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Rh than conceptual ones. It may be imagined that in dream formation a good part of the intermediary activity, which tries to reduce the separate dream-thoughts to the tersest and simplest possible expression in the dream, takes place in the manner above described—that is to say, in providing suitable paraphrase for the individual thoughts. One thought whose expression has already been determined on other grounds will thus exert a separating and selective influence upon the means available for expressing the other, and perhaps it will do this constantly throughout, somewhat after the manner of the poet. If a poem in rhyme is to be composed, the second rhyming line is bound by two conditions; it must express the proper meaning, and it must express it in such a way as to secure the rhyme. The best poems are probably those in which the poet's effort to find a rhyme is unconscious, and in which both thoughts have from the beginning exercised a mutual influence in the selection of their verbal expressions, which can then be made to rhyme by a means of slight remodification.

In some cases change of expression serves the purposes of dream condensation more directly, in making possible the invention of a verbal construction which is ambiguous and therefore suited to the expression of more than one dream-thought. The whole range of word-play is thus put at the service of the dream activity. The part played by words in the formation of dreams ought not to surprise us. A word being a point of junction for a number of conceptions, it possesses, so to speak, a predestined ambiguity, and neuroses (obsessions, phobias) take advantage of the conveniences which words offer for the purposes of condensation and disguise quite as readily as the dream. That dream conception also profits by this displacement of expression is easily demonstrated. It is naturally confusing if an ambiguous word is put in the place of two ambiguous ones; and the employment of a figurative expression instead of the sober everyday one thwarts our understanding, especially since the dream never tells us whether the elements which it shows are to be interpreted literally or figuratively, or whether they refer to the


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316 dream material directly or only through the agency of interpolated forms of speech. Several examples of representations in the dream which are held together only by ambiguity have already been cited ("her mouth opens without difficulty," in the dream of Irma's injection: "I cannot go yet," in the last dream reported, p. 312), &c. I shall now cite a dream in the analysis of which the figurative expression of abstract thought plays a greater part. The difference between such dream interpretation and interpretation by symbolism may again be sharply distinguished; in the symbolic interpretation of dreams the key to the symbolism is arbitrarily chosen by the interpreter, while in our own cases of verbal disguise all these keys are universally known and are taken from established customs of speech. If the correct notion occurs at the right opportunity, it is possible to solve dreams of this sort completely or in part, independently of any statements made by the dreamer.

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,''

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Rh ''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."

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


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318 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


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Rh 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


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320 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.''

(b) Main dream : ''She is descending from a high place over balustrades that are curiously fashioned or fences which are united into big squares and consist of a conglomeration of little squares. 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. She is also carrying a large bough in her hand, really a bough of a tree, which is thickly studded with red blossoms; it has many branches, and spreads out. 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. When she arrives at the bottom of''


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Rh ''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. 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. 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. 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.''

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. X


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322 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


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Rh 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


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324 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." 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


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Rh 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.

I. 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


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326 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


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Rh 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.

I shall now substitute the dream thoughts for the dream: "It surely was nonsense to marry so early; there was no need for my being in such a hurry. From the case of Elsie L., I see that I should have got a husband just the same—and one who is a hundred times better (husband, sweetheart, treasure)—if I had only waited (antithesis to the haste of her sister-in-law). I could have bought three such men for the money (the dowry!). Our attention is drawn to the fact that the numerals in this dream have changed their meanings and relations to a much greater extent than in the one previously considered. The transforming and disfiguring activity of the dream has in this case been greater, a fact which we interpret as meaning that these dream thoughts had to overcome a particularly great amount of inner psychic resistance up to the point of their representation. We must also not overlook the circumstance that the dream contains an absurd element, namely, that two persons take three seats. We digress to the interpretation of the absurdity of dreams when we remark that this absurd detail of the dream content is intended to represent the most strongly emphasized detail of the dream thoughts: "It was nonsense to marry so early." The figure 3 belonging to a quite subordinate relation of the two compared persons (three months' difference in age) has thus been skilfully used to produce the nonsense demanded by the dream. The reduction of the actual 150 florins to 1 florin and 50 kreuzer corresponds to her disdain of her husband in the suppressed thoughts of the dreamer.

