diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 19:53:59 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 19:53:59 -0700 |
| commit | a919cab464199825bb18a17550d17a9ec32d95e5 (patch) | |
| tree | c4e7a1b53650973610238f7dc73edf78a912133f /30556-h | |
Diffstat (limited to '30556-h')
| -rw-r--r-- | 30556-h/30556-h.htm | 7366 |
1 files changed, 7366 insertions, 0 deletions
diff --git a/30556-h/30556-h.htm b/30556-h/30556-h.htm new file mode 100644 index 0000000..ca22d11 --- /dev/null +++ b/30556-h/30556-h.htm @@ -0,0 +1,7366 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title>The Project Gutenberg eBook of Sleep Walking and Moon Walking, by Isidor Isaak Sadger</title> + <style type="text/css"> +<!-- + body { margin-left: 15%; margin-right: 15%; } + + p { margin-top: 0.75em; + margin-bottom: 0.75em; + text-align: justify; + text-indent: 1.5em; + line-height: 1.3em; + } + p.center, + #tnote p, + p.no-indent { text-indent: 0em; } + + h1, h2, h3 { text-align: center; + clear: both; + margin-top: 0em; + font-weight: normal; + } + h2 { margin-bottom: 1.5em; } + .new-h2 { margin-top: 6em; } + h3 { text-align: left; margin: 3em 0 0.5em 0; font-size: medium; } + + a:link, a:visited { text-decoration: none; } + + ins { text-decoration: none; border-bottom: 1px dashed #add8e6; } + + .gesperrt { letter-spacing: 0.2em; margin-right: -0.2em; } + em.gesperrt { font-weight: normal; font-style: normal; } + + .smcap { font-variant: small-caps; } + + .center { text-align: center; } + .right { text-align: right; } + + .figcenter { margin: auto; text-align: center; } + + .pagenum { position: absolute; + display: inline; + right: 8%; + font-size: x-small; + text-align: right; + color: #808080; + font-style: normal; + border: 1px solid silver; + padding: 1px 4px 1px 4px; + font-variant: normal; + font-weight: normal; + text-decoration: none; + text-indent: 0em; + line-height: 1.2em; + } + + .footnotes { border: 1px dashed #808080; margin-top: 6em; margin-bottom: 120px; padding: 20px; } + .footnote { margin-left: 5%; margin-right: 5%; text-align: justify; } + .footnote .label, + .fnanchor { vertical-align: super; text-decoration: none; font-size: x-small; font-weight: normal; font-style: normal; line-height: 1em; } + + .poem { margin: auto; text-align: left; } + .poem br { display: none; } + .poem .stanza { margin: 1em 0em 1em 0em; } + .poem .spaced { letter-spacing: 0.75em; } + .poem span.i0 { display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em; } + .poem span.i1 { display: block; margin-left: 0.5em; padding-left: 3em; text-indent: -3em; } + .poem span.i4 { display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em; } + .poem span.i10 { display: block; margin-left: 4.5em; padding-left: 3em; text-indent: -3em; } + .poem span.i12 { display: block; margin-left: 5.5em; padding-left: 3em; text-indent: -3em; } + .poem span.i16 { display: block; margin-left: 6em; padding-left: 3em; text-indent: -3em; } + .poem span.i18 { display: block; margin-left: 7.5em; padding-left: 3em; text-indent: -3em; } + .poem span.i20 { display: block; margin-left: 9em; padding-left: 3em; text-indent: -3em; } + .poem span.i30 { display: block; margin-left: 13em; padding-left: 3em; text-indent: -3em; } + + #tnote { width: 26em; + border: 1px dashed #808080; + background-color: #f6f6f6; + text-align: justify; + padding: 0em 0.75em; + margin: 120px auto 120px auto; + } + + table#toc { width: 24em; margin: auto; } + table#toc td { border-bottom: 1px dashed silver; padding-top: 4px; } + table#toc td.page { text-align: right; } + + ol#monograph-series { padding: 0; } + ol#monograph-series li { text-indent: -1.5em; padding-left: 