Investigation however will show that the great works voicing sorrows were experienced by those who wrote about them. It is an unhappily married writer like George Sand, who has given us the novels that deal with the marriage problem. It is a disappointed lover like Heine or De Musset who writes the saddest love poems. Life is made up of so many sorrows that writers do not have to go out of their way to invent them. The rich man does not imagine himself starving and write books where the pangs of hunger are described. Such literature is written usually by a man who has starved, a man like George Gissing. The financier who has never had any business troubles as a rule will not waste energy nor court pain by trying to figure how a bankrupt feels and put those feelings in art. Such feelings are usually delineated by a man who has himself been bankrupt like Balzac in his _Cæsar Birroteau_. Of course, no writer could have felt all the emotions he describes. Balzac, for example, never had the troubles of Goriot, for he never had children to be ungrateful to him. But even here there must have been some personal affair, for the author had suffered from ingratitude of some other kind and all ingratitude hurts. The author again may write merely for amusement or commercial purposes. In these cases it is true the author's personality may not be in his work any more than an editorial writer's real opinions are in the editorial which he writes in accordance with the policy of his paper. A writer may study the demands of the public and try to comply with them. In cases like these the reader may detect the insincerity or learn of it by clues. Here the works are not representative of the author and he can no more be judged by them, than a person who would invent or falsify his dreams in reporting them to a psychoanalyst. Certainly these would not reveal the unconscious. And I realise much "literature" is of this nature. An author again may purposely conceal himself, but the key once discovered reveals him. Deliberate and continuous concealment by the author of his personality can often be detected. We know Mérimée and Nietzsche were personally entirely different from what some of their books would lead us to suspect. Mérimée was not cold nor Nietzsche cruel; one was too emotional and the other too genteel. II A good example of the follies that may follow by the refusal to adopt psychoanalytic methods in literature is seen in the case of Charlotte Brontë.