III. Another example displays the arithmetical powers of


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328 the dream, which have brought it into such disrepute. A man dreams: He is sitting at B's (a family of his earlier acquaintance) ''and says, "It was nonsense for you not to give me Amy in marriage." Thereupon he asks the girl, "How old are you?" Answer: "I was born in 1882." "Ah, then you are 28 years old."''

Since the dream occurs in the year 1898, this is obviously poor arithmetic, and the inability of the dreamer to calculate may be compared to that of the paralytic, if there is no other way of explaining it. My patient was one of those persons who are always thinking about every woman they see. The person who followed him in my office, regularly for several months, was a young lady, whom he used to meet, about whom he used to ask frequently, and to whom he was very anxious to be polite. This was the lady whose age he estimated at 28 years. So much for explaining the result of the apparent calculation. But 1882 was the year in which he had married. He had been unable to refrain from engaging in conversation with the two females whom he met at my house—two girls, by no means youthful, who alternately opened the door for him, and as he did not find them very responsive, he had given himself the explanation that they probably considered him an elderly "settled" gentleman.

IV. For another number dream with its interpretation,—a dream distinguished by its obvious determination, or rather over-determination, I am indebted to B. Dattner:

My host, a policeman in the municipal service, dreamed that he was standing at his post in the street, which was a wish-realisation. The inspector then came over to him, having on his gorget the numbers 22 and 62 or 26—at all events there were many two's on it. Division of the number 2262 in the reproduction of the dream at once points to the fact that the components have separate meanings. It occurs to him that the day before, while on duty, they were discussing the duration of their time of service. The occasion for this was furnished by an inspector who had been pensioned at 62 years. The dreamer had only completed 22 years of service, and still needed 2 years and 2 months to make him eligible for a 90 per cent. pension. The dream first shows him the fulfilment of a long wished for wish, the rank of


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Rh inspector. The superior with 2262 on his collar is himself; he takes care to do his duty on the street, which is another preferred wish; he has served his 2 years and 2 months, and can now be retired from the service with full pension, like the 62-year-old inspector.

If we keep in mind these examples and similar ones (to follow), we may say: Dream activity does not calculate at all, whether correctly or incorrectly; it joins together in the form of a calculation numerals which occur in the dream thoughts, and which may serve as allusions to material which is incapable of being represented. It thus utilises numerals as material for the expression of its purposes in the same manner as it does names and speeches known as word presentations.

For the dream activity cannot compose a new speech. No matter how many speeches and answers may occur in dreams, which may be sensible or absurd in themselves, analysis always shows in such cases that the dream has only taken from the dream thoughts fragments of speeches which have been delivered or heard, and dealt with them in a most arbitrary manner. It has not only torn them from their context and mutilated them, taken up one piece and rejected another, but it has also joined them together in a new way, so that the speech which seems coherent in the dream falls into three or four sections in the course of analysis. In this new utilisation of the words, the dream has often put aside the meaning which they had in the dream thoughts, and has derived an entirely new meaning from them. Upon closer inspection the more distinct and compact constituents of the dream speech may be distinguished from others which serve as connectives and have probably been supplied, just as we supply omitted letters and syllables in reading. The dream speech thus has the structure of breccia stones, in which


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330 larger pieces of different material are held together by a solidified cohesive mass.

In a very strict sense this description is correct, to be sure, only for those speeches in the dream which have something of the sensational character of a speech, and which are described as "speeches." The others which have not, as it were, been felt as though heard or spoken (which have no accompanying acoustic or motor emphasis in the dream) are simply thoughts such as occur in our waking thought activity, and are transferred without change into many dreams. Our reading, also, seems to furnish an abundant and not easily traceable source of material for speeches, this material being of an indifferent nature. Everything, however, which appears conspicuously in the dream as a speech can be referred to real speeches which have been made or heard by the dreamer himself.

We have already found examples for the explanation of such dream speeches in the analysis of dreams cited for other purposes. Here is one example in place of many, all of which lead to the same conclusion.

''A large courtyard in which corpses are cremated. The dreamer says: "I'm going away from here, I can't look at this." (Not a distinct speech.) Then he meets two butcher boys and asks: "Well, did it taste good?" One of them answers: "No, it wasn't good." As though it had been human flesh.''

