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 persua-sion, 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
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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 se-ries. 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.