one. It represents the state of mind of both lovers; he had also felt the sentiments of the poem, but she put them in words. When he came back to England he was unconsciously going to find the ideal of his dreams, the original Annie-an-louise. When he found her he was cured of his dreams and anxieties. Their meeting acted like a cure for their mysterious longings. All their dreams were made up of infantile fantasies and represented repressions. The marriage satisfies these repressions. I dare say Kipling was his own model for the Brushwood Boy. This disposes of any interpretations based on mere mental telepathy between George and Miss Lacy. They had the same feelings because they suffered the same repression and had met and loved each other in infancy. Among other dream stories by Kipling, two of the best are _They_ and _The Dream of Duncan Parrenness_. IV Brandes said in his book on Shakespeare: "As, knowing the life and experiences of the great modern poet, we are generally able to trace how these are worked upon and transformed in his works, it is reasonable to suppose that in olden times poets were moved by the same causes, acted in the same way, at least those of them who have been efficient. When we know of the adventures and emotions of the modern poet, and are able to trace them in the productions of his free fancy; when it is possible, where they are unknown to us, to evolve the hidden personality of the poet and--as every capable critic has experienced--to have our conjectures finally borne out by facts revealed by the contemporary author, then we cannot feel it to be impossible, that in the case of an older poet, we might also be successful in determining when he speaks earnestly from his heart, and in tracing his feelings and experiences through his work, especially when they are lyrical, and their mode of expression passionate and emotional."