The
derogatory reception of my friend's work had made a deep impression upon
me.
derogatory reception of my friend's work had made a deep impression upon
me.
Dream Psychology by Sigmund Freud
If the sea trip had only lasted longer; if I were
only washed and dressed; if I had only been allowed to keep the cherries
instead of giving them to my uncle. But the dream gives something more
than the choice, for here the desire is already realized; its
realization is real and actual. The dream presentations consist chiefly,
if not wholly, of scenes and mainly of visual sense images. Hence a kind
of transformation is not entirely absent in this class of dreams, and
this may be fairly designated as the dream work. _An idea merely
existing in the region of possibility is replaced by a vision of its
accomplishment. _
II
THE DREAM MECHANISM
We are compelled to assume that such transformation of scene has also
taken place in intricate dreams, though we do not know whether it has
encountered any possible desire. The dream instanced at the
commencement, which we analyzed somewhat thoroughly, did give us
occasion in two places to suspect something of the kind. Analysis
brought out that my wife was occupied with others at table, and that I
did not like it; in the dream itself _exactly the opposite_ occurs, for
the person who replaces my wife gives me her undivided attention. But
can one wish for anything pleasanter after a disagreeable incident than
that the exact contrary should have occurred, just as the dream has it?
The stinging thought in the analysis, that I have never had anything for
nothing, is similarly connected with the woman's remark in the dream:
"You have always had such beautiful eyes. " Some portion of the
opposition between the latent and manifest content of the dream must be
therefore derived from the realization of a wish.
Another manifestation of the dream work which all incoherent dreams have
in common is still more noticeable. Choose any instance, and compare the
number of separate elements in it, or the extent of the dream, if
written down, with the dream thoughts yielded by analysis, and of which
but a trace can be refound in the dream itself. There can be no doubt
that the dream working has resulted in an extraordinary compression or
_condensation_. It is not at first easy to form an opinion as to the
extent of the condensation; the more deeply you go into the analysis,
the more deeply you are impressed by it. There will be found no factor
in the dream whence the chains of associations do not lead in two or
more directions, no scene which has not been pieced together out of two
or more impressions and events. For instance, I once dreamt about a kind
of swimming-bath where the bathers suddenly separated in all directions;
at one place on the edge a person stood bending towards one of the
bathers as if to drag him out. The scene was a composite one, made up
out of an event that occurred at the time of puberty, and of two
pictures, one of which I had seen just shortly before the dream. The two
pictures were The Surprise in the Bath, from Schwind's Cycle of the
Melusine (note the bathers suddenly separating), and The Flood, by an
Italian master. The little incident was that I once witnessed a lady,
who had tarried in the swimming-bath until the men's hour, being helped
out of the water by the swimming-master. The scene in the dream which
was selected for analysis led to a whole group of reminiscences, each
one of which had contributed to the dream content. First of all came the
little episode from the time of my courting, of which I have already
spoken; the pressure of a hand under the table gave rise in the dream to
the "under the table," which I had subsequently to find a place for in
my recollection. There was, of course, at the time not a word about
"undivided attention. " Analysis taught me that this factor is the
realization of a desire through its contradictory and related to the
behavior of my wife at the table d'hote. An exactly similar and much
more important episode of our courtship, one which separated us for an
entire day, lies hidden behind this recent recollection. The intimacy,
the hand resting upon the knee, refers to a quite different connection
and to quite other persons. This element in the dream becomes again the
starting-point of two distinct series of reminiscences, and so on.
The stuff of the dream thoughts which has been accumulated for the
formation of the dream scene must be naturally fit for this application.
There must be one or more common factors. The dream work proceeds like
Francis Galton with his family photographs. The different elements are
put one on top of the other; what is common to the composite picture
stands out clearly, the opposing details cancel each other. This process
of reproduction partly explains the wavering statements, of a peculiar
vagueness, in so many elements of the dream. For the interpretation of
dreams this rule holds good: When analysis discloses _uncertainty_, as
to _either_--_or_ read _and_, _taking_ each section of the apparent
alternatives as a separate outlet for a series of impressions.
When there is nothing in common between the dream thoughts, the dream
work takes the trouble to create a something, in order to make a common
presentation feasible in the dream. The simplest way to approximate two
dream thoughts, which have as yet nothing in common, consists in making
such a change in the actual expression of one idea as will meet a slight
responsive recasting in the form of the other idea. The process is
analogous to that of rhyme, when consonance supplies the desired common
factor. A good deal of the dream work consists in the creation of those
frequently very witty, but often exaggerated, digressions. These vary
from the common presentation in the dream content to dream thoughts
which are as varied as are the causes in form and essence which give
rise to them. In the analysis of our example of a dream, I find a like
case of the transformation of a thought in order that it might agree
with another essentially foreign one. In following out the analysis I
struck upon the thought: _I should like to have something for nothing_.
But this formula is not serviceable to the dream. Hence it is replaced
by another one: "I should like to enjoy something free of cost. "[1] The
word "kost" (taste), with its double meaning, is appropriate to a table
d'hote; it, moreover, is in place through the special sense in the
dream. At home if there is a dish which the children decline, their
mother first tries gentle persuasion, with a "Just taste it. " That the
dream work should unhesitatingly use the double meaning of the word is
certainly remarkable; ample experience has shown, however, that the
occurrence is quite usual.
Through condensation of the dream certain constituent parts of its
content are explicable which are peculiar to the dream life alone, and
which are not found in the waking state. Such are the composite and
mixed persons, the extraordinary mixed figures, creations comparable
with the fantastic animal compositions of Orientals; a moment's thought
and these are reduced to unity, whilst the fancies of the dream are ever
formed anew in an inexhaustible profusion. Every one knows such images
in his own dreams; manifold are their origins. I can build up a person
by borrowing one feature from one person and one from another, or by
giving to the form of one the name of another in my dream. I can also
visualize one person, but place him in a position which has occurred to
another. There is a meaning in all these cases when different persons
are amalgamated into one substitute. Such cases denote an "and," a "just
like," a comparison of the original person from a certain point of view,
a comparison which can be also realized in the dream itself. As a rule,
however, the identity of the blended persons is only discoverable by
analysis, and is only indicated in the dream content by the formation of
the "combined" person.
The same diversity in their ways of formation and the same rules for its
solution hold good also for the innumerable medley of dream contents,
examples of which I need scarcely adduce. Their strangeness quite
disappears when we resolve not to place them on a level with the objects
of perception as known to us when awake, but to remember that they
represent the art of dream condensation by an exclusion of unnecessary
detail. Prominence is given to the common character of the combination.
Analysis must also generally supply the common features. The dream says
simply: _All these things have an "x" in common_. The decomposition of
these mixed images by analysis is often the quickest way to an
interpretation of the dream. Thus I once dreamt that I was sitting with
one of my former university tutors on a bench, which was undergoing a
rapid continuous movement amidst other benches. This was a combination
of lecture-room and moving staircase. I will not pursue the further
result of the thought. Another time I was sitting in a carriage, and on
my lap an object in shape like a top-hat, which, however, was made of
transparent glass. The scene at once brought to my mind the proverb: "He
who keeps his hat in his hand will travel safely through the land. " By a
slight turn the _glass hat_ reminded me of _Auer's light_, and I knew
that I was about to invent something which was to make me as rich and
independent as his invention had made my countryman, Dr. Auer, of
Welsbach; then I should be able to travel instead of remaining in
Vienna. In the dream I was traveling with my invention, with the, it is
true, rather awkward glass top-hat. The dream work is peculiarly adept
at representing two contradictory conceptions by means of the same mixed
image. Thus, for instance, a woman dreamt of herself carrying a tall
flower-stalk, as in the picture of the Annunciation (Chastity-Mary is
her own name), but the stalk was bedecked with thick white blossoms
resembling camellias (contrast with chastity: La dame aux Camelias).
A great deal of what we have called "dream condensation" can be thus
formulated. Each one of the elements of the dream content is
_overdetermined_ by the matter of the dream thoughts; it is not derived
from one element of these thoughts, but from a whole series. These are
not necessarily interconnected in any way, but may belong to the most
diverse spheres of thought. The dream element truly represents all this
disparate matter in the dream content. Analysis, moreover, discloses
another side of the relationship between dream content and dream
thoughts. Just as one element of the dream leads to associations with
several dream thoughts, so, as a rule, the _one dream thought represents
more than one dream element_. The threads of the association do not
simply converge from the dream thoughts to the dream content, but on the
way they overlap and interweave in every way.
