Stokes pleads for a broadening of the psychoanalytic metapsychological theory relating to the rôle of the reality principle in its substitution of the pleasure principle. Heretofore in this substitution, external reality was considered mainly as a source of frustration and control. What has been overlooked, Stokes states, is that in the whole world of artistic creation and enjoyment this substitution produces untold satisfaction. 'It can at least be argued', he says, 'that art is a parable of the over-all aim of human activity to force by substitutions of every kind the completeness or externality of death to serve the purposes of Eros until we die'. Not mentioned is Hartman's exhaustive study1 of the function of reality.