e if we leave the representation of the author of Gradiva here, to hasten directly to this second dream, for whoever wishes to interpret the dream of another, cannot help concerning himself, as exten

something else has happened to him; leaning from his window, he thinks he sees on the street a figure with the bearing and walk of his Gradiva, hastens after her, in spite of his scanty attire, does not overtake her, but is driven back by the jeers of the people on

out his mood's being set right, even at the last halting-place. He is annoyed by the foolishness of honeymoon travellers, and is enraged over the boldness of house-flies, which populate the hotels of Pompeii; but finally he does not deceive himself over the fact that "his dissatisfaction was certainly not caused by his surroundings alone, but, to a degree, found its origin in him." He considers himself over-excited, feels "that he was out of sorts because he lacked some

became conscious, for the first time, that he had, without himself knowing the motive in his heart, come to Italy on that account and had, without stop, continued from Rome and Naples to Pompei

ved about the motives of their actions and do not become conscious of them until subsequently, when a conflict of several emotional currents re-establishes for them the condition for such confusion. Hanold's trip, therefore, was intended, from the beginning, to serve the delusion, and was to take him to Pompeii to continue there the search for Gradiva. Let us remember that before, and directly after the dream, this search filled his mind and that the dream itself was only a stifled answer of his consciousness to the ques

house diagonally opposite from Hanold's (G. p. 98). Hanold, who, according to the girl's arraignment, was endowed with negative hallucination, understood the art of not seeing nor recognizing people, and must from the beginning have had unconscious knowledge of what we do not discover until later. The signs of Zo?'s proximity, her appearance on the street, and her bird's song so near his window intensify the effect of the dream, and in this condition, so dangerous for his resistance to the eroticism, he takes flight. The journey arises from the recovery of the resistance after that advance of erotic desire in the dream, an attempt at flight from the living and presen

of a couple of German lovers, "Augustus" and "Gretchen," whose evening conversation he is forced to overhear through the thin partition, casts a further light on the erotic tendencies of his first great dream. The new dream transports him again to Pompeii where Vesuvius is just having another eruption, and thus refers to the dream which continues active during his trip; but among the imperilled pe

reamed some time ago that he had been present at the destruction of Pompeii by the volcanic eruption of 79." (G. p. 42.) At sight of Gradiva he first suddenly remembers this dream, and at the same time the motive of the delusion for his puzzling journey becomes conscious. Then what other meaning could there be for forg

o stir all his interest, is upset. So our author shows his hero, after flight from love, in a sort of crisis, in an utterly confused and unsettled condition, in a derangement such as usually appears at the climax of illness if neither of the two struggling forces is so much stronger than the other, that the difference could establish a strict, psychic régime. Here then our author takes hold to help and to settle, for, at this place, he introduces Gradiva, w

riend, we have decidedly the right to ascribe to her the intention to cure the hero (G. p. 97). But how does she go about it? After she has cast aside the indignation which the unreasonable request, to lie down to sleep again, as "then," had evoked in her, she appears again next day, at the same place, and elicits from Hanold all the secret knowledge that was lacking to her for an understanding of his conduct of the previous day. She learns of h

t. In the glowing sun of the Campagna and in the bewildering magic powers of the vine which grows on Vesuvius, our author has introduced helpful and mitigating circumstances of the transgression of the hero. The most important of all explanatory and exonerating considerations remains, however, the facility with which our intellect decides to accept an absurd content if impulses with a strong emotional stress find thereby their satisfaction. It is astonishing, and generally meets with too little acceptance, how easily and often intelligent people, under such psychological constellations, give the reactions of partial mental weakness, and any one who is not too conceited may observe this in himself as often as he wishes, and especially when a part of the thought-processes under consideration is connected with unconscious or repressed motives. I cite, in this connection, the words of a philosopher who writes to me, "I have also begun to make note of cases of striking mistakes, from my own experience, and of thoughtless actions which one subsequently explains to himself (in a very unreasonable way). It is amazing but typical how much stupidity thereby comes to light." Now let us consider the fact that belief in spirits, apparitions and returning souls (which finds so much support in the religions to which, at least as children, we have all clung) is by no means destroyed among all educated people, and tha

other significance his action could have. On the day after his second meeting in Meleager's house, he has all sorts of remarkable and apparently disconnected experiences; he finds a narrow cleft in the wall of the portico where Gradiva had disappeared, meets a foolish lizard-catcher, who addresses him as an acquaintance, discovers a secluded hotel, the "Alber

er to catch a lizard, and she said, 'Please stay quite still-my colleague is r

t utter madness, and he casts about to free himself from it. He succeeds in doing this, too, with t

must have proceeded? It is as nonsensical as one could expect a dream to be and this absurdity of dreams is the mainstay of the view

nce in the manifest dream but in examining separately every part of the content, and in seeking its derivation in the impressions, memories and free ideas of the

are copied from those of the man. Let us compare: "'The method suggested by my colleague, Eimer, is really good; I have already used it often with the best of success. Please remain quite still.'"-Quite similarly Gradiva speaks in the dream, only that for the colleague, Eimer, is substituted an unnamed woman-colleague; the often from the zoologist's speech is missing

m; then the interpretation would follow: "Gradiva catches lizards, as that old gentleman does, and like him, is skilled in lizard-catching." This result is not comprehensible yet, but we have another riddle before us. To which impression of the day shall we refer the "woman colleague," who is substituted in the dream for the famous zoologist, Eimer? We have here fortunately not much choice; only one other girl can be meant by "woman-colleague," the congenial young lady in whom Hanold has conjectured a sister travelling with her brother. "In her gown she wore a red Sorrento rose, the s