Next to the transformation of one thought in the scene (its
"dramatization"), condensation is the most important and most
characteristic feature of the dream work. We have as yet no clue as to
the motive calling for such compression of the content.
In the complicated and intricate dreams with which we are now concerned,
condensation and dramatization do not wholly account for the difference
between dream contents and dream thoughts. There is evidence of a third
factor, which deserves careful consideration.
When I have arrived at an understanding of the dream thoughts by my
analysis I notice, above all, that the matter of the manifest is very
different from that of the latent dream content. That is, I admit, only
an apparent difference which vanishes on closer investigation, for in
the end I find the whole dream content carried out in the dream
thoughts, nearly all the dream thoughts again represented in the dream
content. Nevertheless, there does remain a certain amount of difference.
The essential content which stood out clearly and broadly in the dream
must, after analysis, rest satisfied with a very subordinate role among
the dream thoughts. These very dream thoughts which, going by my
feelings, have a claim to the greatest importance are either not present
at all in the dream content, or are represented by some remote allusion
in some obscure region of the dream. I can thus describe these
phenomena: _During the dream work the psychical intensity of those
thoughts and conceptions to which it properly pertains flows to others
which, in my judgment, have no claim to such emphasis_. There is no
other process which contributes so much to concealment of the dream's
meaning and to make the connection between the dream content and dream
ideas irrecognizable. During this process, which I will call _the dream
displacement_, I notice also the psychical intensity, significance, or
emotional nature of the thoughts become transposed in sensory vividness.
What was clearest in the dream seems to me, without further
consideration, the most important; but often in some obscure element of
the dream I can recognize the most direct offspring of the principal
dream thought.
I could only designate this dream displacement as the _transvaluation of
psychical values_. The phenomena will not have been considered in all
its bearings unless I add that this displacement or transvaluation is
shared by different dreams in extremely varying degrees. There are
dreams which take place almost without any displacement. These have the
same time, meaning, and intelligibility as we found in the dreams which
recorded a desire. In other dreams not a bit of the dream idea has
retained its own psychical value, or everything essential in these dream
ideas has been replaced by unessentials, whilst every kind of transition
between these conditions can be found. The more obscure and intricate a
dream is, the greater is the part to be ascribed to the impetus of
displacement in its formation.
The example that we chose for analysis shows, at least, this much of
displacement--that its content has a different center of interest from
that of the dream ideas. In the forefront of the dream content the main
scene appears as if a woman wished to make advances to me; in the dream
idea the chief interest rests on the desire to enjoy disinterested love
which shall "cost nothing"; this idea lies at the back of the talk about
the beautiful eyes and the far-fetched allusion to "spinach. "
If we abolish the dream displacement, we attain through analysis quite
certain conclusions regarding two problems of the dream which are most
disputed--as to what provokes a dream at all, and as to the connection
of the dream with our waking life. There are dreams which at once expose
their links with the events of the day; in others no trace of such a
connection can be found. By the aid of analysis it can be shown that
every dream, without any exception, is linked up with our impression of
the day, or perhaps it would be more correct to say of the day previous
to the dream. The impressions which have incited the dream may be so
important that we are not surprised at our being occupied with them
whilst awake; in this case we are right in saying that the dream carries
on the chief interest of our waking life. More usually, however, when
the dream contains anything relating to the impressions of the day, it
is so trivial, unimportant, and so deserving of oblivion, that we can
only recall it with an effort. The dream content appears, then, even
when coherent and intelligible, to be concerned with those indifferent
trifles of thought undeserving of our waking interest. The depreciation
of dreams is largely due to the predominance of the indifferent and the
worthless in their content.
Analysis destroys the appearance upon which this derogatory judgment is
based. When the dream content discloses nothing but some indifferent
impression as instigating the dream, analysis ever indicates some
significant event, which has been replaced by something indifferent
with which it has entered into abundant associations. Where the dream is
concerned with uninteresting and unimportant conceptions, analysis
reveals the numerous associative paths which connect the trivial with
the momentous in the psychical estimation of the individual. _It is only
the action of displacement if what is indifferent obtains recognition in
the dream content instead of those impressions which are really the
stimulus, or instead of the things of real interest_. In answering the
question as to what provokes the dream, as to the connection of the
dream, in the daily troubles, we must say, in terms of the insight given
us by replacing the manifest latent dream content: _The dream does never
trouble itself about things which are not deserving of our concern
during the day, and trivialities which do not trouble us during the day
have no power to pursue us whilst asleep_.
What provoked the dream in the example which we have analyzed? The
really unimportant event, that a friend invited me to a _free ride in
his cab_. The table d'hote scene in the dream contains an allusion to
this indifferent motive, for in conversation I had brought the taxi
parallel with the table d'hote. But I can indicate the important event
which has as its substitute the trivial one. A few days before I had
disbursed a large sum of money for a member of my family who is very
dear to me. Small wonder, says the dream thought, if this person is
grateful to me for this--this love is not cost-free. But love that shall
cost nothing is one of the prime thoughts of the dream. The fact that
shortly before this I had had several _drives_ with the relative in
question puts the one drive with my friend in a position to recall the
connection with the other person. The indifferent impression which, by
such ramifications, provokes the dream is subservient to another
condition which is not true of the real source of the dream--the
impression must be a recent one, everything arising from the day of the
dream.
I cannot leave the question of dream displacement without the
consideration of a remarkable process in the formation of dreams in
which condensation and displacement work together towards one end. In
condensation we have already considered the case where two conceptions
in the dream having something in common, some point of contact, are
replaced in the dream content by a mixed image, where the distinct germ
corresponds to what is common, and the indistinct secondary
modifications to what is distinctive. If displacement is added to
condensation, there is no formation of a mixed image, but a _common
mean_ which bears the same relationship to the individual elements as
does the resultant in the parallelogram of forces to its components. In
one of my dreams, for instance, there is talk of an injection with
_propyl_. On first analysis I discovered an indifferent but true
incident where _amyl_ played a part as the excitant of the dream. I
cannot yet vindicate the exchange of amyl for propyl. To the round of
ideas of the same dream, however, there belongs the recollection of my
first visit to Munich, when the _Propyloea_ struck me. The attendant
circumstances of the analysis render it admissible that the influence of
this second group of conceptions caused the displacement of amyl to
propyl. _Propyl_ is, so to say, the mean idea between _amyl_ and
_propyloea_; 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 aetiology 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,
on account of _decrepitude_, had become quite incapable of teaching. The
agitation my friend inspired was so successful because in the German
Universities an _age limit_ is not demanded for academic work. _Age is
no protection against folly. _ In the hospital here I had for years the
honor to serve under a chief who, long fossilized, was for decades
notoriously _feebleminded_, and was yet permitted to continue in his
responsible office. A trait, after the manner of the find in the Lido,
forces itself upon me here. It was to this man that some youthful
colleagues in the hospital adapted the then popular slang of that day:
"No Goethe has written that," "No Schiller composed that," etc.
We have not exhausted our valuation of the dream work. In addition to
condensation, displacement, and definite arrangement of the psychical
matter, we must ascribe to it yet another activity--one which is,
indeed, not shared by every dream. I shall not treat this position of
the dream work exhaustively; I will only point out that the readiest
way to arrive at a conception of it is to take for granted, probably
unfairly, that it _only subsequently influences the dream content which
has already been built up_. Its mode of action thus consists in so
coordinating the parts of the dream that these coalesce to a coherent
whole, to a dream composition. The dream gets a kind of facade which, it
is true, does not conceal the whole of its content. There is a sort of
preliminary explanation to be strengthened by interpolations and slight
alterations. Such elaboration of the dream content must not be too
pronounced; the misconception of the dream thoughts to which it gives
rise is merely superficial, and our first piece of work in analyzing a
dream is to get rid of these early attempts at interpretation.
The motives for this part of the dream work are easily gauged. This
final elaboration of the dream is due to a _regard for
intelligibility_--a fact at once betraying the origin of an action which
behaves towards the actual dream content just as our normal psychical
action behaves towards some proffered perception that is to our liking.