1.5em; } + + ol#conclusion { margin: 0; padding: 0 0 0 1.5em; } + ol#conclusion li { margin: 0 0 0 1.5em; } + ol#conclusion li p { text-indent: 1.5em; margin-left: -1.5em; } + + ul.index { width: 22em; margin: 1.5em auto; padding: 0; list-style-type: none; } + ul.index li { margin: 0; padding: 0.15em 0; } + ul.index li.sub-entry { margin-left: 1.75em; } + + #psychoanalytic-review { margin-top: 8em; } + #psychoanalytic-review ul { width: 80%; margin: 0 auto; padding: 0; list-style-type: none; } + #psychoanalytic-review ul li { padding-left: 1.5em; text-indent: -1.5em; } + #psychoanalytic-review h2 { font-size: medium; margin: 2em 0 1em 0; } + + @page { margin: 2cm; } + + h2, .footnotes, .page-break-before { page-break-before: always; } + + @media print { + body { margin: 2em; } + #tnote, pre, .pagenum { display: none; } + ins, a { text-decoration: none; border: none; color: black; } + .footnotes { padding: 0em; border: none; } + .footnote { margin: 0em; } + .footnote .label, .fnanchor { font-size: medium; vertical-align: middle; } + } +--> + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's Sleep Walking and Moon Walking, by Isidor Isaak Sadger + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Sleep Walking and Moon Walking + A Medico-Literary Study + +Author: Isidor Isaak Sadger + +Translator: Louise Brink + +Release Date: November 28, 2009 [EBook #30556] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK SLEEP WALKING AND MOON WALKING *** + + + + +Produced by Bryan Ness, Jana Srna and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/Canadian Libraries) + + + + + + +</pre> + + + +<div id="tnote"> +<p class="center"><b>Transcriber's Note:</b></p> +<p>Every effort has been made to replicate this text as faithfully as +possible, including inconsistencies in spelling and hyphenation; +changes (corrections of spelling and punctuation) made to the +original text are marked <ins title="transcriber's note">like this</ins>. +The original text appears when hovering the cursor over the marked text.</p> +<p>The page numbers included in the <a href="#Page_139">index</a> match +the original book; their correctness has not been verified. Using your +browser's search function might yield better results.</p> +</div> + + +<p class="center smcap page-break-before" style="font-size: 1.2em;">Nervous and Mental Disease Monograph Series No. 31</p> + + +<h1 style="margin: 2em auto; line-height: 1.7em;">SLEEP WALKING AND MOON +WALKING<br/> +<small>A MEDICO-LITERARY STUDY</small></h1> + +<p class="center" style="line-height: 2em;">BY<br/> +<big>DR. J. SADGER</big><br/> +VIENNA</p> + + +<p class="center" style="margin: 4em auto; line-height: 2em;">TRANSLATED BY<br/> +<big>LOUISE BRINK</big></p> + + +<p class="center" style="margin: 4em auto 8em auto; line-height: 2em;">NEW YORK AND WASHINGTON<br/> +NERVOUS AND MENTAL DISEASE PUBLISHING +COMPANY<br/> +1920</p> + + +<p class="center page-break-before" style="line-height: 2em;"><big>NERVOUS AND MENTAL DISEASE<br/> +MONOGRAPH SERIES</big></p> + + +<p class="center">Edited by<br/> +Drs. SMITH ELY JELLIFFE and WM. A. WHITE</p> + +<p class="center">Numbers Issued</p> + + +<div style="margin: auto 10%;"> +<ol id="monograph-series"> +<li><b>Outlines of Psychiatry.</b> (7th Edition.) $3.00. <b>By Dr. William A. White.</b></li> +<li><b>Studies in Paranoia.</b> (Out of Print.) <b>By Drs. N. Gierlich and M. Friedman.</b></li> +<li><b>The Psychology of Dementia Praecox.</b> (Out of Print.) <b>By Dr. C. G. Jung.</b></li> +<li><b>Selected Papers on Hysteria and other Psychoneuroses.</b> (3d Edition.) $3.00. <b>By Prof. Sigmund Freud.</b></li> +<li><b>The Wassermann Serum Diagnosis in Psychiatry.