Dream Psychology

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