Dream Psychology - Sigmund Freud (reading diary TXT) 📗

the mean idea between amyl and propylœa; it got into the dream as a kind of compromise by simultaneous condensation and displacement.

The need of discovering some motive for this bewildering work of the dream is even more called for in the case of displacement than in condensation.

Although the work of displacement must be held mainly responsible if the dream thoughts are not refound or recognized in the dream content (unless the motive of the changes be guessed), it is another and milder kind of transformation which will be considered with the dream thoughts which leads to the discovery of a new but readily understood act of the dream work. The first dream thoughts which are unravelled by analysis frequently strike one by their unusual wording. They do not appear to be expressed in the sober form which our thinking prefers; rather are they expressed symbolically by allegories and metaphors like the figurative language of the poets. It is not difficult to find the motives for this degree of constraint in the expression of dream ideas. The dream content consists chiefly of visual scenes; hence the dream ideas must, in the first place, be prepared to make use of these forms of presentation. Conceive that a political leader's or a barrister's address had to be transposed into pantomime, and it will be easy to understand the transformations to which the dream work is constrained by regard for this dramatization of the dream content.

Around the psychical stuff of dream thoughts there are ever found reminiscences of impressions, not infrequently of early childhood—scenes which, as a rule, have been visually grasped. Whenever possible, this portion of the dream ideas exercises a definite influence upon the modelling of the dream content; it works like a center of crystallization, by attracting and rearranging the stuff of the dream thoughts. The scene of the dream is not infrequently nothing but a modified repetition, complicated by interpolations of events that have left such an impression; the dream but very seldom reproduces accurate and unmixed reproductions of real scenes.

The dream content does not, however, consist exclusively of scenes, but it also includes scattered fragments of visual images, conversations, and even bits of unchanged thoughts. It will be perhaps to the point if we instance in the briefest way the means of dramatization which are at the disposal of the dream work for the repetition of the dream thoughts in the peculiar language of the dream.

The dream thoughts which we learn from the analysis exhibit themselves as a psychical complex of the most complicated superstructure. Their parts stand in the most diverse relationship to each other; they form backgrounds and foregrounds, stipulations, digressions, illustrations, demonstrations, and protestations. It may be said to be almost the rule that one train of thought is followed by its contradictory. No feature known to our reason whilst awake is absent. If a dream is to grow out of all this, the psychical matter is submitted to a pressure which condenses it extremely, to an inner shrinking and displacement, creating at the same time fresh surfaces, to a selective interweaving among the constituents best adapted for the construction of these scenes. Having regard to the origin of this stuff, the term regression can be fairly applied to this process. The logical chains which hitherto held the psychical stuff together become lost in this transformation to the dream content. The dream work takes on, as it were, only the essential content of the dream thoughts for elaboration. It is left to analysis to restore the connection which the dream work has destroyed.

The dream's means of expression must therefore be regarded as meager in comparison with those of our imagination, though the dream does not renounce all claims to the restitution of logical relation to the dream thoughts. It rather succeeds with tolerable frequency in replacing these by formal characters of its own.

By reason of the undoubted connection existing between all the parts of dream thoughts, the dream is able to embody this matter into a single scene. It upholds a logical connection as approximation in time and space, just as the painter, who groups all the poets for his picture of Parnassus who, though they have never been all together on a mountain peak, yet form ideally a community. The dream continues this method of presentation in individual dreams, and often when it displays two elements close together in the dream content it warrants some special inner connection between what they represent in the dream thoughts. It should be, moreover, observed that all the dreams of one night prove on analysis to originate from the same sphere of thought.

The causal connection between two ideas is either left without presentation, or replaced by two different long portions of dreams one after the other. This presentation is frequently a reversed one, the beginning of the dream being the deduction, and its end the hypothesis. The direct transformation of one thing into another in the dream seems to serve the relationship of cause and effect.

The dream never utters the alternative "either-or," but accepts both as having equal rights in the same connection. When "either-or" is used in the reproduction of dreams, it is, as I have already mentioned, to be replaced by "and."

Conceptions which stand in opposition to one another are preferably expressed in dreams by the same element.2 There seems no "not" in dreams. Opposition between two ideas, the relation of conversion, is represented in dreams in a very remarkable way. It is expressed by the reversal of another part of the dream content just as if by way of appendix. We shall later on deal with another form of expressing disagreement. The common dream sensation of movement checked serves the purpose of representing disagreement of impulses—a conflict of the will.

Only one of the logical relationships—that of similarity, identity, agreement—is found highly developed in the mechanism of dream formation. Dream work makes use of these cases as a starting-point for condensation, drawing together everything which shows such agreement to a fresh unity.

