The Interpretation of Dreams. Sigmund Freud

the kind and behaviour of the remnants of the psychic life which manifest themselves in the dream. It is now quite universally acknowledged that the reproductive capacity, the memory in the dream, seems to have been least affected; indeed it may show a certain superiority over the same function in the waking life (vid. supra, p. 10), although a part of the absurdities of the dream are to be explained by just this forgetfulness of the dream life. According to Spitta, it is the emotional life of the psyche that is not overtaken by sleep and that then directs the dream. "By emotion we understand the constant comprehension of the feelings as the inmost subjective essence of man" (p. 84).

      Scholz (p. 37) sees a psychic activity manifested in the dream in the "allegorising interpretation" to which the dream material is subjected. Siebeck verifies also in the dream the "supplementary interpretative activity" (p. 11) which the mind exerts on all that is perceived and viewed. The judgment of the apparently highest psychic function, the consciousness, presents for the dream a special difficulty. As we can know anything only through consciousness, there can be no doubt as to its retention; Spitta, however, believes that only consciousness is retained in the dream, and not self-consciousness. Delbœuf confesses that he is unable to conceive this differentiation.

      The laws of association which govern the connection of ideas hold true also for the dream pictures; indeed, their domination evinces itself in a purer and stronger expression in the dream than elsewhere. Strümpell (p. 70) says: "The dream follows either the laws of undisguised presentations as it seems exclusively or organic stimuli along with such presentations, that is, without being influenced by reflection and reason, aesthetic sense, and moral judgment." The authors whose views I reproduce here conceive the formation of the dream in about the following manner: The sum of sensation stimuli affecting sleep from the various sources, discussed elsewhere, at first awaken in the mind a sum of presentations which represent themselves as hallucinations (according to Wundt, it is more correct to say as illusions, because of their origin from outer and inner stimuli). These unite with one another according to the known laws of association, and, following the same rules, in turn evoke a new series of presentations (pictures). This entire material is then elaborated as well as possible by the still active remnant of the organising and thinking mental faculties (cf. Wundt and Weygandt). But thus far no one has been successful in finding the motive which would decide that the awakening of pictures which do not originate objectively follow this or that law of association.

      But it has been repeatedly observed that the associations which connect the dream presentations with one another are of a particular kind, and different from those found in the waking mental activity. Thus Volkelt says: "In the dream, the ideas chase and hunt each other on the strength of accidental similarities and barely perceptible connections. All dreams are pervaded by such loose and free associations." Maury attaches great value to this characteristic of connection between presentations, which allows him to bring the dream life in closer analogy to certain mental disturbances. He recognises two main characters of the délire: "(1) une action spontanée et comme automatique de l'esprit; (2) une association vicieuse et irregulière des idées" (p. 126). Maury gives us two excellent examples from his own dreams, in which the mere similarity of sound forms the connection of the dream presentations. He dreamed once that he undertook a pilgrimage (pélerinage) to Jerusalem or Mecca. After many adventures he was with the chemist Pelletier; the latter after some talk gave him a zinc shovel (pelle) which became his long battle sword in the dream fragment which followed (p. 137). On another occasion he walked in a dream on the highway and read the kilometres on the milestones; presently he was with a spice merchant who had large scales with which to weigh Maury; the spice merchant then said to him: "You are not in Paris; but on the island Gilolo." This was followed by many pictures, in which he saw the flower Lobelia, then the General Lopez, of whose demise he had read shortly before. He finally awoke while playing a game of lotto.

      We are, however, quite prepared to hear that this depreciation of the psychic activities of the dream has not remained without contradiction from the other side. To be sure, contradiction seems difficult here. Nor is it of much significance that one of the depreciators of dream life, Spitta (p. 118), assures us that the same psychological laws which govern the waking state rule the dream also, or that another (Dugas) states: "Le rêve n'est pas déraison ni même irraison pure," as long as neither of them has made any effort to bring this estimation into harmony with the psychic anarchy and dissolution of all functions in the dream described by them. Upon others, however, the possibility seems to have dawned that the madness of the dream is perhaps not without its method—that it is perhaps only a sham, like that of the Danish prince, to whose madness the intelligent judgment here cited refers. These authors must have refrained from judging by appearances, or the appearance which the dream showed to them was quite different.

      Without wishing to linger at its apparent absurdity, Havelock Ellis considers the dream as "an archaic world of vast emotions and imperfect thoughts," the study of which may make us acquainted with primitive stages of development of the psychic life. A thinker like Delbœuf asserts—to be sure without adducing proof against the contradictory material, and hence indeed unjustly: "Dans le sommeil, hormis la perception, toutes les facultés de l'esprit, intelligence, imagination, mémoire, volonté, moralité, restant intactes dans leur essence; seulement, elles s'appliquent à des objets imaginaires et mobiles. Le songeur est un acteur qui joue à volonté les fous et les sages, les bourreaus et les victimes, les nains et les géants, les démons et les anges" (p. 222). The Marquis of Hervey, who is sharply controverted by Maury, and whose work I could not obtain despite all effort, seems to combat most energetically the under-estimation of the psychic capacity in the dream. Maury speaks of him as follows (p. 19): "M. le Marquis d'Hervey prête à l'intelligence, durant le sommeil toute sa liberté d'action et d'attention et il ne semble faire consister le sommeil que dans l'occlusion des sens, dans leur fermeture au monde extérieur; en sorte que l'homme qui dort ne se distingué guère, selon sa manière de voir, de l'homme qui laisse vaguer sa pensée en se bouchant les sens; toute la différence qui séparé alors la pensée ordinaire du celle du dormeur c'est que, chez celui-ci, l'idée prend une forme visible, objective et ressemble, à s'y meprendre, à la sensation déterminée par les objets extérieurs; le souvenir revêt l'apparence du fait présent."

      Maury adds, however; "Qu'il y a une différence de plus et capitale à savoir que les facultés intellectuelles de l'homme endormi n'offrent pas l'équilibre qu'elles gardent chez l'homme l'éveillé."

      The scale of the estimation of the dream as a psychic product has a great range in the literature; it reaches from the lowest under-estimation, the expression of which we have come to know, through the idea of a value not yet revealed to the over-estimation which places the dream far above the capacities of the waking life. Hildebrandt, who, as we know, sketches the psychological characteristics into three antinomies, sums up in the third of these contradistinctions the extreme points of this series as follows (p. 19): "It is between a climax, often an involution which raises itself to virtuosity, and on the other hand a decided diminution and weakening of the psychic life often leading below the human niveau."

      "As for the first, who could not confirm from his own experience that, in the creations and weavings of the genius of the dream, there sometimes comes to fight a profundity and sincerity of emotion, a tenderness of feeling, a clearness of view, a fineness of observation, and a readiness of wit, all which we should modestly have to deny that we possess as a constant property during the waking life? The dream has a wonderful poetry, an excellent allegory, an incomparable humour, and a charming irony. It views the world under the guise of a peculiar idealisation, and often raises the effect of its manifestations into the most ingenious understanding of the essence lying at its basis. It represents for us earthly beauty in true heavenly radiance, the sublime in the highest majesty, the actually frightful in the most gruesome figure, and the ridiculous in the indescribably drastic comical; and at times we are so full of one of these impressions after awakening that we imagine that such a thing has never been offered to us by the real world."

      One may ask, is it really the same object that the depreciating remarks and these inspired praises are meant for? Have the latter overlooked the stupid dreams and the former the thoughtful and ingenious dreams? And if both kinds do occur—that is, dreams that merit to be judged in this or that manner—does it not seem idle to seek the psychological character of the dream? would it not suffice