The dream content is thus secured under the pretense of certain
expectations, is perceptually classified by the supposition of its
intelligibility, thereby risking its falsification, whilst, in fact, the
most extraordinary misconceptions arise if the dream can be correlated
with nothing familiar. Every one is aware that we are unable to look at
any series of unfamiliar signs, or to listen to a discussion of unknown
words, without at once making perpetual changes through _our regard for
intelligibility_, through our falling back upon what is familiar.
We can call those dreams _properly made up_ which are the result of an
elaboration in every way analogous to the psychical action of our waking
life. In other dreams there is no such action; not even an attempt is
made to bring about order and meaning. We regard the dream as "quite
mad," because on awaking it is with this last-named part of the dream
work, the dream elaboration, that we identify ourselves. So far,
however, as our analysis is concerned, the dream, which resembles a
medley of disconnected fragments, is of as much value as the one with a
smooth and beautifully polished surface. In the former case we are
spared, to some extent, the trouble of breaking down the
super-elaboration of the dream content.
All the same, it would be an error to see in the dream facade nothing
but the misunderstood and somewhat arbitrary elaboration of the dream
carried out at the instance of our psychical life. Wishes and phantasies
are not infrequently employed in the erection of this facade, which
were already fashioned in the dream thoughts; they are akin to those of
our waking life--"day-dreams," as they are very properly called. These
wishes and phantasies, which analysis discloses in our dreams at night,
often present themselves as repetitions and refashionings of the scenes
of infancy. Thus the dream facade may show us directly the true core of
the dream, distorted through admixture with other matter.
Beyond these four activities there is nothing else to be discovered in
the dream work. If we keep closely to the definition that dream work
denotes the transference of dream thoughts to dream content, we are
compelled to say that the dream work is not creative; it develops no
fancies of its own, it judges nothing, decides nothing. It does nothing
but prepare the matter for condensation and displacement, and refashions
it for dramatization, to which must be added the inconstant last-named
mechanism--that of explanatory elaboration. It is true that a good deal
is found in the dream content which might be understood as the result of
another and more intellectual performance; but analysis shows
conclusively every time that these _intellectual operations were already
present in the dream thoughts, and have only been taken over by the
dream content_. A syllogism in the dream is nothing other than the
repetition of a syllogism in the dream thoughts; it seems inoffensive if
it has been transferred to the dream without alteration; it becomes
absurd if in the dream work it has been transferred to other matter. A
calculation in the dream content simply means that there was a
calculation in the dream thoughts; whilst this is always correct, the
calculation in the dream can furnish the silliest results by the
condensation of its factors and the displacement of the same operations
to other things. Even speeches which are found in the dream content are
not new compositions; they prove to be pieced together out of speeches
which have been made or heard or read; the words are faithfully copied,
but the occasion of their utterance is quite overlooked, and their
meaning is most violently changed.
It is, perhaps, not superfluous to support these assertions by examples:
1. _A seemingly inoffensive, well-made dream of a patient. She was going
to market with her cook, who carried the basket. The butcher said to her
when she asked him for something: "That is all gone," and wished to give
her something else, remarking; "That's very good. " She declines, and
goes to the greengrocer, who wants to sell her a peculiar vegetable
which is bound up in bundles and of a black color. She says: "I don't
know that; I won't take it. "_
The remark "That is all gone" arose from the treatment. A few days
before I said myself to the patient that the earliest reminiscences of
childhood _are all gone_ as such, but are replaced by transferences and
dreams. Thus I am the butcher.
The second remark, _"I don't know that"_ arose in a very different
connection. The day before she had herself called out in rebuke to the
cook (who, moreover, also appears in the dream): "_Behave yourself
properly_; I don't know _that_"--that is, "I don't know this kind of
behavior; I won't have it. " The more harmless portion of this speech was
arrived at by a displacement of the dream content; in the dream thoughts
only the other portion of the speech played a part, because the dream
work changed an imaginary situation into utter irrecognizability and
complete inoffensiveness (while in a certain sense I behave in an
unseemly way to the lady). The situation resulting in this phantasy is,
however, nothing but a new edition of one that actually took place.
2. A dream apparently meaningless relates to figures. _"She wants to pay
something; her daughter takes three florins sixty-five kreuzers out of
her purse; but she says: 'What are you doing? It only cost twenty-one
kreuzers. '"_
The dreamer was a stranger who had placed her child at school in Vienna,
and who was able to continue under my treatment so long as her daughter
remained at Vienna. The day before the dream the directress of the
school had recommended her to keep the child another year at school. In
this case she would have been able to prolong her treatment by one year.
The figures in the dream become important if it be remembered that time
is money. One year equals 365 days, or, expressed in kreuzers, 365
kreuzers, which is three florins sixty-five kreuzers. The twenty-one
kreuzers correspond with the three weeks which remained from the day of
the dream to the end of the school term, and thus to the end of the
treatment. It was obviously financial considerations which had moved the
lady to refuse the proposal of the directress, and which were answerable
for the triviality of the amount in the dream.
3. A lady, young, but already ten years married, heard that a friend of
hers, Miss Elise L----, of about the same age, had become engaged. This
gave rise to the following dream:
_She was sitting with her husband in the theater; the one side of the
stalls was quite empty. Her husband tells her, Elise L---- and her
fiance had intended coming, but could only get some cheap seats, three
for one florin fifty kreuzers, and these they would not take. In her
opinion, that would not have mattered very much. _
The origin of the figures from the matter of the dream thoughts and the
changes the figures underwent are of interest. Whence came the one
florin fifty kreuzers? From a trifling occurrence of the previous day.
Her sister-in-law had received 150 florins as a present from her
husband, and had quickly got rid of it by buying some ornament. Note
that 150 florins is one hundred times one florin fifty kreuzers. For the
_three_ concerned with the tickets, the only link is that Elise L---- is
exactly three months younger than the dreamer. The scene in the dream is
the repetition of a little adventure for which she has often been teased
by her husband. She was once in a great hurry to get tickets in time for
a piece, and when she came to the theater _one side of the stalls was
almost empty_. It was therefore quite unnecessary for her to have been
in _such a hurry_. Nor must we overlook the absurdity of the dream that
two persons should take three tickets for the theater.
Now for the dream ideas. It was _stupid_ to have married so early; I
_need not_ have been _in so great a hurry_. Elise L----'s example shows
me that I should have been able to get a husband later; indeed, one a
_hundred times better_ if I had but waited. I could have bought _three_
such men with the money (dowry).
[1] "Ich mochte gerne etwas geniessen ohne 'Kosten' zu haben. " A a pun
upon the word "kosten," which has two meanings--"taste" and "cost. " In
"Die Traumdeutung," third edition, p. 71 footnote, Professor Freud
remarks that "the finest example of dream interpretation left us by the
ancients is based upon a pun" (from "The Interpretation of Dreams," by
Artemidorus Daldianus). "Moreover, dreams are so intimately bound up
with language that Ferenczi truly points out that every tongue has its
own language of dreams. A dream is as a rule untranslatable into other
languages. "--TRANSLATOR.
[2] It is worthy of remark that eminent philologists maintain that the
oldest languages used the same word for expressing quite general
antitheses. In C. Abel's essay, "Ueber den Gegensinn der Urworter"
(1884, the following examples of such words in England are given:
"gleam--gloom"; "to lock--loch"; "down--The Downs"; "to step--to stop. "
In his essay on "The Origin of Language" ("Linguistic Essays," p. 240),
Abel says: "When the Englishman says 'without,' is not his judgment
based upon the comparative juxtaposition of two opposites, 'with' and
'out'; 'with' itself originally meant 'without,' as may still be seen in
'withdraw. ' 'Bid' includes the opposite sense of giving and of
proffering. " Abel, "The English Verbs of Command," "Linguistic Essays,"
p. 104; see also Freud, "Ueber den Gegensinn der Urworte"; _Jahrbuch fur
Psychoanalytische und Psychopathologische Forschungen_, Band II. , part
i. , p. 179). --TRANSLATOR.
III
WHY THE DREAM DISGUISES THE DESIRES
In the foregoing exposition we have now learnt something of the dream
work; we must regard it as a quite special psychical process, which, so
far as we are aware, resembles nothing else. To the dream work has been
transferred that bewilderment which its product, the dream, has aroused
in us. In truth, the dream work is only the first recognition of a group
of psychical processes to which must be referred the origin of
hysterical symptoms, the ideas of morbid dread, obsession, and illusion.