These short, crude observations naturally do not suffice as an estimate of the abundance of the dream's formal means of presenting the logical relationships of the dream thoughts. In this respect, individual dreams are worked up more nicely or more carelessly, our text will have been followed more or less closely, auxiliaries of the dream work will have been taken more or less into consideration. In the latter case they appear obscure, intricate, incoherent. When the dream appears openly absurd, when it contains an obvious paradox in its content, it is so of purpose. Through its apparent disregard of all logical claims, it expresses a part of the intellectual content of the dream ideas. Absurdity in the dream denotes disagreement, scorn, disdain in the dream thoughts. As this explanation is in entire disagreement with the view that the dream owes its origin to dissociated, uncritical cerebral activity, I will emphasize my view by an example:

"One of my acquaintances, Mr. M____, has been attacked by no less a person than Goethe in an essay with, we all maintain, unwarrantable violence. Mr. M____ has naturally been ruined by this attack. He complains very bitterly of this at a dinner-party, but his respect for Goethe has not diminished through this personal experience. I now attempt to clear up the chronological relations which strike me as improbable. Goethe died in 1832. As his attack upon Mr. M____ must, of course, have taken place before, Mr. M____ must have been then a very young man. It seems to me plausible that he was eighteen. I am not certain, however, what year we are actually in, and the whole calculation falls into obscurity. The attack was, moreover, contained in Goethe's well-known essay on 'Nature.'"

The absurdity of the dream becomes the more glaring when I state that Mr. M____ is a young business man without any poetical or literary interests. My analysis of the dream will show what method there is in this madness. The dream has derived its material from three sources:

1. Mr. M____, to whom I was introduced at a dinner-party, begged me one day to examine his elder brother, who showed signs of mental trouble. In conversation with the patient, an unpleasant episode occurred. Without the slightest occasion he disclosed one of his brother's youthful escapades. I had asked the patient the year of his birth (year of death in dream), and led him to various calculations which might show up his want of memory.

2. A medical journal which displayed my name among others on the cover had published a ruinous review of a book by my friend F____ of Berlin, from the pen of a very juvenile reviewer. I communicated with the editor, who, indeed, expressed his regret, but would not promise any redress. Thereupon I broke off my connection with the paper; in my letter of resignation I expressed the hope that our personal relations would not suffer from this. Here is the real source of the dream. The derogatory reception of my friend's work had made a deep impression upon me. In my judgment, it contained a fundamental biological discovery which only now, several years later, commences to find favor among the professors.

3. A little while before, a patient gave me the medical history of her brother, who, exclaiming "Nature, Nature!" had gone out of his mind. The doctors considered that the exclamation arose from a study of Goethe's beautiful essay, and indicated that the patient had been overworking. I expressed the opinion that it seemed more plausible to me that the exclamation "Nature!" was to be taken in that sexual meaning known also to the less educated in our country. It seemed to me that this view had something in it, because the unfortunate youth afterwards mutilated his genital organs. The patient was eighteen years old when the attack occurred.

The first person in the dream-thoughts behind the ego was my friend who had been so scandalously treated. "I now attempted to clear up the chronological relation." My friend's book deals with the chronological relations of life, and, amongst other things, correlates Goethe's duration of life with a number of days in many ways important to biology. The ego is, however, represented as a general paralytic ("I am not certain what year we are actually in"). The dream exhibits my friend as behaving like a general paralytic, and thus riots in absurdity. But the dream thoughts run ironically. "Of course he is a madman, a fool, and you are the genius who understands all about it. But shouldn't it be the other way round?" This inversion obviously took place in the dream when Goethe attacked the young man, which is absurd, whilst any one, however young, can to-day easily attack the great Goethe.

I am prepared to maintain that no dream is inspired by other than egoistic emotions. The ego in the dream does not, indeed, represent only my friend, but stands for myself also. I identify myself with him because the fate of his discovery appears to me typical of the acceptance of my own. If I were to publish my own theory, which gives sexuality predominance in the ætiology of psychoneurotic disorders (see the allusion to the eighteen-year-old patient—"Nature, Nature!"), the same criticism would be leveled at me, and it would even now meet with the same contempt.

When I follow out the dream thoughts closely, I ever find only scorn and contempt as correlated with the dream's absurdity. It is well known that the discovery of a cracked sheep's skull on the Lido in Venice gave Goethe the hint for the so-called vertebral theory of the skull. My friend plumes himself on having as a student raised a hubbub for the resignation of an aged professor who had done good work (including some in this very subject of comparative anatomy), but who,