In summary, then, what is conducive to creative functioning is arelaxation of one's rationality: the analyst who feels exhilarated rather than threatened, receptive rather than anxious, at the hint of an appearance of the unexpected, at the peeking out of something that may challenge his understanding, that may not fit the theory neatly—he is the one who is capable of more creativity. The analyst might thus orient himself to give rein to his own inner processes, his inner radar rather than his intellect, and thus without preconceived theoretical expectations aspire to discover anew that which is uncovered ineach patient. It is this which makes each analysis a fresh experience, not a stale rehash, for the therapist; it is this which makes the analysis an authentic encounter for the patient—thus, an adventuring together. Another factor grows out of the above. If the analyst orients himself to think-feel-respondvia that deeper more personal channel of images — closer to the language of dream images early in the history of analysis recognized as the “royal road to the unconscious”—then he may find his creative responsiveness more liberated, his intuition in general more active for the work of the session. He thereby may enliven his reactivity not only along the pithy, affect-enriched modality of images, but also along other dimensions of intervention involving more nuanced responses of all sorts.