WE are frequently confronted with the question: "Just why does an erotic conflict cause the neurosis? Why not just as well another conflict?" To this the only answer is, "No one asserts that this must be so, but evidently it always is so, in spite of anything that can be said against it. It is, notwithstanding all assurances to the contrary, still true that love (taken in its large sense of nature's course, which does not mean sexuality alone), with its problems and its conflicts of the most inclusive significance, has in human life and in the regulation of the human lot a much greater importance than the individual can image. The trauma-theory (meaning what was in the beginning conceived by Breuer and Freud) is therefore out of date. When Freud came to the opinion that a hidden erotic conflict forms the real root of the neurosis, the trauma lost its pathogenic significance. An entirely different light was now thrown upon the theory. The trauma question was solved, and thrown aside. Next in order came the study of the question of the erotic conflict. If we consider this in the light of the chosen example, we see that this conflict contains plenty of abnormal moments, and at first sight does not suffer comparison with an ordinary erotic conflict. What is especially striking, seemingly almost unbelievable, is the fact that it is only the exterior action, the pose, of which the patient is conscious, while she remains unconscious of the passion which governs her. In the case in question the actual sexual factor unquestionably remains hidden, while the field of consciousness is entirely governed by the patient's pose. A proposition formulating this state of affairs would read as follows. In the neurosis there are two erotic inclinations which stand in a fixed antithesis to each other, and one of these at least is unconscious. It might be said of this formula, that although perhaps it is adapted to this case, possibly it is not adapted to all cases. Most people, however, are inclined to believe that the erotic is not so widespread. It is granted that it is so in a romance, but it is not believed that the most affecting dramas are more often enacted in the heart of the citizen who daily passes us by unnoticed, than upon the stage.