Part 31
A lady, a friend of mine, dreams: _She is in the opera-house. It is a Wagnerian performance which has lasted till 7.45 in the morning. In the parquette and parterre there are tables, around which people dine and drink. Her cousin and his young wife, who have just returned from their honeymoon, sit next to her at one of these tables, and next to them sits one of the aristocracy. Concerning the latter the idea is that the young wife has brought him back with her from the wedding journey. It is quite above board, just as if she were bringing back a hat from her trip. In the midst of the parquette there is a high tower, on the top of which is a platform surrounded by an iron grating. There, high up, stands the conductor with the features of Hans Richter; he is continually running around behind the grating, perspiring awfully, and from this position conducting the orchestra, which is arranged around the base of the tower. She herself sits in a box with a lady friend (known to me). Her youngest sister tries to hand her from the parquette a big piece of coal with the idea that she did not know that it would last so long and that she must by this time be terribly cold. (It was a little as if the boxes had to be heated during the long performance.)_
The dream is senseless enough, though the situation is well developed too—the tower in the midst of the parquette from which the conductor leads the orchestra; but, above all, the coal which her sister hands her! I purposely asked for no analysis of this dream. With the knowledge I have of the personal relations of the dreamer, I was able to interpret parts of it independently. I knew that she had entertained warm feelings for a musician whose career had been prematurely blasted by insanity. I therefore decided to take the tower in the parquette verbally. It was apparent, then, that the man whom she wished to see in the place of Hans Richter _towered_ above all the other members of the orchestra. This tower must, therefore, be designated as a composite picture formed by an apposition; with its pedestal it represents the greatness of the man, but with its gratings on top, behind which he runs around like a prisoner or an animal in a cage (an allusion to the name of the unfortunate man), it represents his later fate. “Lunatic-tower” is perhaps the word in which both thoughts might have met.
Now that we have discovered the dream’s method of representation, we may try with the same key to open the second apparent absurdity,—that of the coal which her sister hands her. “Coal” must mean “secret love.”
“No _coal_, no _fire_ so hotly glows As the _secret love_ which no one knows.”
She and her friend remain seated while her younger sister, who still has opportunities to marry, hands her up the coal “because she did not know it would last so long.” What would last so long is not told in the dream. In relating it we would supply “the performance”; but in the dream we must take the sentence as it is, declare it ambiguous, and add “until she marries.” The interpretation “secret love” is then confirmed by the mention of the cousin who sits with his wife in the parquette, and by the open love-affair attributed to the latter. The contrasts between secret and open love, between her fire and the coldness of the young wife, dominate the dream. Moreover, here again there is a person “in high position” as a middle term between the aristocrat and the musician entitled to high hopes.
By means of the above discussion we have at last brought to light a third factor, whose part in the transformation of the dream thoughts into the dream content is not to be considered trivial; _it is the regard for presentability_ (_German: Darstellbarkeit_) _in the peculiar psychic material which the dream makes use of_,—that is fitness for representation, for the most part by means of visual images. Among the various subordinate ideas associated with the essential dream thoughts, that one will be preferred which permits of a visual representation, and the dream-activity does not hesitate promptly to recast the inflexible thought into another verbal form, even if it is the more unusual one, as long as this form makes dramatisation possible, and thus puts an end to the psychological distress caused by cramped thinking. This pouring of the thought content into another mould may at the same time be put at the service of the condensation work, and may establish relations with another thought which would otherwise not be present. This other thought itself may perhaps have previously changed its original expression for the purpose of meeting these relations half-way.
In view of the part played by puns, quotations, songs, and proverbs in the intellectual life of educated persons, it would be entirely in accordance with our expectation to find disguises of this sort used with extraordinary frequency. For a few kinds of material a universally applicable dream symbolism has been established on a basis of generally known allusions and equivalents. A good part of this symbolism, moreover, is possessed by the dream in common with the psychoneuroses, and with legends and popular customs.