</b> $2.00. <b>By Dr. Felix Plaut.</b></li> +<li><b>Epidemic Poliomyelitis.</b> New York, 1907. (Out of Print.)</li> +<li><b>Three Contributions to Sexual Theory.</b> (4th reprinting.) $2.00. <b>By Prof. Sigmund Freud.</b></li> +<li><b>Mental Mechanisms.</b> (Out of Print.) $2.00. <b>By Dr. Wm. A. White.</b></li> +<li><b>Studies in Psychiatry.</b> (Out of Print.) New York Psychiatrical Society.</li> +<li><b>Handbook of Mental Examination Methods.</b> (Out of Print.) <b>By Shepherd Ivory Franz.</b></li> +<li><b>The Theory of Schizophrenic Negativism.</b> $1.00. <b>By Professor E. Bleuler.</b></li> +<li><b>Cerebellar Functions.</b> $3.00. <b>By Dr. André-Thomas.</b></li> +<li><b>History of Prison Psychoses.</b> $1.25. <b>By Drs. P. Nitsche and K. Wilmanns.</b></li> +<li><b>General Paresis.</b> $3.00. <b>By Prof. E. Kraepelin.</b></li> +<li><b>Dreams and Myths.</b> $1.00. <b>By Dr. Karl Abraham.</b></li> +<li><b>Poliomyelitis.</b> $2.00. <b>By Dr. I. Wickmann.</b></li> +<li><b>Freud's Theories of the Neuroses.</b> $2.00. <b>By Dr. E. Hitschmann.</b></li> +<li><b>The Myth of the Birth of the Hero.</b> $1.00. <b>By Dr. Otto Rank.</b></li> +<li><b>The Theory of Psychoanalysis.</b> (Out of Print.) <b>By Dr. C. G. Jung.</b></li> +<li><b>Vagotonia.</b> $1.00. (3d Edition.) <b>By Drs. Eppinger and Hess.</b></li> +<li><b>Wishfulfillment and Symbolism in Fairy Tales.</b> $1.00. <b>By Dr. Ricklin.</b></li> +<li><b>The Dream Problem.</b> $1.00. <b>By Dr. A. E. Maeder.</b></li> +<li><b>The Significance of Psychoanalysis for the Mental Sciences.</b> $1.50. <b>By Drs. O. Rank and D. H. Sachs.</b></li> +<li><b>Organ Inferiority and its Psychical Compensation.</b> $1.50. <b>By Dr. Alfred Adler.</b></li> +<li><b>The History of the Psychoanalytic Movement.</b> $1.00. <b>By Prof. S. Freud.</b></li> +<li><b>Technique of Psychoanalysis.</b> $2.00. <b>By Dr. Smith Ely Jelliffe.</b></li> +<li><b>Vegetative Neurology.</b> $2.50. <b>By Dr. H. Higier.</b></li> +<li><b>The Autonomic Functions and the Personality.</b> $2.00. <b>By Dr. Edward J. Kempf.</b></li> +<li><b>A Study of the Mental Life of the Child.</b> $2.00. <b>By Dr. H. <ins title="Von">von</ins> Hug-Hellmuth.</b></li> +<li><b>Internal Secretions and the Nervous System.</b> $1.00. <b>By Dr. M. Laignel Lavastine.</b></li> +<li><b>Sleep Walking and Moon Walking.</b> $2.00. <b>By Dr. J. Sadger.</b></li> +</ol> +</div> + + +<p class="center" style="margin: 4em auto; line-height: 1.7em;">Copyright, 1920, by<br/> +NERVOUS AND MENTAL DISEASE PUBLISHING COMPANY<br/> +3617 10th St. N. W., Washington, D. C.</p> + + + + +<div class="new-h2"> </div> +<div><span class="pagenum"><a name="Page_iii">iii–iv</a></span></div> +<h2>CONTENTS</h2> + + +<table id="toc" summary="Contents"> +<tr> + <td><a href="#Page_v">Translator's Preface</a></td> + <td class="page">v</td> +</tr> +<tr> + <td><a href="#Page_vii">Introduction</a></td> + <td class="page">vii</td> +</tr> +<tr> + <td><a href="#Page_1"><span class="smcap">Part I.</span> Medical</a></td> + <td class="page">1</td> +</tr> +<tr> + <td><a href="#Page_45"><span class="smcap">Part II.