Condensation, and especially displacement, are never-failing features in
these other processes. The regard for appearance remains, on the other
hand, peculiar to the dream work. If this explanation brings the dream
into line with the formation of psychical disease, it becomes the more
important to fathom the essential conditions of processes like dream
building. It will be probably a surprise to hear that neither the state
of sleep nor illness is among the indispensable conditions. A whole
number of phenomena of the everyday life of healthy persons,
forgetfulness, slips in speaking and in holding things, together with a
certain class of mistakes, are due to a psychical mechanism analogous to
that of the dream and the other members of this group.
Displacement is the core of the problem, and the most striking of all
the dream performances. A thorough investigation of the subject shows
that the essential condition of displacement is purely psychological; it
is in the nature of a motive. We get on the track by thrashing out
experiences which one cannot avoid in the analysis of dreams. I had to
break off the relations of my dream thoughts in the analysis of my dream
on p. 8 because I found some experiences which I do not wish strangers
to know, and which I could not relate without serious damage to
important considerations. I added, it would be no use were I to select
another instead of that particular dream; in every dream where the
content is obscure or intricate, I should hit upon dream thoughts which
call for secrecy. If, however, I continue the analysis for myself,
without regard to those others, for whom, indeed, so personal an event
as my dream cannot matter, I arrive finally at ideas which surprise me,
which I have not known to be mine, which not only appear _foreign_ to
me, but which are _unpleasant_, and which I would like to oppose
vehemently, whilst the chain of ideas running through the analysis
intrudes upon me inexorably. I can only take these circumstances into
account by admitting that these thoughts are actually part of my
psychical life, possessing a certain psychical intensity or energy.
However, by virtue of a particular psychological condition, the
_thoughts could not become conscious to me_. I call this particular
condition "_Repression_. " It is therefore impossible for me not to
recognize some casual relationship between the obscurity of the dream
content and this state of repression--this _incapacity of
consciousness_. Whence I conclude that the cause of the obscurity is
_the desire to conceal these thoughts_. Thus I arrive at the conception
of the _dream distortion_ as the deed of the dream work, and of
_displacement_ serving to disguise this object.
I will test this in my own dream, and ask myself, What is the thought
which, quite innocuous in its distorted form, provokes my liveliest
opposition in its real form? I remember that the free drive reminded me
of the last expensive drive with a member of my family, the
interpretation of the dream being: I should for once like to experience
affection for which I should not have to pay, and that shortly before
the dream I had to make a heavy disbursement for this very person. In
this connection, I cannot get away from the thought _that I regret this
disbursement_. It is only when I acknowledge this feeling that there is
any sense in my wishing in the dream for an affection that should entail
no outlay. And yet I can state on my honor that I did not hesitate for a
moment when it became necessary to expend that sum. The regret, the
counter-current, was unconscious to me. Why it was unconscious is quite
another question which would lead us far away from the answer which,
though within my knowledge, belongs elsewhere.
If I subject the dream of another person instead of one of my own to
analysis, the result is the same; the motives for convincing others is,
however, changed. In the dream of a healthy person the only way for me
to enable him to accept this repressed idea is the coherence of the
dream thoughts. He is at liberty to reject this explanation. But if we
are dealing with a person suffering from any neurosis--say from
hysteria--the recognition of these repressed ideas is compulsory by
reason of their connection with the symptoms of his illness and of the
improvement resulting from exchanging the symptoms for the repressed
ideas. Take the patient from whom I got the last dream about the three
tickets for one florin fifty kreuzers. Analysis shows that she does not
think highly of her husband, that she regrets having married him, that
she would be glad to change him for some one else. It is true that she
maintains that she loves her husband, that her emotional life knows
nothing about this depreciation (a hundred times better! ), but all her
symptoms lead to the same conclusion as this dream. When her repressed
memories had rewakened a certain period when she was conscious that she
did not love her husband, her symptoms disappeared, and therewith
disappeared her resistance to the interpretation of the dream.
This conception of repression once fixed, together with the distortion
of the dream in relation to repressed psychical matter, we are in a
position to give a general exposition of the principal results which the
analysis of dreams supplies. We learnt that the most intelligible and
meaningful dreams are unrealized desires; the desires they pictured as
realized are known to consciousness, have been held over from the
daytime, and are of absorbing interest. The analysis of obscure and
intricate dreams discloses something very similar; the dream scene again
pictures as realized some desire which regularly proceeds from the dream
ideas, but the picture is unrecognizable, and is only cleared up in the
analysis. The desire itself is either one repressed, foreign to
consciousness, or it is closely bound up with repressed ideas. The
formula for these dreams may be thus stated: _They are concealed
realizations of repressed desires_. It is interesting to note that they
are right who regard the dream as foretelling the future. Although the
future which the dream shows us is not that which will occur, but that
which we would like to occur. Folk psychology proceeds here according to
its wont; it believes what it wishes to believe.
Dreams can be divided into three classes according to their relation
towards the realization of desire. Firstly come those which exhibit a
_non-repressed, non-concealed desire_; these are dreams of the infantile
type, becoming ever rarer among adults. Secondly, dreams which express
in _veiled_ form some _repressed desire_; these constitute by far the
larger number of our dreams, and they require analysis for their
understanding. Thirdly, these dreams where repression exists, but
_without_ or with but slight concealment. These dreams are invariably
accompanied by a feeling of dread which brings the dream to an end. This
feeling of dread here replaces dream displacement; I regarded the dream
work as having prevented this in the dream of the second class. It is
not very difficult to prove that what is now present as intense dread in
the dream was once desire, and is now secondary to the repression.
There are also definite dreams with a painful content, without the
presence of any anxiety in the dream. These cannot be reckoned among
dreams of dread; they have, however, always been used to prove the
unimportance and the psychical futility of dreams. An analysis of such
an example will show that it belongs to our second class of dreams--a
_perfectly concealed_ realization of repressed desires. Analysis will
demonstrate at the same time how excellently adapted is the work of
displacement to the concealment of desires.
A girl dreamt that she saw lying dead before her the only surviving
child of her sister amid the same surroundings as a few years before she
saw the first child lying dead. She was not sensible of any pain, but
naturally combatted the view that the scene represented a desire of
hers. Nor was that view necessary. Years ago it was at the funeral of
the child that she had last seen and spoken to the man she loved. Were
the second child to die, she would be sure to meet this man again in her
sister's house. She is longing to meet him, but struggles against this
feeling. The day of the dream she had taken a ticket for a lecture,
which announced the presence of the man she always loved. The dream is
simply a dream of impatience common to those which happen before a
journey, theater, or simply anticipated pleasures. The longing is
concealed by the shifting of the scene to the occasion when any joyous
feeling were out of place, and yet where it did once exist. Note,
further, that the emotional behavior in the dream is adapted, not to the
displaced, but to the real but suppressed dream ideas. The scene
anticipates the long-hoped-for meeting; there is here no call for
painful emotions.
There has hitherto been no occasion for philosophers to bestir
themselves with a psychology of repression. We must be allowed to
construct some clear conception as to the origin of dreams as the first
steps in this unknown territory. The scheme which we have formulated not
only from a study of dreams is, it is true, already somewhat
complicated, but we cannot find any simpler one that will suffice. We
hold that our psychical apparatus contains two procedures for the
construction of thoughts. The second one has the advantage that its
products find an open path to consciousness, whilst the activity of the
first procedure is unknown to itself, and can only arrive at
consciousness through the second one. At the borderland of these two
procedures, where the first passes over into the second, a censorship
is established which only passes what pleases it, keeping back
everything else. That which is rejected by the censorship is, according
to our definition, in a state of repression. Under certain conditions,
one of which is the sleeping state, the balance of power between the two
procedures is so changed that what is repressed can no longer be kept
back. In the sleeping state this may possibly occur through the
negligence of the censor; what has been hitherto repressed will now
succeed in finding its way to consciousness. But as the censorship is
never absent, but merely off guard, certain alterations must be conceded
so as to placate it. It is a compromise which becomes conscious in this
case--a compromise between what one procedure has in view and the
demands of the other. _Repression, laxity of the censor,
compromise_--this is the foundation for the origin of many another
psychological process, just as it is for the dream. In such compromises
we can observe the processes of condensation, of displacement, the
acceptance of superficial associations, which we have found in the dream
work.
only washed and dressed; if I had only been allowed to keep the cherries
instead of giving them to my uncle. But the dream gives something more
than the choice, for here the desire is already realized; its
realization is real and actual. The dream presentations consist chiefly,
if not wholly, of scenes and mainly of visual sense images. Hence a kind
of transformation is not entirely absent in this class of dreams, and
this may be fairly designated as the dream work. _An idea merely
existing in the region of possibility is replaced by a vision of its
accomplishment. _
II
THE DREAM MECHANISM
We are compelled to assume that such transformation of scene has also
taken place in intricate dreams, though we do not know whether it has
encountered any possible desire. The dream instanced at the
commencement, which we analyzed somewhat thoroughly, did give us
occasion in two places to suspect something of the kind. Analysis
brought out that my wife was occupied with others at table, and that I
did not like it; in the dream itself _exactly the opposite_ occurs, for
the person who replaces my wife gives me her undivided attention. But
can one wish for anything pleasanter after a disagreeable incident than
that the exact contrary should have occurred, just as the dream has it?
