Professor Havelka suggests a theory of the nature of creativity which includes 'complex associated mental processes, subjective psychic dispositions, and cognitive intentions' and is built upon 'what is implicit in Freud'. The basis for his theory lies in the primary processes, 'the primitive conditions of some of which can eventually be detected as originating in neural and psychological functions'. He mistakenly attacks what he says is Freud's idea that creativity is merely resolution of neurosis through sublimation.1 Havelka understands creativity in terms of 'symbolic mental structure, imagination and stylistic form resulting from interactions between conscious, preconscious and unconscious' which 'determine the primitive constituents of the creative act and expression'. These constituents, activated by 'comic intention', a quality of