The harmless occasion for this dream is as follows: After taking supper with his wife, the dreamer pays a visit to his worthy but by no means appetising neighbour. The hospitable old lady is just at her evening meal, and urges him (instead of this word a composite sexually-significant word is jocosely used among men) to taste of it. He declines, saying that he has no appetite. "Go on, you can stand some more," or something of the kind. The dreamer is thus forced to taste and praise what is offered. "But that's good!" After he is alone again with his wife, he scolds about the neighbour's importunity and about the quality of the food he has tasted. "I can't stand the sight of it," a phrase not appearing even in the dream as an actual speech, is a thought which has reference to the physical charms of the lady who invites him, and which would be translated as meaning that he does not want to look at her.


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Rh The analysis of another dream which I cite at this point for the sake of the very distinct speech that forms its nucleus, but which I shall explain only when we come to consider emotions in the dream—will be more instructive. I dream very distinctly: I have gone to Bruecke's laboratory at night, and upon hearing a soft knocking at the door, I open it to (the deceased) Professor Fleischl, who enters in the company of several strangers, and after saying a few words sits down at his table. Then follows a second dream: ''My friend Fl. has come to Vienna in July without attracting much attention; I meet him on the street while he is in conversation with my (deceased) friend P., and I go somewhere or other with these two, and they sit down opposite each other as though at a little table, while I sit at the narrow end of the table facing them. Fl. tells about his sister and says: "In three-quarters of an hour she was dead," and then something like: "That is the threshold." As P. does not understand him, Fl. turns to me, and asks me how much I have told of his affairs. Whereupon, seized by strange emotions, I want to tell Fl. that P. (can't possibly know anything because he) is not alive. But, noticing the mistake myself, I say: "Non vixit." Then I look at P. searchingly, and under my gaze he becomes pale and blurred, his eyes a morbid blue—and at last he dissolves. I rejoice greatly at this; I now understand that Ernest Fleischel, too, was only an apparition, a revenant, and I find that it is quite possible for such a person to exist only as long as one wants him to, and that he can be made to disappear by the wish of another person.''

This beautiful dream unites so many of the characteristics of the dream content which are problematic—the criticism made in the dream itself in that I myself notice my mistake in having said "Non vixit" instead of "Non vivit"; the unconstrained intercourse with dead persons, whom the dream itself declares to be dead; the absurdity of the inference and the intense satisfaction which the inference gives me—that "by my life" I should like to give a complete solution of these problems. But in reality I am incapable of doing this—namely, the thing I do in the dream—of sacrificing such dear persons to my ambition. With every revelation of the true meaning of the dream, with which I am well acquainted, I should have been put to shame. Hence


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 * +CONTENTS


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332 I am content with selecting a few of the elements of the dream, for interpretation, some here, and others later on another page.

The scene in which I annihilate P. by a glance forms the centre of the dream. His eyes become strange and weirdly blue, and then he dissolves. This scene is an unmistakable copy of one really experienced. I was a demonstrator at the physiological institute, and began my service in the early hours, and Bruecke learned that I had been late several times in getting to the school laboratory. So one morning he came promptly for the opening of the class and waited for me. What he said to me was brief and to the point; but the words did not matter at all. What overwhelmed me was the terrible blue eyes through which he looked at me and before which I melted away—as P. does in the dream, for P. has changed rôles with him much to my relief. Anyone who remembers the eyes of the great master, which were wonderfully beautiful until old age, and who has ever seen him in anger, can easily imagine the emotions of the young transgressor on that occasion.

But for a long time I was unable to account for the "Non Vixit," with which I execute sentence in the dream, until I remembered that these two words possessed such great distinctness in the dream, not because they were heard or spoken, but because they were seen. Then I knew at once where they came from. On the pedestal of the statue of Emperor Joseph in the Hofburg at Vienna, may be read the following beautiful words:

I had culled from this inscription something which suited the one inimical train of thought in the dream thoughts and which now intended to mean: "That fellow has nothing to say, he is not living at all." And I now recalled that the dream was dreamed a few days after the unveiling of the memorial to Fleischl in the arcades of the university, upon which occasion I had again seen Bruecke's' statue and must have thought with regret (in the unconscious) how my highly gifted friend P. with his great devotion to science had forfeited his just claim to a statue in these halls by his premature


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Rh death. So I set up this memorial to him in the dream; the first name of my friend P. is Joseph.