now accept the idea that Hanold, who consciously considers them brother and sister, has, in his unconscious, recognized at once their real relation, which on the next day betrays itself so unequivocally, there results a good meaning for Gradiva's remark in the dream. The red rose then becomes

t Hanold, in his unconscious, immediately recognizes the professor-"It seemed to him dimly that he had already seen the face of the lizard-hunter probably in one of the two hotels." Thus is explained the strange cloaking of the purpose attributed to Zo?. She is the daughter of the lizard-catcher; she has inherited this skill from him. The substitution of Gradiva for the lizard-catcher in the dream-content, is, therefore, the representation of the relation between the two people, which was recognized by the unconscious

ly slender figure." By this perception he is forced in the day-time to an alteration in his delusion; Gradiva did not sink into the ground when she disappeared from his sight, but was going back, by this route, to her grave. In his unconscious thought he might say to himself that he had now found the natural explanation for the surprising disappearance of the girl; but must not forcing one's self through narrow clefts, and disappear

. The hotel-keeper uses this opportunity to extol his antiques and shows him a brooch which, it was alleged, had belonged to that Pompeiian girl who was found near the Forum in fond embrace with her lover. Hanold, who had never before believed this frequently repeated story, is now compelled, by a force strange to him, to believe in the truth of this touching story and in the genuineness of the article found, buys the brooch and leaves the hotel with his purchase. In passing, he sees nodding down at him from one of the windows a cluster of white, asphodel blossoms wh

the more than doubtful antique. It is quite incomprehensible why he should act so, and no hint is given that the personality of the proprietor himself might solve this riddle for us. There is, however, another riddle in this incident, and two riddles sometimes solve each other. On leaving the "albergo," he catches sight of an asphodel cluster in a glass at a window, and finds in it an attestation of the genuineness of the metal brooch. How can that be? This last stroke is fortunately easy of solution. The white flower is, of course, the one which he presented to Gradiva at noon, and it is quite right that through the sight of it at one of the windows of this hotel, something is corro

connected with a really strange content, and this latter attained, as delusion, a recognition which did not belong to it. Hanold transfers his conviction that Gradiva lives in this house to other impressions which he receives in this house, becomes, in a way, credulous about what the proprietor says, the genuineness of the metal brooch, and the truth of the anecdote about the

exts; but the problem of the corporeal nature of Gradiva, which has pursued him this whole day, cannot disavow its derivation from the erotic desire of the young man for possession of the woman, even if it is dragged into the scientific world by conscious stress on Gradiva's peculiar hover

of the conviction of the patient, who is, to this extent, justified. This true element, however, has been repressed for a long time; if it finally succeeds in pushing into consciousness (this time in disfigured form), the feeling of a conviction clinging to it, as if in compensation, is over-strong and now clings to and protects the disfigurement-substitute of the repressed, true element against every critical impugnment. The conviction at once shifts itself from the unconscious, true element to the conscious, erroneous one connected with it, and remains fixed there as a result of this very displacement. The case of delusion-formation which resulted from Hanold's firs

to the red rose; the finding of the asphodel flower again in the window of the "Albergo del Sole" becomes a weighty proof for Hanold's unconscious idea which expresses itself in a new delusion; and to this is added the

epeat, but so cleverly concealed that one must needs overlook it. It is hidden there behind a play on words, an ambiguity. "Somewhere in the sun Gradiva sat"; this we have rightly connected with the locality where Hanold met the zoologist, her father; but can it not also mean in the "Sun," that is, in the "Albergo del Sole," in the "Sun Hotel" Gradiva lives? And doesn't the "somewhere" which has no reference to the meeting with her father sound so hypocritically indefinite for the very reason that it introduces the definite information about the whereabouts of Gradiva? According to previous experience in the interpreta

ollows: "She lives in the 'Sun' with her father; why is she playing such a game with me? Does she wish to make fun of me? Or could it be possible that she loves me and wishes me f

e dream. The latter means, therefore, no paralysis of psychic activity, but is one of the means of representation which the dream-work makes use of. As always in especially difficult passages, our author here comes to our assistance. The nonsensical dream has another postlude in which a bird utters a merry call and takes away the lizard in his beak. Such a laughin

o?, in conversation with her colleague, admits about herself that very thing which Hanold's thoughts suppose about her, when she tells that she had been sure of "digging up" something interesting for herself here in Pompei

which, in the latter, he delusively misconstrues. In this connection we have, of course, been obliged to make many assertions which sounded odd to the reader because they were strange to him and probably often awakened the suspicion that we were giving out as our author's mea

second conversation, the girl is for a moment puzzled by his delusion, as he assures her that he recognized her at once. She must understand these words in the meaning that is correct for his unconscious, as his recognition of their acquaintance which reaches back into childhood, while he, of course, knows nothing of this meaning of his speech and explains it only by reference to the delusion which dominates him. The speeches of the girl, on the other hand, in whose person th

r her happy colleague. In the conversations with Hanold, the double meaning is chiefly established by the fact that Zo? makes use of the symbolism which we find followed in Hanold's first dream, in the equivalence of repression and destructio

yx. "That a person must die to become alive again; but for arch?ologists that is, of course, necessary" (G. p. 102), she continues after the solution of the delusion as if to give us the key to her ambiguous speeches. The most beautiful symbolism appears, however, in the quest

nation of symptoms in so far as the speeches are themselves symptoms and proceed from compromises between the conscious and the unconscious; but one notices this double origin in the speeches more easily than in the acts; and when,

by, with the meaning intended for the consciousness of the patient, one can, not infrequently, stimulate the understanding for the one valid in the unconscious. I know from experience that among the uninitiate this r?le of ambiguity