The psychoanalysis of art has been a lively activity for virtually a century, ever since Freud first likened certain findings of his self-analysis to certain turns of plot in Oedipus Rex and Hamlet. Yet over this time a lack of clarity has persisted with respect to the kind of knowledge applied psychoanalysis achieves and its means of justification. Starting with the observation that clinical and applied psychoanalysis are, in every respect, radically different endeavors, this paper goes on to identify some ends and means of the psychoanalytic study of art and to suggest a few criteria of adequacy for the outcomes of such study.
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