This high estimation of psychic acts found among primitives and neurotics, which we feel to be an overestimation, may now appropriately be brought into relation to narcism, and interpreted as an essential part of it. We would say that among primitive people thinking is still highly sexualized and that this accounts for the belief in the omnipotence of thought, the unshaken confidence in the capacity to dominate the world and the inaccessibility to the obvious facts which could enlighten man as to his real place in the world. In the case of neurotics a considerable part of this primitive attitude had remained as a constitutional factor, while on the other hand the sexual repression occurring in them has brought about a new sexualization of the processes of thought. In both cases, whether we deal with an original libidinous investment of thought or whether the same process has been accomplished regressively, the psychic results are the same, namely, intellectual narcism and omnipotence of thought[117]. If we may take the now established omnipotence of thought among primitive races as a proof of their narcism, we may venture to compare the various evolutionary stages of man’s conception of the universe with the stages of the libidinous evolution of the individual. We find that the animistic phase corresponds in time as well as in content with narcism, the religious phase corresponds to that stage of object finding which is characterized by dependence on the parents, while the scientific stage has its full counterpart in the individual’s stage of maturity where, having renounced the pleasure principle and having adapted himself to reality, he seeks his object in the outer world[118]. Only in one field has the omnipotence of thought been retained in our own civilization, namely in art. In art alone it still happens that man, consumed by his wishes, produces something similar to the gratification of these wishes, and this playing, thanks to artistic illusion, calls forth effects as if it were something real. We rightly speak of the magic of art and compare the artist with a magician. But this comparison is perhaps more important than it claims to be. Art, which certainly did not begin as art for art’s sake, originally served tendencies which to-day have for the greater part ceased to exist. Among these we may suspect various magic intentions[119]. 4