Indeed, if we look more closely, we must recognise that in employing this method of substitution the dream is generally doing nothing original. For the attainment of its purpose, which in this case is the possibility of dramatisation without interference from the censor, it simply follows the paths which it finds already marked out in unconscious thought, and gives preference to those transformations of the suppressed material which may become conscious also in the form of wit and allusion, and with which all the fancies of neurotics are filled. Here all at once we come to understand Scherner’s method of dream interpretation, the essential truth of which I have defended elsewhere. The occupation of one’s fancy with one’s own body is by no means peculiar to, or characteristic of the dream alone. My analyses have shown me that this is a regular occurrence in the unconscious thought of neurotics, and goes back to sexual curiosity, the object of which for the adolescent youth or maiden is found in the genitals of the opposite sex, or even of the same sex. But, as Scherner and Volkelt very appropriately declare, the house is not the only group of ideas which is used for the symbolisation of the body—either in the dream or in the unconscious fancies of the neurosis. I know some patients, to be sure, who have steadily adhered to an architectural symbolism for the body and the genitals (sexual interest certainly extends far beyond the region of the external genital organs), to whom posts and pillars signify legs (as in the “Song of Songs”), to whom every gate suggests a bodily opening (“hole”), and every water-main a urinary apparatus, and the like. But the group of associations belonging to plant life and to the kitchen is just as eagerly chosen to conceal sexual images; in the first case the usage of speech, the result of phantastic comparisons dating from the most ancient times, has made abundant preparation (the “vineyard” of the Lord, the “seeds,” the “garden” of the girl in the “Song of Songs”). The ugliest as well as the most intimate details of sexual life may be dreamed about in apparently harmless allusions to culinary operations, and the symptoms of hysteria become practically unintelligible if we forget that sexual symbolism can conceal itself behind the most commonplace and most inconspicuous matters, as its best hiding-place. The fact that some neurotic children cannot look at blood and raw meat, that they vomit at the sight of eggs and noodles, and that the dread of snakes, which is natural to mankind, is monstrously exaggerated in neurotics, all of this has a definite sexual meaning. Wherever the neurosis employs a disguise of this sort, it treads the paths once trodden by the whole of humanity in the early ages of civilisation—paths of whose existence customs of speech, superstitions, and morals still give testimony to this day.
I here insert the promised flower dream of a lady patient, in which I have italicised everything which is to be sexually interpreted. This beautiful dream seemed to lose its entire charm for the dreamer after it had been interpreted.
(_a_) Preliminary dream: _She goes to the two maids in the kitchen and scolds them for taking so long to prepare “a little bite of food.” She also sees a great many coarse dishes standing in the kitchen inverted so that the water may drip off them, and heaped up in a pile._ Later addition: _The two maids go to fetch water, and must, as it were, step into a river which reaches up into the house or into the yard._[EB]
(_b_) Main dream[EC]: _She is descending from a high place[ED] over balustrades that are curiously fashioned or fences which are united into big squares and consist of a conglomeration of little squares.[EE] It is really not intended for climbing upon; she is worried about finding a place for her foot, and she is glad her dress doesn’t get caught anywhere, and that she remains so respectable while she is going.[EF] She is also carrying a large bough in her hand,[EG] really a bough of a tree, which is thickly studded with red blossoms; it has many branches, and spreads out.[EH] With this is connected the idea of cherry blossoms, but they look like full-bloom camelias, which of course do not grow on trees. While she is descending, she first has one, then suddenly two, and later again only one.[EI] When she arrives at the bottom of the lower blossoms they have already fallen off to a considerable extent. Now that she is at the bottom, she sees a porter who is combing—as she would like to express it—just such a tree—that is, who is plucking thick bunches of hair from it, which hang from it like moss. Other workmen have chopped off such boughs in a garden, and have thrown them upon the street, where they lie about, so that many people take some of them. But she asks whether that is right, whether anybody may take one.[EJ] In the garden there stands a young man_ (having a personality with which she is acquainted, not a member of her family) _up to whom she goes in order to ask him how it is possible to transplant such boughs into her own garden.[EK] He embraces her, whereat she resists and asks him what he means, whether it is permissible to embrace her in such a manner. He says that there is no wrong in it, that it is permitted.[EL] He then declares himself willing to go with her into the other garden, in order to show her the transplanting, and he says something to her which she does not correctly understand: “Besides this three metres_—(later on she says: square metres) _or three fathoms of ground are lacking.” It seems as though the man were trying to ask her something in return for his affability, as though he had the intention of indemnifying himself in her garden, as though he wanted to evade some law or other, to derive some advantage from it without causing her an injury. She does not know whether or not he really shows her anything._[EM]
I must mention still another series of associations which often serves the purpose of concealing sexual meaning both in dreams and in the neurosis,—I refer to the change of residence series. To change one’s residence is readily replaced by “to remove,” an ambiguous expression which may have reference to clothing. If the dream also contains a “lift” (elevator), one may think of the verb “to lift,” hence of lifting up the clothing.
