The example which follows this, emphasizes the author's personal influence upon an artist:
"J'ai réussi à lui faire rendre des paysages, comme ceux du lac Léman, où il n'a jamais eté, et il prétendait que je pouvais lui faire rendre des choses qu'il n'avait jamais vues, et lui donner la sensation d'une atmosphère ambiante qu'il n'avait jamais sentie; bref que je me servais de lui comme lui-même se servait de son crayon, c'est à dire comme d'un simple instrument."
This observation stands in abrupt contrast to the phantasy of the Egyptian statue. Miss Miller had here the unspoken need of emphasizing her almost magic effect upon another person. This could not have happened, either, without an unconscious need, which is particularly felt by one who does not often succeed in making an emotional impression upon a fellow being.
With that, the list of examples which are to picture Miss Miller's autosuggestibility and suggestive effect, is exhausted. In this respect, the examples are neither especially striking nor interesting. From an analytical viewpoint, on the contrary, they are much more important, since they afford us a glance into the soul of the writer. Ferenczi3 has taught us in an excellent work what is to be thought about suggestibility, that is to say, that these phenomena win new aspects in the light of the Freudian libido theory, in so much as their effects become clear through "Libido-besetzungen." This was already indicated above in the discussion of the examples, and in the greatest detail regarding the identification with Christian. The identification becomes effective by its receiving an influx of energy from the strongly accen-