The stinging thought in the analysis, that I have never had anything for
nothing, is similarly connected with the woman's remark in the dream:
"You have always had such beautiful eyes. " Some portion of the
opposition between the latent and manifest content of the dream must be
therefore derived from the realization of a wish.
Another manifestation of the dream work which all incoherent dreams have
in common is still more noticeable. Choose any instance, and compare the
number of separate elements in it, or the extent of the dream, if
written down, with the dream thoughts yielded by analysis, and of which
but a trace can be refound in the dream itself. There can be no doubt
that the dream working has resulted in an extraordinary compression or
_condensation_. It is not at first easy to form an opinion as to the
extent of the condensation; the more deeply you go into the analysis,
the more deeply you are impressed by it. There will be found no factor
in the dream whence the chains of associations do not lead in two or
more directions, no scene which has not been pieced together out of two
or more impressions and events. For instance, I once dreamt about a kind
of swimming-bath where the bathers suddenly separated in all directions;
at one place on the edge a person stood bending towards one of the
bathers as if to drag him out. The scene was a composite one, made up
out of an event that occurred at the time of puberty, and of two
pictures, one of which I had seen just shortly before the dream. The two
pictures were The Surprise in the Bath, from Schwind's Cycle of the
Melusine (note the bathers suddenly separating), and The Flood, by an
Italian master. The little incident was that I once witnessed a lady,
who had tarried in the swimming-bath until the men's hour, being helped
out of the water by the swimming-master. The scene in the dream which
was selected for analysis led to a whole group of reminiscences, each
one of which had contributed to the dream content. First of all came the
little episode from the time of my courting, of which I have already
spoken; the pressure of a hand under the table gave rise in the dream to
the "under the table," which I had subsequently to find a place for in
my recollection. There was, of course, at the time not a word about
"undivided attention. " Analysis taught me that this factor is the
realization of a desire through its contradictory and related to the
behavior of my wife at the table d'hote. An exactly similar and much
more important episode of our courtship, one which separated us for an
entire day, lies hidden behind this recent recollection. The intimacy,
the hand resting upon the knee, refers to a quite different connection
and to quite other persons. This element in the dream becomes again the
starting-point of two distinct series of reminiscences, and so on.
The stuff of the dream thoughts which has been accumulated for the
formation of the dream scene must be naturally fit for this application.
There must be one or more common factors. The dream work proceeds like
Francis Galton with his family photographs. The different elements are
put one on top of the other; what is common to the composite picture
stands out clearly, the opposing details cancel each other. This process
of reproduction partly explains the wavering statements, of a peculiar
vagueness, in so many elements of the dream. For the interpretation of
dreams this rule holds good: When analysis discloses _uncertainty_, as
to _either_--_or_ read _and_, _taking_ each section of the apparent
alternatives as a separate outlet for a series of impressions.
When there is nothing in common between the dream thoughts, the dream
work takes the trouble to create a something, in order to make a common
presentation feasible in the dream. The simplest way to approximate two
dream thoughts, which have as yet nothing in common, consists in making
such a change in the actual expression of one idea as will meet a slight
responsive recasting in the form of the other idea. The process is
analogous to that of rhyme, when consonance supplies the desired common
factor. A good deal of the dream work consists in the creation of those
frequently very witty, but often exaggerated, digressions. These vary
from the common presentation in the dream content to dream thoughts
which are as varied as are the causes in form and essence which give
rise to them. In the analysis of our example of a dream, I find a like
case of the transformation of a thought in order that it might agree
with another essentially foreign one. In following out the analysis I
struck upon the thought: _I should like to have something for nothing_.
But this formula is not serviceable to the dream. Hence it is replaced
by another one: "I should like to enjoy something free of cost. "[1] The
word "kost" (taste), with its double meaning, is appropriate to a table
d'hote; it, moreover, is in place through the special sense in the
dream. At home if there is a dish which the children decline, their
mother first tries gentle persuasion, with a "Just taste it. " That the
dream work should unhesitatingly use the double meaning of the word is
certainly remarkable; ample experience has shown, however, that the
occurrence is quite usual.
Through condensation of the dream certain constituent parts of its
content are explicable which are peculiar to the dream life alone, and
which are not found in the waking state. Such are the composite and
mixed persons, the extraordinary mixed figures, creations comparable
with the fantastic animal compositions of Orientals; a moment's thought
and these are reduced to unity, whilst the fancies of the dream are ever
formed anew in an inexhaustible profusion. Every one knows such images
in his own dreams; manifold are their origins. I can build up a person
by borrowing one feature from one person and one from another, or by
giving to the form of one the name of another in my dream. I can also
visualize one person, but place him in a position which has occurred to
another. There is a meaning in all these cases when different persons
are amalgamated into one substitute. Such cases denote an "and," a "just
like," a comparison of the original person from a certain point of view,
a comparison which can be also realized in the dream itself. As a rule,
however, the identity of the blended persons is only discoverable by
analysis, and is only indicated in the dream content by the formation of
the "combined" person.
The same diversity in their ways of formation and the same rules for its
solution hold good also for the innumerable medley of dream contents,
examples of which I need scarcely adduce. Their strangeness quite
disappears when we resolve not to place them on a level with the objects
of perception as known to us when awake, but to remember that they
represent the art of dream condensation by an exclusion of unnecessary
detail. Prominence is given to the common character of the combination.
Analysis must also generally supply the common features. The dream says
simply: _All these things have an "x" in common_. The decomposition of
these mixed images by analysis is often the quickest way to an
interpretation of the dream. Thus I once dreamt that I was sitting with
one of my former university tutors on a bench, which was undergoing a
rapid continuous movement amidst other benches. This was a combination
of lecture-room and moving staircase. I will not pursue the further
result of the thought. Another time I was sitting in a carriage, and on
my lap an object in shape like a top-hat, which, however, was made of
transparent glass. The scene at once brought to my mind the proverb: "He
who keeps his hat in his hand will travel safely through the land. " By a
slight turn the _glass hat_ reminded me of _Auer's light_, and I knew
that I was about to invent something which was to make me as rich and
independent as his invention had made my countryman, Dr. Auer, of
Welsbach; then I should be able to travel instead of remaining in
Vienna. In the dream I was traveling with my invention, with the, it is
true, rather awkward glass top-hat. The dream work is peculiarly adept
at representing two contradictory conceptions by means of the same mixed
image. Thus, for instance, a woman dreamt of herself carrying a tall
flower-stalk, as in the picture of the Annunciation (Chastity-Mary is
her own name), but the stalk was bedecked with thick white blossoms
resembling camellias (contrast with chastity: La dame aux Camelias).
A great deal of what we have called "dream condensation" can be thus
formulated. Each one of the elements of the dream content is
_overdetermined_ by the matter of the dream thoughts; it is not derived
from one element of these thoughts, but from a whole series. These are
not necessarily interconnected in any way, but may belong to the most
diverse spheres of thought. The dream element truly represents all this
disparate matter in the dream content. Analysis, moreover, discloses
another side of the relationship between dream content and dream
thoughts. Just as one element of the dream leads to associations with
several dream thoughts, so, as a rule, the _one dream thought represents
more than one dream element_. The threads of the association do not
simply converge from the dream thoughts to the dream content, but on the
way they overlap and interweave in every way.