According to the rules of dream interpretation, I should still not be justified in replacing non vivit, which I need, by non vixit, which is placed at my disposal by the recollection of the Joseph monument. Something now calls my attention to the fact that in the dream scene, two trains of thought concerning my friend P. meet, one hostile, the other friendly—of which the former is superficial, the latter veiled, and both are given representation in the same words: non vixit. Because my friend P. has deserved well of science, I erect a statue to him; but because he has been guilty of an evil wish (which is expressed at the end of the dream) I destroy him. I have here constructed a sentence of peculiar resonance, and I must have been influenced by some model. But where can I find similar antithesis, such a parallel between two opposite attitudes towards the same person, both claiming to be entirely valid, and yet both trying not to encroach upon each other? Such a parallel is to be found in a single place, where, however, a deep impression is made upon the reader—in Brutus' speech of justification in Shakespeare's Julius Cæsar: "As Cæsar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him; but, as he was ambitious I slew him." Is not this which I have discovered, the same sentence structure and thought contrast as in the dream thought? I thus play Brutus in the dream. If I could only find in the dream thoughts, one further trace of confirmation for this astonishing collateral connection! I think the following might be such: My friend comes to Vienna in July. This detail finds no support whatever in reality. To my knowledge my friend has never been in Vienna during the month of July. But the month of July is named after Julius Cæsar, and might therefore very well furnish the required allusion to the intermediary thought that I am playing the part of Brutus.

Strangely enough I once actually played the part of Brutus.


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334 I presented the scene between Brutus and Cæsar from Schiller's poems to an audience of children when I was a boy of fourteen years. I did this with my nephew, who was a year older than I, and who had come to us from England—also a revenant—for in him I recognised the playmate of my first childish years. Until the end of my third year we had been inseparable, had loved each other and scuffled with each other, and, as I have already intimated, this childish relation has constantly determined my later feelings in my intercourse with persons of my own age. My nephew John has since found many incarnations, which have revivified first one aspect, then another, of this character which is so ineradicably fixed in my unconscious memory. Occasionally he must have treated me very badly, and I must have shown courage before my tyrant, for in later years I have often been told of the short speech with which I vindicated myself when my father—his grandfather—called me to account: "I hit him because he hit me." This childish scene must be the one which causes non vivit to branch off into non vixit, for in the language of later childhood striking is called wichsen (German, wichsen—to smear with shoe-polish, to tan, i.e., to flog); the dream activity does not hesitate to take advantage of such connections. My hostility towards my friend P., which has so little foundation in reality—he was far superior to me, and might therefore have been a new edition of the playmate of my childhood—can certainly be traced to my complicated relations with John during our infancy. I shall, however, return to this dream later.

(f) Absurd Dreams—Intellectual Performances in the Dream

In our interpretation of dreams thus far we have come upon the element of absurdity in the dream-content so often that we must no longer postpone an investigation of its cause and significance. We remember, of course, that the absurdity of dreams has furnished the opponents of dream investigation with their chief argument for considering the dream nothing but the meaningless product of a reduced and fragmentary activity of the mind.

I begin with specimens in which the absurdity of the dream-content is only apparent and immediately disappears


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Rh when the dream is more thoroughly examined. There are a few dreams which—accidentally one is at first inclined to think—are concerned with the dead father of the dreamer.

I. Here is the dream of a patient who had lost his father six years before:

''A terrible accident has occurred to his father. He was riding in the night train when a derailment took place, the seats came together, and his head was crushed from side to side. The dreamer sees him lying on the bed with a wound over his left eyebrow, which runs off vertically. The dreamer is surprised that his father has had a misfortune (since he is dead already, as the dreamer adds in telling his dream). His father's eyes are so clear.''

