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of literary creativity have been greeted with varying degrees of enthusiasm or antagonism in literary circles. The spectre of Beardsley and Wimsatt's attack on the intentional fallacy justifiably points to a serious limitation on the applicability of such studies to literary criticism. It is clear, however, that explication of the psychology of literary creativity has pertinence to teaching. The current enthusiasm for encouraging neophyte writers to free-up, think about and express their inner thoughts, feelings and conflicts, cries out particularly for psychiatric intervention, not necessarily because of encroachment on the professional bailiwick but because knowl-