Next to the transformation of one thought in the scene (its
"dramatization"), condensation is the most important and most
characteristic feature of the dream work. We have as yet no clue as to
the motive calling for such compression of the content.
In the complicated and intricate dreams with which we are now concerned,
condensation and dramatization do not wholly account for the difference
between dream contents and dream thoughts. There is evidence of a third
factor, which deserves careful consideration.
When I have arrived at an understanding of the dream thoughts by my
analysis I notice, above all, that the matter of the manifest is very
different from that of the latent dream content. That is, I admit, only
an apparent difference which vanishes on closer investigation, for in
the end I find the whole dream content carried out in the dream
thoughts, nearly all the dream thoughts again represented in the dream
content. Nevertheless, there does remain a certain amount of difference.
The essential content which stood out clearly and broadly in the dream
must, after analysis, rest satisfied with a very subordinate role among
the dream thoughts. These very dream thoughts which, going by my
feelings, have a claim to the greatest importance are either not present
at all in the dream content, or are represented by some remote allusion
in some obscure region of the dream. I can thus describe these
phenomena: _During the dream work the psychical intensity of those
thoughts and conceptions to which it properly pertains flows to others
which, in my judgment, have no claim to such emphasis_. There is no
other process which contributes so much to concealment of the dream's
meaning and to make the connection between the dream content and dream
ideas irrecognizable. During this process, which I will call _the dream
displacement_, I notice also the psychical intensity, significance, or
emotional nature of the thoughts become transposed in sensory vividness.
What was clearest in the dream seems to me, without further
consideration, the most important; but often in some obscure element of
the dream I can recognize the most direct offspring of the principal
dream thought.
I could only designate this dream displacement as the _transvaluation of
psychical values_. The phenomena will not have been considered in all
its bearings unless I add that this displacement or transvaluation is
shared by different dreams in extremely varying degrees. There are
dreams which take place almost without any displacement. These have the
same time, meaning, and intelligibility as we found in the dreams which
recorded a desire. In other dreams not a bit of the dream idea has
retained its own psychical value, or everything essential in these dream
ideas has been replaced by unessentials, whilst every kind of transition
between these conditions can be found. The more obscure and intricate a
dream is, the greater is the part to be ascribed to the impetus of
displacement in its formation.
The example that we chose for analysis shows, at least, this much of
displacement--that its content has a different center of interest from
that of the dream ideas. In the forefront of the dream content the main
scene appears as if a woman wished to make advances to me; in the dream
idea the chief interest rests on the desire to enjoy disinterested love
which shall "cost nothing"; this idea lies at the back of the talk about
the beautiful eyes and the far-fetched allusion to "spinach. "
If we abolish the dream displacement, we attain through analysis quite
certain conclusions regarding two problems of the dream which are most
disputed--as to what provokes a dream at all, and as to the connection
of the dream with our waking life. There are dreams which at once expose
their links with the events of the day; in others no trace of such a
connection can be found. By the aid of analysis it can be shown that
every dream, without any exception, is linked up with our impression of
the day, or perhaps it would be more correct to say of the day previous
to the dream. The impressions which have incited the dream may be so
important that we are not surprised at our being occupied with them
whilst awake; in this case we are right in saying that the dream carries
on the chief interest of our waking life. More usually, however, when
the dream contains anything relating to the impressions of the day, it
is so trivial, unimportant, and so deserving of oblivion, that we can
only recall it with an effort. The dream content appears, then, even
when coherent and intelligible, to be concerned with those indifferent
trifles of thought undeserving of our waking interest. The depreciation
of dreams is largely due to the predominance of the indifferent and the
worthless in their content.
Analysis destroys the appearance upon which this derogatory judgment is
based. When the dream content discloses nothing but some indifferent
impression as instigating the dream, analysis ever indicates some
significant event, which has been replaced by something indifferent
with which it has entered into abundant associations. Where the dream is
concerned with uninteresting and unimportant conceptions, analysis
reveals the numerous associative paths which connect the trivial with
the momentous in the psychical estimation of the individual. _It is only
the action of displacement if what is indifferent obtains recognition in
the dream content instead of those impressions which are really the
stimulus, or instead of the things of real interest_. In answering the
question as to what provokes the dream, as to the connection of the
dream, in the daily troubles, we must say, in terms of the insight given
us by replacing the manifest latent dream content: _The dream does never
trouble itself about things which are not deserving of our concern
during the day, and trivialities which do not trouble us during the day
have no power to pursue us whilst asleep_.
What provoked the dream in the example which we have analyzed? The
really unimportant event, that a friend invited me to a _free ride in
his cab_. The table d'hote scene in the dream contains an allusion to
this indifferent motive, for in conversation I had brought the taxi
parallel with the table d'hote. But I can indicate the important event
which has as its substitute the trivial one. A few days before I had
disbursed a large sum of money for a member of my family who is very
dear to me. Small wonder, says the dream thought, if this person is
grateful to me for this--this love is not cost-free. But love that shall
cost nothing is one of the prime thoughts of the dream. The fact that
shortly before this I had had several _drives_ with the relative in
question puts the one drive with my friend in a position to recall the
connection with the other person. The indifferent impression which, by
such ramifications, provokes the dream is subservient to another
condition which is not true of the real source of the dream--the
impression must be a recent one, everything arising from the day of the
dream.
I cannot leave the question of dream displacement without the
consideration of a remarkable process in the formation of dreams in
which condensation and displacement work together towards one end. In
condensation we have already considered the case where two conceptions
in the dream having something in common, some point of contact, are
replaced in the dream content by a mixed image, where the distinct germ
corresponds to what is common, and the indistinct secondary
modifications to what is distinctive. If displacement is added to
condensation, there is no formation of a mixed image, but a _common
mean_ which bears the same relationship to the individual elements as
does the resultant in the parallelogram of forces to its components. In
one of my dreams, for instance, there is talk of an injection with
_propyl_. On first analysis I discovered an indifferent but true
incident where _amyl_ played a part as the excitant of the dream. I
cannot yet vindicate the exchange of amyl for propyl. To the round of
ideas of the same dream, however, there belongs the recollection of my
first visit to Munich, when the _Propyloea_ struck me. The attendant
circumstances of the analysis render it admissible that the influence of
this second group of conceptions caused the displacement of amyl to
propyl. _Propyl_ is, so to say, the mean idea between _amyl_ and
_propyloea_; 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 aetiology 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,
on account of _decrepitude_, had become quite incapable of teaching. The
agitation my friend inspired was so successful because in the German
Universities an _age limit_ is not demanded for academic work. _Age is
no protection against folly. _ In the hospital here I had for years the
honor to serve under a chief who, long fossilized, was for decades
notoriously _feebleminded_, and was yet permitted to continue in his
responsible office. A trait, after the manner of the find in the Lido,
forces itself upon me here. It was to this man that some youthful
colleagues in the hospital adapted the then popular slang of that day:
"No Goethe has written that," "No Schiller composed that," etc.
We have not exhausted our valuation of the dream work. In addition to
condensation, displacement, and definite arrangement of the psychical
matter, we must ascribe to it yet another activity--one which is,
indeed, not shared by every dream. I shall not treat this position of
the dream work exhaustively; I will only point out that the readiest
way to arrive at a conception of it is to take for granted, probably
unfairly, that it _only subsequently influences the dream content which
has already been built up_. Its mode of action thus consists in so
coordinating the parts of the dream that these coalesce to a coherent
whole, to a dream composition. The dream gets a kind of facade which, it
is true, does not conceal the whole of its content. There is a sort of
preliminary explanation to be strengthened by interpolations and slight
alterations. Such elaboration of the dream content must not be too
pronounced; the misconception of the dream thoughts to which it gives
rise is merely superficial, and our first piece of work in analyzing a
dream is to get rid of these early attempts at interpretation.
The motives for this part of the dream work are easily gauged. This
final elaboration of the dream is due to a _regard for
intelligibility_--a fact at once betraying the origin of an action which
behaves towards the actual dream content just as our normal psychical
action behaves towards some proffered perception that is to our liking.
