mental trends hidden from the subject himself may come to external expression in a way that reveals their nature to a trained observer, so that the possibility of success is not to be thus excluded. Loaning[1] has further objected that the poet himself has not revealed this hidden mental trend, or even given any indication of it. The first part of this objection is certainly true, otherwise there would be no problem to discuss, but we shall presently see that the second is by no means true. It may be asked: why has the poet not put in a clearer light the mental trend we are trying to discover? Strange as it may appear, the answer is the same as in the case of Hamlet himself, namely, he could not, because he was unaware of its nature. We shall later deal with this matter in connection with the relation of the poet to the play. But, if the motive of the play is so obscure, to what can we attribute its powerful effect on the audience, for, as Kohler[2] asks, "Wer, der je Hamlet gesehen, hat nicht den furchtbaren Konflikt empfunden, welcher die Seele des Helden bewegt?" This can only be because the hero's conflict finds its echo in a similar inner conflict in the mind of the hearer, and the more intense is this already present conflict the greater is the effect of the drama.[3] Again, the hearer himself does not know the inner cause of the conflict in his mind, but experiences only the outer manifestations of it. We thus reach the apparent paradox that the hero, the poet, and the audience are all profoundly moved by feelings due to a conflict of the source of which they are unaware.
The fact, however, that such a conclusion should seem paradoxical is in itself a censure on popular views of the actual workings of the human mind, and, before undertaking to sustain the assertions made in the preceding paragraph, it will first be necessary to make a few observations on prevailing views of motive and conduct in general. The new science of clinical psychology stands nowhere in sharper contrast to the older attitudes towards mental functioning than on this very matter. Whereas the generally accepted view of man's mind, usually implicit and frequently explicit in psychological writings, regards it as an interplay of various processes that are for the most part known to the subject, or are at all events accessible to careful introspection on his part, the analytic methods of clinical psychology have on the contrary decisively