According to the standards prevailing in dream criticism, this dream-content would have to be explained in the following manner: At first, when the dreamer is picturing his father's misfortune, he has forgotten that his father has already been in his grave for years; in the further course of the dream this memory comes to life, and causes him to be surprised at his own dream even while he is still dreaming. Analysis, however, teaches us that it is entirely useless to attempt such explanations. The dreamer had given an artist an order for a bust of his father, which he had inspected two days before the dream. This is the thing which seems to him to have met with an accident. The sculptor has never seen the father, and is working from photographs which have been given him. On the very day before the dream the pious son had sent an old servant of the family to the studio in order to see whether he would pass the same judgment upon the marble head, namely, that it had turned out too narrow from side to side, from temple to temple. Now follows the mass of recollections which has contributed to the formation of this dream. The dreamer's father had a habit, whenever he was harassed by business cares or family difficulties, of pressing his temples with both hands, as though he were trying to compress his head, which seemed to grow too large for him. When our dreamer was four years old he was present when the accidental discharge of a pistol blackened his father's eyes (his eyes are so clear). While alive his father


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336 had had a deep wrinkle at the place where the dream shows the injury, whenever he was thoughtful or sad. The fact that in the dream this wrinkle is replaced by a wound points to the second occasion of the dream. The dreamer had taken a photograph of his little daughter; the plate had fallen from his hand, and when picked up showed a crack that ran like a vertical furrow across the forehead and reached as far as the orbital curve. He could not then get the better of his superstitious forebodings, for, on the day before his mother's death, a photographic plate with her likeness had cracked as he was handling it.

Thus the absurdity of the dream is only the result of an inaccuracy of verbal expression, which does not take the trouble to distinguish the bust and the photograph from the original. We are all accustomed to say of a picture, "Don't you think father is good?" Of course the appearance of absurdity in this dream might easily have been avoided. If it were permissible to pass judgment after a single experience, one might be tempted to say that this semblance of absurdity is admitted or desired.

II. Here is another very similar example from my own dreams (I lost my father in the year 1896):

After his death my father has been politically active among the Magyars, and has united them into a political body; to accompany which I see a little indistinct picture: ''a crowd of people as in the Reichstag; a person who is standing on one or two benches, others round about him. I remember that he looked very like Garibaldi on his death-bed, and I am glad that this promise has really come true.''

This is certainly absurd enough. It was dreamed at the time that the Hungarians got into a lawless condition, through Parliamentary obstruction, and passed through the crisis from which Koloman Szell delivered them. The trivial circumstance that the scene beheld in the dream consists of such little pictures is not without significance for the explanation of this element. The usual visual representation of our thoughts results in pictures which impress us as being life-size; my dream picture, however, is the reproduction of a wood-cut inserted in the text of an illustrated history of Austria, representing Maria Theresa in the Reichstag of


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Rh Pressburg—the famous scene of "Moriamur pro rege nostro." Like Maria Theresa, my father, in the dream, stands surrounded by the multitude; but he is standing on one or two benches, and thus like a judge on the bench. (He has united them—here the intermediary is the phrase, "We shall need no judge") Those of us who stood around the death-bed of my father actually noticed that he looked much like Garibaldi. He had a post-mortem rise of temperature, his cheeks shone redder and redder...involuntarily we continue: "And behind him lay in phantom radiance that which subdues us all—the common thing."

This elevation of our thoughts prepares us for having to deal with this very "common thing." The post-mortem feature of the rise in temperature corresponds to the words, "after his death" in the dream content. The most agonising of his sufferings had been a complete paralysis of the intestines (obstruction), which set in during the last weeks. All sorts of disrespectful thoughts are connected with this. A man of my own age who had lost his father while he was still at the Gymnasium, upon which occasion I was profoundly moved and tendered him my friendship, once told me, with derision, about the distress of a lady relative whose father had died on the street and had been brought home, where it turned out upon undressing the corpse, that at the moment of death, or post-mortem, an evacuation of the bowels had taken place. The daughter of the dead man was profoundly unhappy at having this ugly detail stain her memory of her father. We have now penetrated to the wish that is embodied in this dream. To stand before one's children pure and great after one's death, who would not wish that? What has become of the absurdity of the dream? The appearance of it has been caused only by the fact that a perfectly permissible mode of speech—in the case of which we are accustomed to ignore the absurdity that happens to exist between its parts—has been faithfully represented in the dream. Here, too, we are unable