The dream content is thus secured under the pretense of certain
expectations, is perceptually classified by the supposition of its
intelligibility, thereby risking its falsification, whilst, in fact, the
most extraordinary misconceptions arise if the dream can be correlated
with nothing familiar. Every one is aware that we are unable to look at
any series of unfamiliar signs, or to listen to a discussion of unknown
words, without at once making perpetual changes through _our regard for
intelligibility_, through our falling back upon what is familiar.
We can call those dreams _properly made up_ which are the result of an
elaboration in every way analogous to the psychical action of our waking
life. In other dreams there is no such action; not even an attempt is
made to bring about order and meaning. We regard the dream as "quite
mad," because on awaking it is with this last-named part of the dream
work, the dream elaboration, that we identify ourselves. So far,
however, as our analysis is concerned, the dream, which resembles a
medley of disconnected fragments, is of as much value as the one with a
smooth and beautifully polished surface. In the former case we are
spared, to some extent, the trouble of breaking down the
super-elaboration of the dream content.
All the same, it would be an error to see in the dream facade nothing
but the misunderstood and somewhat arbitrary elaboration of the dream
carried out at the instance of our psychical life. Wishes and phantasies
are not infrequently employed in the erection of this facade, which
were already fashioned in the dream thoughts; they are akin to those of
our waking life--"day-dreams," as they are very properly called. These
wishes and phantasies, which analysis discloses in our dreams at night,
often present themselves as repetitions and refashionings of the scenes
of infancy. Thus the dream facade may show us directly the true core of
the dream, distorted through admixture with other matter.
Beyond these four activities there is nothing else to be discovered in
the dream work. If we keep closely to the definition that dream work
denotes the transference of dream thoughts to dream content, we are
compelled to say that the dream work is not creative; it develops no
fancies of its own, it judges nothing, decides nothing. It does nothing
but prepare the matter for condensation and displacement, and refashions
it for dramatization, to which must be added the inconstant last-named
mechanism--that of explanatory elaboration. It is true that a good deal
is found in the dream content which might be understood as the result of
another and more intellectual performance; but analysis shows
conclusively every time that these _intellectual operations were already
present in the dream thoughts, and have only been taken over by the
dream content_. A syllogism in the dream is nothing other than the
repetition of a syllogism in the dream thoughts; it seems inoffensive if
it has been transferred to the dream without alteration; it becomes
absurd if in the dream work it has been transferred to other matter. A
calculation in the dream content simply means that there was a
calculation in the dream thoughts; whilst this is always correct, the
calculation in the dream can furnish the silliest results by the
condensation of its factors and the displacement of the same operations
to other things. Even speeches which are found in the dream content are
not new compositions; they prove to be pieced together out of speeches
which have been made or heard or read; the words are faithfully copied,
but the occasion of their utterance is quite overlooked, and their
meaning is most violently changed.
It is, perhaps, not superfluous to support these assertions by examples:
1. _A seemingly inoffensive, well-made dream of a patient. She was going
to market with her cook, who carried the basket. The butcher said to her
when she asked him for something: "That is all gone," and wished to give
her something else, remarking; "That's very good. " She declines, and
goes to the greengrocer, who wants to sell her a peculiar vegetable
which is bound up in bundles and of a black color. She says: "I don't
know that; I won't take it. "_
The remark "That is all gone" arose from the treatment. A few days
before I said myself to the patient that the earliest reminiscences of
childhood _are all gone_ as such, but are replaced by transferences and
dreams. Thus I am the butcher.
The second remark, _"I don't know that"_ arose in a very different
connection. The day before she had herself called out in rebuke to the
cook (who, moreover, also appears in the dream): "_Behave yourself
properly_; I don't know _that_"--that is, "I don't know this kind of
behavior; I won't have it. " The more harmless portion of this speech was
arrived at by a displacement of the dream content; in the dream thoughts
only the other portion of the speech played a part, because the dream
work changed an imaginary situation into utter irrecognizability and
complete inoffensiveness (while in a certain sense I behave in an
unseemly way to the lady). The situation resulting in this phantasy is,
however, nothing but a new edition of one that actually took place.
2. A dream apparently meaningless relates to figures. _"She wants to pay
something; her daughter takes three florins sixty-five kreuzers out of
her purse; but she says: 'What are you doing? It only cost twenty-one
kreuzers. '"_
The dreamer was a stranger who had placed her child at school in Vienna,
and who was able to continue under my treatment so long as her daughter
remained at Vienna. The day before the dream the directress of the
school had recommended her to keep the child another year at school. In
this case she would have been able to prolong her treatment by one year.
The figures in the dream become important if it be remembered that time
is money. One year equals 365 days, or, expressed in kreuzers, 365
kreuzers, which is three florins sixty-five kreuzers. The twenty-one
kreuzers correspond with the three weeks which remained from the day of
the dream to the end of the school term, and thus to the end of the
treatment. It was obviously financial considerations which had moved the
lady to refuse the proposal of the directress, and which were answerable
for the triviality of the amount in the dream.
3. A lady, young, but already ten years married, heard that a friend of
hers, Miss Elise L----, of about the same age, had become engaged. This
gave rise to the following dream:
_She was sitting with her husband in the theater; the one side of the
stalls was quite empty. Her husband tells her, Elise L---- and her
fiance had intended coming, but could only get some cheap seats, three
for one florin fifty kreuzers, and these they would not take. In her
opinion, that would not have mattered very much. _
The origin of the figures from the matter of the dream thoughts and the
changes the figures underwent are of interest. Whence came the one
florin fifty kreuzers? From a trifling occurrence of the previous day.
Her sister-in-law had received 150 florins as a present from her
husband, and had quickly got rid of it by buying some ornament. Note
that 150 florins is one hundred times one florin fifty kreuzers. For the
_three_ concerned with the tickets, the only link is that Elise L---- is
exactly three months younger than the dreamer. The scene in the dream is
the repetition of a little adventure for which she has often been teased
by her husband. She was once in a great hurry to get tickets in time for
a piece, and when she came to the theater _one side of the stalls was
almost empty_. It was therefore quite unnecessary for her to have been
in _such a hurry_. Nor must we overlook the absurdity of the dream that
two persons should take three tickets for the theater.
Now for the dream ideas. It was _stupid_ to have married so early; I
_need not_ have been _in so great a hurry_. Elise L----'s example shows
me that I should have been able to get a husband later; indeed, one a
_hundred times better_ if I had but waited. I could have bought _three_
such men with the money (dowry).
[1] "Ich mochte gerne etwas geniessen ohne 'Kosten' zu haben. " A a pun
upon the word "kosten," which has two meanings--"taste" and "cost. " In
"Die Traumdeutung," third edition, p. 71 footnote, Professor Freud
remarks that "the finest example of dream interpretation left us by the
ancients is based upon a pun" (from "The Interpretation of Dreams," by
Artemidorus Daldianus). "Moreover, dreams are so intimately bound up
with language that Ferenczi truly points out that every tongue has its
own language of dreams. A dream is as a rule untranslatable into other
languages. "--TRANSLATOR.
[2] It is worthy of remark that eminent philologists maintain that the
oldest languages used the same word for expressing quite general
antitheses. In C. Abel's essay, "Ueber den Gegensinn der Urworter"
(1884, the following examples of such words in England are given:
"gleam--gloom"; "to lock--loch"; "down--The Downs"; "to step--to stop. "
In his essay on "The Origin of Language" ("Linguistic Essays," p. 240),
Abel says: "When the Englishman says 'without,' is not his judgment
based upon the comparative juxtaposition of two opposites, 'with' and
'out'; 'with' itself originally meant 'without,' as may still be seen in
'withdraw. ' 'Bid' includes the opposite sense of giving and of
proffering. " Abel, "The English Verbs of Command," "Linguistic Essays,"
p. 104; see also Freud, "Ueber den Gegensinn der Urworte"; _Jahrbuch fur
Psychoanalytische und Psychopathologische Forschungen_, Band II. , part
i. , p. 179). --TRANSLATOR.
III
WHY THE DREAM DISGUISES THE DESIRES
In the foregoing exposition we have now learnt something of the dream
work; we must regard it as a quite special psychical process, which, so
far as we are aware, resembles nothing else. To the dream work has been
transferred that bewilderment which its product, the dream, has aroused
in us. In truth, the dream work is only the first recognition of a group
of psychical processes to which must be referred the origin of
hysterical symptoms, the ideas of morbid dread, obsession, and illusion.
