Very important is the consideration of some of the literature where authentic dreams or dreams having the appearance of authenticity have been recorded. The connection between poetry and dreams has often been noted. The poet projects an ideal and imaginary world just as the dreamer does. He builds utopias and paradises and celestial cities. He sees visions and constructs allegories. I have interpreted, according to the methods of Freud, some dream literature like Kipling's _Brushwood Boy_ and Gautier's _Arria Marcella_. These tales prove most astoundingly the correctness of Freud's theories about dreams being the fulfilment in our sleep of unconscious wishes of our daily life. A literary production, even if no dream is recorded therein, is still a dream; that of the author. It represents the fulfilment of his unconscious wishes, or registers a complaint because they are not fulfilled. Like the dream, it is formed of remnants of the past psychic life of the author, and is coloured by recent events and images. Freud in interpreting the dreams of his neurotic patients, learns the substance, the manifest content of the dream, as he calls it, and inquires about the events of the preceding days and he evokes all the associations which occur to the patients. He learns something of their lives and finally after a course of psychoanalytic treatment frequently cures them of their neuroses by making them aware of the unconscious repressions or fixations from which they suffer. These are removed and the resistances are broken down. As critics, we may interpret a book in the same way. A literary work stands in the same relation to the author as the dream to the patient. The writer has, however, cured himself of his emotional anxiety by giving vent to his feelings in his book. He has been his own doctor. The critic may see how this has been accomplished and point out the unconscious elements that the writer has brought forth in his book out of his own soul. The critic, not being able, like the physician and his patient, to question the author in person, must avail himself, in addition to the internal evidence of the literary product itself, of all the data that have been collected from the author's confessions and letters, from the accounts of friends, etc. After having studied these in connection with the writing in question, he learns the author's unconscious. Shelley's _Epipsychidion_, for instance, is an autobiographical poem, Shelley's dream of love, and can be fully followed only when the reader has acquainted himself with the history of Shelley's marriages and love affairs.