I have naturally an abundance of such material, but a report of it would carry us too far into the discussion of neurotic conditions. Everything leads to the same conclusion, that no special symbolising activity of the mind in the formation of dreams need be assumed; that, on the contrary, the dream makes use of such symbolisations as are to be found ready-made in unconscious thought, because these better satisfy the requirements of dream formation, on account of their dramatic fitness, and particularly on account of their exemption from the censor.
(_e_) _Examples—Arithmetic Speeches in the Dream_
Before I proceed to assign to its proper place the fourth of the factors which control the formation of the dream, I shall cite several examples from my collection of dreams for the purpose partly of illustrating the co-operation of the three factors with which we are acquainted, and partly of supplying proof for assertions which have been made without demonstration or of drawing irrefutable inferences from them. For it has been very difficult for me in the foregoing account of the dream activity to demonstrate my conclusions by means of examples. Examples for the individual thesis are convincing only when considered in connection with a dream interpretation; when they are torn from their context they lose their significance, and, furthermore, a dream interpretation, though not at all profound, soon becomes so extensive that it obscures the thread of the discussion which it is intended to illustrate. This technical motive may excuse me for now mixing together all sorts of things which have nothing in common but their relation to the text of the foregoing chapter.
We shall first consider a few examples of very peculiar or unusual methods of representation in the dream. The dream of a lady is as follows: _A servant girl is standing on a ladder as though to clean the windows, and has with her a chimpanzee and a gorilla cat_ (later corrected—angora cat). _She throws the animals at the dreamer; the chimpanzee cuddles up to her, and this is disgusting to her._ This dream has accomplished its purpose by the simplest possible means, namely by taking a mere mode of speech literally and representing it according to the meaning of its words. “Ape,” like the names of animals in general, is an epithet of opprobrium, and the situation of the dream means nothing but “_to hurl invectives_.” This same collection will soon furnish us with further examples of the use of this simple artifice.
Another dream proceeds in a very similar manner: _A woman with a child that has a conspicuously deformed cranium; the dreamer has heard that the child got into this condition owing to its position in its mother’s womb. The doctor says that the cranium might be given a better shape by means of compression, but that would harm the brain. She thinks that because it is a boy it won’t suffer so much from deformity._ This dream contains a plastic representation of the concept: “_Childish impressions_,” which the dreamer has heard of in the course of explanations concerning the treatment.
In the following example, the dream activity enters upon a different path. The dream contains a recollection of an excursion to the Hilmteich, near Graz: _There is a terrible storm outside; a miserable hotel—the water is dripping from the walls, and the beds are damp._ (The latter part of the content is less directly expressed than I give it.) The dream signifies “_superfluous_.” The abstract idea occurring in the dream thoughts is first made equivocal by a certain straining of language; it has, perhaps, been replaced by “overflowing” or by “fluid” and “super-fluid (-fluous)” and has then been given representation by an accumulation of like impressions. Water within, water without, water in the beds in the form of dampness—everything fluid and “super” fluid. That, for the purposes of the dream representation, the spelling is much less regarded than the sound of words ought not surprise us when we remember that rhyme exercises similar privileges.
The fact that language has at its disposal a great number of words which were originally intended in a picturesque and concrete sense but are at present used in a faded abstract sense has in other cases made it very easy for the dream to represent its thoughts. The dream need only restore to these words their full significance, or follow the evolution of their meaning a little way back. For example, a man dreams that his friend, who is struggling to get out of a very tight place, calls upon him to help him. The analysis shows that the tight place is a hole, and that the dream uses symbolically his very words to his friend, “Be careful, or you’ll get yourself into a hole.”[EN] Another dreamer climbs upon a mountain from which he sees a very extraordinary broad view. He identifies himself with his brother who is editing a “review” which deals with relations to the Farthest East.
It would be a separate undertaking to collect such methods of representation and to arrange them according to the principles upon which they are based. Some of the representations are quite witty. They give the impression that they would have never been divined if the dreamer himself had not reported them.
1. A man dreams that he is asked for a name, which, however, he cannot recall. He himself explains that this means: _It does not occur to me in the dream._
2. A female patient relates a dream in which all the persons concerned were especially big. “That means,” she adds, “that it must deal with an episode of my early childhood, for at that time all grown up people naturally seemed to me immensely big.”
The transference into childhood is also expressed differently in other dreams by translating time into space. One sees the persons and scenes in question as if at a great distance, at the end of a long road, or as if looked at through the wrong end of the opera-glass.