Condensation, and especially displacement, are never-failing features in
these other processes. The regard for appearance remains, on the other
hand, peculiar to the dream work. If this explanation brings the dream
into line with the formation of psychical disease, it becomes the more
important to fathom the essential conditions of processes like dream
building. It will be probably a surprise to hear that neither the state
of sleep nor illness is among the indispensable conditions. A whole
number of phenomena of the everyday life of healthy persons,
forgetfulness, slips in speaking and in holding things, together with a
certain class of mistakes, are due to a psychical mechanism analogous to
that of the dream and the other members of this group.
Displacement is the core of the problem, and the most striking of all
the dream performances. A thorough investigation of the subject shows
that the essential condition of displacement is purely psychological; it
is in the nature of a motive. We get on the track by thrashing out
experiences which one cannot avoid in the analysis of dreams. I had to
break off the relations of my dream thoughts in the analysis of my dream
on p. 8 because I found some experiences which I do not wish strangers
to know, and which I could not relate without serious damage to
important considerations. I added, it would be no use were I to select
another instead of that particular dream; in every dream where the
content is obscure or intricate, I should hit upon dream thoughts which
call for secrecy. If, however, I continue the analysis for myself,
without regard to those others, for whom, indeed, so personal an event
as my dream cannot matter, I arrive finally at ideas which surprise me,
which I have not known to be mine, which not only appear _foreign_ to
me, but which are _unpleasant_, and which I would like to oppose
vehemently, whilst the chain of ideas running through the analysis
intrudes upon me inexorably. I can only take these circumstances into
account by admitting that these thoughts are actually part of my
psychical life, possessing a certain psychical intensity or energy.
However, by virtue of a particular psychological condition, the
_thoughts could not become conscious to me_. I call this particular
condition "_Repression_. " It is therefore impossible for me not to
recognize some casual relationship between the obscurity of the dream
content and this state of repression--this _incapacity of
consciousness_. Whence I conclude that the cause of the obscurity is
_the desire to conceal these thoughts_. Thus I arrive at the conception
of the _dream distortion_ as the deed of the dream work, and of
_displacement_ serving to disguise this object.
I will test this in my own dream, and ask myself, What is the thought
which, quite innocuous in its distorted form, provokes my liveliest
opposition in its real form? I remember that the free drive reminded me
of the last expensive drive with a member of my family, the
interpretation of the dream being: I should for once like to experience
affection for which I should not have to pay, and that shortly before
the dream I had to make a heavy disbursement for this very person. In
this connection, I cannot get away from the thought _that I regret this
disbursement_. It is only when I acknowledge this feeling that there is
any sense in my wishing in the dream for an affection that should entail
no outlay. And yet I can state on my honor that I did not hesitate for a
moment when it became necessary to expend that sum. The regret, the
counter-current, was unconscious to me. Why it was unconscious is quite
another question which would lead us far away from the answer which,
though within my knowledge, belongs elsewhere.
If I subject the dream of another person instead of one of my own to
analysis, the result is the same; the motives for convincing others is,
however, changed. In the dream of a healthy person the only way for me
to enable him to accept this repressed idea is the coherence of the
dream thoughts. He is at liberty to reject this explanation. But if we
are dealing with a person suffering from any neurosis--say from
hysteria--the recognition of these repressed ideas is compulsory by
reason of their connection with the symptoms of his illness and of the
improvement resulting from exchanging the symptoms for the repressed
ideas. Take the patient from whom I got the last dream about the three
tickets for one florin fifty kreuzers. Analysis shows that she does not
think highly of her husband, that she regrets having married him, that
she would be glad to change him for some one else. It is true that she
maintains that she loves her husband, that her emotional life knows
nothing about this depreciation (a hundred times better! ), but all her
symptoms lead to the same conclusion as this dream. When her repressed
memories had rewakened a certain period when she was conscious that she
did not love her husband, her symptoms disappeared, and therewith
disappeared her resistance to the interpretation of the dream.
This conception of repression once fixed, together with the distortion
of the dream in relation to repressed psychical matter, we are in a
position to give a general exposition of the principal results which the
analysis of dreams supplies. We learnt that the most intelligible and
meaningful dreams are unrealized desires; the desires they pictured as
realized are known to consciousness, have been held over from the
daytime, and are of absorbing interest. The analysis of obscure and
intricate dreams discloses something very similar; the dream scene again
pictures as realized some desire which regularly proceeds from the dream
ideas, but the picture is unrecognizable, and is only cleared up in the
analysis. The desire itself is either one repressed, foreign to
consciousness, or it is closely bound up with repressed ideas. The
formula for these dreams may be thus stated: _They are concealed
realizations of repressed desires_. It is interesting to note that they
are right who regard the dream as foretelling the future. Although the
future which the dream shows us is not that which will occur, but that
which we would like to occur. Folk psychology proceeds here according to
its wont; it believes what it wishes to believe.
Dreams can be divided into three classes according to their relation
towards the realization of desire. Firstly come those which exhibit a
_non-repressed, non-concealed desire_; these are dreams of the infantile
type, becoming ever rarer among adults. Secondly, dreams which express
in _veiled_ form some _repressed desire_; these constitute by far the
larger number of our dreams, and they require analysis for their
understanding. Thirdly, these dreams where repression exists, but
_without_ or with but slight concealment. These dreams are invariably
accompanied by a feeling of dread which brings the dream to an end. This
feeling of dread here replaces dream displacement; I regarded the dream
work as having prevented this in the dream of the second class. It is
not very difficult to prove that what is now present as intense dread in
the dream was once desire, and is now secondary to the repression.
There are also definite dreams with a painful content, without the
presence of any anxiety in the dream. These cannot be reckoned among
dreams of dread; they have, however, always been used to prove the
unimportance and the psychical futility of dreams. An analysis of such
an example will show that it belongs to our second class of dreams--a
_perfectly concealed_ realization of repressed desires. Analysis will
demonstrate at the same time how excellently adapted is the work of
displacement to the concealment of desires.
A girl dreamt that she saw lying dead before her the only surviving
child of her sister amid the same surroundings as a few years before she
saw the first child lying dead. She was not sensible of any pain, but
naturally combatted the view that the scene represented a desire of
hers. Nor was that view necessary. Years ago it was at the funeral of
the child that she had last seen and spoken to the man she loved. Were
the second child to die, she would be sure to meet this man again in her
sister's house. She is longing to meet him, but struggles against this
feeling. The day of the dream she had taken a ticket for a lecture,
which announced the presence of the man she always loved. The dream is
simply a dream of impatience common to those which happen before a
journey, theater, or simply anticipated pleasures. The longing is
concealed by the shifting of the scene to the occasion when any joyous
feeling were out of place, and yet where it did once exist. Note,
further, that the emotional behavior in the dream is adapted, not to the
displaced, but to the real but suppressed dream ideas. The scene
anticipates the long-hoped-for meeting; there is here no call for
painful emotions.
There has hitherto been no occasion for philosophers to bestir
themselves with a psychology of repression. We must be allowed to
construct some clear conception as to the origin of dreams as the first
steps in this unknown territory. The scheme which we have formulated not
only from a study of dreams is, it is true, already somewhat
complicated, but we cannot find any simpler one that will suffice. We
hold that our psychical apparatus contains two procedures for the
construction of thoughts. The second one has the advantage that its
products find an open path to consciousness, whilst the activity of the
first procedure is unknown to itself, and can only arrive at
consciousness through the second one. At the borderland of these two
procedures, where the first passes over into the second, a censorship
is established which only passes what pleases it, keeping back
everything else. That which is rejected by the censorship is, according
to our definition, in a state of repression. Under certain conditions,
one of which is the sleeping state, the balance of power between the two
procedures is so changed that what is repressed can no longer be kept
back. In the sleeping state this may possibly occur through the
negligence of the censor; what has been hitherto repressed will now
succeed in finding its way to consciousness. But as the censorship is
never absent, but merely off guard, certain alterations must be conceded
so as to placate it. It is a compromise which becomes conscious in this
case--a compromise between what one procedure has in view and the
demands of the other. _Repression, laxity of the censor,
compromise_--this is the foundation for the origin of many another
psychological process, just as it is for the dream. In such compromises
we can observe the processes of condensation, of displacement, the
acceptance of superficial associations, which we have found in the dream
work.