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338 to deny that the semblance of absurdity is one which is desired and has been purposely brought about. The frequency with which in the dream dead persons appear as living, act, and deal with us, has called forth undue astonishment and given rise to strange explanations, from which our ignorance of the dream becomes strikingly evident. And yet the explanation for these dreams lies very close at hand. How often we have occasion to think: "If father were still alive, what would he say to it?" The dream can express this if in no other way than by present time in a definite situation. Thus, for instance, a young man, whose grandfather has left him a great inheritance, dreams that his grandfather is alive and demands an accounting of him, upon an occasion when the young man had been reproached for making too great an expenditure of money. What we consider a resistance to the dream—the objection made by our better knowledge, that after all the man is already dead—is in reality a consolation, because the dead person did not have this or that experience, or satisfaction at the knowledge that he has nothing more to say. Another form of absurdity found in dreams of deceased relatives does not express folly and absurdity, but serves to represent the most extreme rejection; as the representation of a repressed thought which one would gladly have appear as something least thought of. Dreams of this kind are only solvable if one recalls that the dream makes no distinction between things desired and realities. Thus, for example, a man who nursed his father during his sickness, and who felt his death very keenly, sometime afterward dreamed the following senseless dream: ''The father was again living, and conversed with him. as usual, but (the remarkable thing about it) he had nevertheless died, though he did not know it. This dream can be understood if after "he had nevertheless died," one inserts in consequence of the dreamer's wish, and if after "but he did not know it" one adds that the dreamer has entertained this wish''. While nursing his father, the son often wishes his father's death; i.e. he entertained the really compassionate desire that death finally put an end to his suffering. While mourning after his death, this very wish of compassion became an unconscious reproach, as if it had really contributed to shorten the life of the sick man. Through the awakening of early infantile feelings against the father, it became possible to express this reproach as a dream; and it was just because of the world-wide contrast between the dream inciter and day thought that this dream had to come out so absurdly (cf. with this,"Formulierungen über die zwei Prizipien des seelischen Geschehens, Jahrbuch, Bleuler-Freud, III, 1, 1911).

III. In the example which I now cite I can detect the dream activity in the act of purposely manufacturing an absurdity for which there is no occasion at all in the subject-matter. It is taken from the dream that I had as a result of meeting Count Thun before my vacation trip. "I am riding in a one-horse carriage, and give orders to drive to a railway station. 'Of course I cannot ride with you on the railway line itself,' I say, after the driver made an objection as though I had tired him out; at the same time it seems as though I had already driven with him for a distance which one usually rides on the train." For this confused and senseless story the analysis gives the following explanation: During the day I had hired


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 Should the said Henry James Hungerford have a child or children, legitimate or illegitimate, I leave to such child or children, his or their heirs, executors & assigns, after the death of his, or her, or their Father, the whole of my property of every kind, absolutely & forever, to be divided between them, if there is more than one, in the manner their father shall judge proper, or, in case of his omitting to decide this, as the Lord Chancellor shall judge proper. Should my said nephew, Henry James Hungerford, marry, I empower him to make a jointure.

In the case of the death of my said nephew without leaving a child or children, or the death of the child or children he may have had under the age of twenty-one years or intestate, I then bequeath the whole of my property subject to the annuity of one hundred pounds to John Fitall, and for the security and payment of which I mean stock to remain in this country, to the united states of america to found at


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The Laws of Fire on a Holiday

דיני האש ביום טוב

Paragraph 1 - One may not make fire from wood, from stones, from dirt, or from water, nor may one make coal. One may not blow up the fire with bellows, but rather with a tube. The custom is to allow a household bellows, if it is used differently by turning it upside down. Rem"a: It is permissible to cover the fire with an object or prepared dirt if one does not extinguish it. This is only true if it is done for the first day of the holiday, but for the sake of the second day, it is forbidden. (Mahari"l). If one is preparing a fire on a holiday, when arranging the wood, he should not place one on top of the other in an ordered structure, because it looks like building. Rather, he should either dump all of the wood in a messy pill or arrange them with a change. How? He should put a log on top, and another below it and another below it until he reaches the ground. Similarly, he should hold the pot and put rocks under it, but should not put the pot on top of the rocks. Similarly with a bed, he should hold the board on top and put the legs under it. Even eggs should not be placed layer on top of layer until they are like a tower, rather one should do this with a change, going from top down. Similarly, anything like this needs to be done with a change. Rem"a: Similarly, if a table has sides that reach the bottom (Tosafot) it needs to be [assembled] with a change. However, it is permitted to put our tables on their legs and it is not building. There are some who say that even if [the sides] reach the ground, as long as one does not need the air underneath, it is permitted (Tur).

