There has been a debate raging in psychoanalytic circles (and in the pages of this journal) about the epistemological bases of psychoanalysis (Leavy, 1980; Spence, 1982; Schafer, 1983; Grünbaum, 1984). Is psychoanalysis, the argument goes, a hermeneutical-interpretive enterprise, in which case it should be situated within the humanities, or is it an empirical project that proceeds according to the laws of evidence developed in the natural sciences? Not surprisingly, this question is foreshadowed by Freud's ambivalent relationship to both the sciences and the arts—a tension that seems to have been at the center of his intellectual edifice. The conflict between “Science” and “Art” is dramatically revealed in the significance that imaginative