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In considering the conflict of emotion aroused by the aesthetic impact of the object, it is necessary to relate this struggle to our existing model of the mind in its various dimensions, in the sense of extended metapsychology. Earlier chapters have dealt mainly with the dynamic, economic, genetic and geographical aspects, but aesthetic conflict has an important relation to mental structuring also. Insofar as the conflict over the manifest exterior and the ambiguous interior of the object stirs the epistemophilic instinct, it clearly makes an important — perhaps the major — contribution to the shaping of the place of K in the balance of L, H and K in the knowledge-seeking life of the individual. Melanie Klein and Bion, in particular, have traced the importance of the qualities of the object with regard to the evolution of the super-ego functions of internal and external objects. The vigilance, intelligence and uncorruptibility of these objects are surely the infantile basis of honesty; for long before an ethical preference can be embraced, despair of being able to deceive one's objects enforces integrity. The policeman at one's elbow is an essential bar to self-deception; love of the truth comes much later.
But the contribution of aesthetic conflict to the development of the ego-ideal functions of objects is less apparent. When objects are fully formed and loved their force in promoting aspiration towards excellence seems unnecessary of explanation. But aspiration, even in the sense of Milton's aspiration ‘to become a true poem’, is not the same as inspiration. And, unless we propose to deal with inspiration as mere allegory, we must take account of the ‘Muse’ in our consideration of ego-ideal functions. The psycho-analytical literature is unclear about the modus operandi of the inspirational role of the ego-ideal in promoting development, although it seems clear to many workers that the efficiency of introjective identifications derives from its aspirational stimulu