3. A man, who in waking life shows an inclination to abstract and indefinite expressions, but who is otherwise endowed with wit enough, dreams in a certain connection that he is at a railroad station while a train is coming in. But then the station platform approaches the train, which stands still; hence an absurd inversion of the real state of affairs. This detail is again nothing but an index to remind one that something else in the dream should be turned about. The analysis of the same dream brings back the recollection of a picture-book in which men are represented standing on their heads and walking on their hands.
4. The same dreamer on another occasion relates a short dream which almost recalls the technique of a rebus. His uncle gives him a kiss in an automobile. He immediately adds the interpretation, which I should never have found: it means _Autoerotism_. This might have been made as a joke in the waking state.
The dream work often succeeds in representing very awkward material, such as proper names, by means of the forced utilisation of very far-fetched references. In one of my dreams the elder Bruecke _has given me a task. I compound a preparation, and skim something from it which looks like crumpled tinfoil._ (More of this later on.) The notion corresponding to this, which was not easy to find, is “stanniol,” and now I know that I have in mind the name of the author Stannius, which was borne by a treatise on the nervous system of fishes, which I regarded with awe in my youthful years. The first scientific task which my teacher gave me was actually concerned with the nervous system of a fish—the _Ammocœtes_. Obviously the latter name could never have been used in a picture puzzle.
I shall not omit here to insert a dream having a curious content, which is also remarkable as a child’s dream, and which is very easily explained by the analysis. A lady relates: “I can remember that when I was a child I repeatedly dreamed, that the _dear Lord had a pointed paper hat on his head_. They used to make me wear such a hat at table very often, so that I might not be able to look at the plates of the other children and see how much they had received of a particular dish. Since I have learned that God is omniscient, the dream signifies that I know everything in spite of the hat which I am made to wear.”
Wherein the dream work consists, and how it manages its material, the dream thoughts, can be shown in a very instructive manner from the numbers and calculations which occur in dreams. Moreover, numbers in dreams are regarded as of especial significance by superstition. I shall therefore give a few more examples of this kind from my own collection.
1. The following is taken from the dream of a lady shortly before the close of her treatment:
She wants to pay for something or other; her daughter takes 3 florins and 65 kreuzer from her pocket-book; but the mother says: “What are you doing? It only costs 21 kreuzer.” This bit of dream was immediately intelligible to me without further explanation from my knowledge of the dreamer’s circumstances. The lady was a foreigner who had provided for her daughter in an educational institution in Vienna, and who could continue my treatment as long as her daughter stayed in the city. In three weeks the daughter’s school year was to end, and with that the treatment also stopped. On the day before the dream the principal of the institute had urged her to make up her mind to allow her child to remain with her for another year. She had then obviously worked out this suggestion to the conclusion that in this case she would be able to continue the treatment for one year more. Now, this is what the dream refers to, for a year is equal to 365 days; the three weeks that remain before the close of the school year and of the treatment are equivalent to 21 days (though the hours of treatment are not as many as that). The numerals, which in the dream thoughts referred to time, are given money values in the dream, not without also giving expression to a deeper meaning for “time is money.” 365 kreuzer, to be sure, are _3 florins and 65 kreuzer_. The smallness of the sums which appear in the dream is a self-evident wish-fulfilment; the wish has reduced the cost of both the treatment and the year’s instruction at the institution.
II. The numerals in another dream involve more complicated relations. A young lady, who, however, has already been married a number of years, learns that an acquaintance of hers of about her own age, Elsie L., has just become engaged. Thereupon she dreams: _She is sitting in the theatre with her husband, and one side of the orchestra is quite unoccupied. Her husband tells her that Elsie L. and her husband had also wanted to go, but that they had been able to get nothing but poor seats, three for 1 florin and 50 kreuzer, and of course they could not take those. She thinks that they didn’t lose much either._
Where do the _1 florin and 50 kreuzer_ come from? From an occurrence of the previous day which is really indifferent. The dreamer’s sister-in-law had received 150 florins as a present from her husband, and had quickly got rid of them by buying some jewelry. Let us note that 150 florins is 100 times more than 1 florin and 50 kreuzer. Whence the 3 which stands before the theatre seats? There is only one association for this, namely, that the bride is that many months—three—younger than herself. Information concerning the significance of the feature that one side of the orchestra remains empty leads to the solution of the dream. This feature is an undisguised allusion to a little occurrence which has given her husband good cause for teasing her. She had decided to go to the theatre during the week, and had been careful to get tickets a few days before, for which she had to pay the pre-emption charge. When they got to the theatre they found that one side of the house was almost empty; she certainly did not need _to be in such a hurry_.