_Ibsen_, the great psychologist, has described in masterly fashion the transposition of sister love into boy love. In “_Little Eyolf_,” Almers, the writer, suddenly loses the love for his wife and turns his affection exclusively to his child. That child is called ‘little Eyolf,’ like his sister, who had once put on boy’s clothes and called herself ‘little Eyolf.’ The parents had expected a boy. Almers turns his affection for the sister, which pervades the whole drama, into the love for the boy. He has discovered for himself _the law of substitution_ which corresponds to the changes spoken of in these pages. Little Eyolf in fact is the dramatisation of the latent homosexual fixation on the sister. Almers cannot split his personality, he cannot be both homo- and heterosexual. This inability to split his self, the root of all homosexuality, forms the background of the whole drama. Rita cannot divide her personality any more than Almers can do it; he must give his whole personality self. Almers cannot divide wife and sister. He embraces his wife and thinks of the sister (That sister, whom he calls his little and his big Eyolf. The sister in trousers, who embodied his ideal, a woman in male clothes, a bisexual being which need not be split up at all). “_Love of brothers and sisters is the only relationship not subject to the law of transformation._” _Rank_ (_Das Inzestmotiv in Dichtung und Sage_, 1919, p. 654) and _Pfister_ (_Anwendung der Psychoanalyse in der Pädagogik und Seelsorge_, p. 72) find the incest motive easily but overlook the fact that the situation involves the outbreak of homosexuality and its psychogenesis. It represents a flight from the sister to man, a wavering homosexuality sublimated into love for the boy. The drama contains numerous other familiar points well worth careful analysis. For Almers, his wife, and his child, are the representatives of the male, female, and infantile components which we endeavor to synthetize in our character (_trinity_). Regression to the infantile level sets in with flight from the world (flight to the solitude of the mountain top). The solitary Ibsen, as road builder, undertakes to construct a new highway which shall lead up to solitary heights and does not observe that the road leads really straight back to the realm of his youth. Somewhere in the vast expanse of his soul the ‘dead child’ is floating around and staring with wide open eyes into infinity. A child is killed in this drama. It stands for the miscarried regression back to infantilism. Childhood is finally subdued and forgetfulness once more drowns in the soul’s vast expanse all gnawing and biting reproaches. The memories are all dead ... and the next drama has for its theme: When the dead awaken. But in little Eyolf they are already awake.... The dead, whom Ibsen carried in his breast, the corpse to which Rita refers so often.... The child in him