of the phantasy-formation of schizophrenics with the cosmogonies of primitive times and peoples. In a later elaboration, no longer free from objection yet very interesting, Jung made use of mythological material in an attempt to harmonize the neurotic with religious and mythological phantasies.
Another path led from the investigation of dreams to the analysis of poetic creations, and finally to the analysis of authors and artists themselves. Very soon it was discovered that the dreams invented by writers stand in the same relation to analysis as do genuine dreams.[1] The conception of the unconscious psychic activity enabled us to get the first glimpse into the nature of the poetic creativeness. The valuation of the emotional feelings which we were forced to recognize while studying the neuroses enabled us to recognize the sources of artistic productions and brought up the problem as to how the artist reacts to those stimuli and with what means he disguises his reactions.[2] Most psychoanalysts with wide interests have furnished contributions from their works for the treatment of these problems, which are among the most attractive in the application of psychoanalysis. Naturally here also opposition was not lacking from those who are not acquainted with analysis, and expressed itself with the same lack of understanding and passionate rejection as on the native soil of psychoanalysis. For it was to be expected as a matter of course, that everywhere psychoanalysis penetrates, it would have to go through the same struggle with the natives. However, these attempted invasions have not yet stirred up interest in all fields which will, in the future, be open to them. Among the strictly scientific applications of analysis to literature the deep work of Rank on the theme of incest easily ranks first. Its content is certain to evoke the greatest unpopularity. Philological and historical works on the basis of psychoanalysis are few, at present. I myself dared to venture to make the first at-