סעיף א - אין מוציאין אש לא מן העצים ולא מן האבנים ולא מן העפר ולא מן המים, ואין עושין פחמים. ואין נופחין במפוח אלא בשפופרת. ונהגו התר במפוח של בעלי בתים על ידי שנוי להפכו מלמעלה למטה. הגה: ''ומתר לכסות האש בכלי או בעפר מוכן אם אינו מכבהו, ודוקא לצרך יום טוב ראשון אבל לצרך יום טוב שני, אסור. (מהרי"ל). העושה מדורה ביום טוב, כשהוא עורך את העצים אינו מניח זה על זה עד שיסדר המערכה מפני שנראה כבונה, אלא או שופך העצים בערבוב, או עורך בשנוי. כיצד, מניח עץ למעלה, ומניח אחר תחתיו ואחר תחתיו עד שהוא מגיע לארץ, וכן הקדרה אוחז אותה ומכניס האבנים תחתיה, אבל לא יניחנה על גבי האבנים, וכן המטה אוחז (הקרשים) למעלה ומכניס הרגלים תחתיהם, אפלו ביצים לא יעמיד אותם שורה על גבי שורה עד שיעמדו כמו מגדל, אלא ישנה ויתחיל מלמעלה למטה, וכן כל כיוצא בזה צריך שנוי. הגה: וכן שלחן שיש לו דפנות המגיעות לארץ (תוספות) צריך שנוי, אבל מתר להושיב שלחן שלנו על רגליו ואין בזה משום בנין. ויש אומרים דאפלו מגיע לארץ, כל זמן שאינו צריך לאויר של תחתיו, שרי (טור).''

Paragraph 2 - If a pile of logs is lit in a fire, every log that has not caught fire can be removed, and it is not like removing oil from a candle. Rem"a: And it is permitted to take a lit log from one side of the fire and put it on the other side, because it is not with the intention of extinguishing (Mordechai).

סעיף ב - אגדה של עצים שהדלקה במדורה, כל עץ שלא אחזה בו האש מתר לשמטו, ואינו דומה למסיר שמן מהנר. הגה: ומתר לקח עץ הדלוק מצד זה של מדורה ולהניחו בצד אחר, הואיל ואינו מכון לכבוי (מרדכי).

Paragraph 3 - One may not prop up a pot or a door with a piece of wood. Rem"a: ''But it is permitted to use it to roast (the Ri"f). All the more so, it is permitted to burn it with other pieces of wood, even if it is not fit to be burnt by itself (the Ra"n).''

סעיף ג - אין סומכין את הקדרה ולא את הדלת בבקעת. הגה: אבל מתר לצלות בו (הרי"ף), וכל שכן שמתר להסיק בו עם שאר עצים אף על גב שאינו ראוי להסיק בפני עצמו (ר"ן).

Paragraph 4 - For us, it is permitted to cook in new pots on a holiday. Rem"a: ''There are some who forbid (the Ros"h and the Tur), and such is the practice if it is not a pressing circumstance. Therefore, it is customary when buying new pots for Passover to cook in them before the holiday (his own words).''

סעיף ד - לדידן מתר לבשל בקדרות חדשות ביום טוב. הגה: ויש אוסרין (הרא"ש והטור), וכן המנהג, אם לא על ידי הדחק, ולכן נהגו כשקונין קדרות חדשות בפסח, מבשלין בהם קדם יום טוב (דברי עצמו).

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The Devachanic Plane

THE DEVACHANIC PLANE

or THE HEAVEN WORLD

Its characteristics and inhabitants

Theosophical Manual No. 6

Second Edition revised and enlarged

 * Preface
 * Author's Note
 * Introduction
 * General Characteristics
 * Inhabitants
 * Part I: Human
 * Part II: Non-Human
 * Part III: Artificial
 * Conclusion

title: The Devachanic Plane