</span> Literary Section</a></td> + <td class="page">45</td> +</tr> +<tr> + <td><a href="#Page_137">Conclusion and <ins title="Resumé">Résumé</ins></a></td> + <td class="page">137</td> +</tr> +<tr> + <td><a href="#Page_139">Index</a></td> + <td class="page">139</td> +</tr> +</table> + + + + +<div class="new-h2"> </div> +<div><span class="pagenum"><a name="Page_v">v</a></span></div> +<h2>TRANSLATOR'S PREFACE</h2> + + +<p>Psychoanalysis holds a key to the problem of sleep walking, +which alone has been able to unlock the mysteries of its causes and +its significance. This key is the principle of wish fulfilment, an +interpretative principle which explains the mechanisms of the +psyche and illuminates the mental content which underlies these. +Sleep walking as a method of wish fulfilment evidently lies close +to the dream life, which has become known through psychoanalysis. +Most of us when we dream, according to the words of Protagoras, +“lie still, and do not stir.” In some persons there is however a special +tendency to motor activity, in itself a symptomatic manifestation, +which necessitates the carrying out of the dream wish through +walking in the sleep. The existence of this fact, together with +the evidence of an influence of the shining of the moon upon this +tendency to sleep walking, give rise to certain questions of importance +to medical <ins title="pschology">psychology</ins>. The author of this book has pursued +these questions in relation to cases which have come to him for +psychoanalysis, in the investigation of actual records of sleep walking +given in literature and in the study of rare instances where +it has been made the subject of a literary production or at least an +episode in tale or drama. In each case the association with moonlight +or some other light has been a distinct feature.</p> + +<p>The author's application of psychoanalysis to these problems +has the directness and explicitness which we are accustomed to +find in Freud's own writings. This is as true in the literary portion +of the work as in the medical but it never intrudes to mar the +intrinsic beauty of certain of the selections nor the force of the +intuitive revelations which the writers of <ins title="these">the</ins> preceding science +have made in regard to sleep walking and walking in the moonlight. +Sadger has skilfully utilized these revelations to convince us of +the truth of the psychoanalytic discoveries and has used the latter +only to make still more explicitly and scientifically clear the testimony +of the poetic writers and to point out the applicability of their +material to medical problems. The choice of this little understood +and little studied subject and its skilful presentation on the part +of the author, as well as the introduction to the reader of the literary +<span class="pagenum"><a name="Page_vi">vi</a></span>productions of which use has been made, give the book a peculiar +interest and value. It is also of especial service in its brief but +profoundly suggestive study of the psychic background of Shakespeare's +creative work as illustrated in the sleep walking of Lady +Macbeth. The endeavor in the translation has been to make accessible +to our English readers the clear and direct psychoanalysis of +the author and the peculiar psychologic and literary value of the +book.</p> + + + +<div class="new-h2"> </div> +<div><span class="pagenum"><a name="Page_vii">vii</a></span></div> +<h2>INTRODUCTION<a name="FNanchor_1_1" href="#Footnote_1_1" class="fnanchor">[1]</a></h2> + + +<p>Sleep walking or night wandering, known also by its Latin name +of noctambulism, is a well-known phenomenon. Somnambulism is +not so good a term for it, since that signifies too many things. In +sleep walking a person rises from his bed in the night, apparently +asleep, walks around with closed or half opened eyes, but without +perceiving anything, yet performs all sorts of apparently purposeful +and often quite complicated actions and gives correct answers +to questions, without afterward the least knowledge of what he has +said or done. If this all happens at the very time and under the influence +of the full moon, it is spoken of as moon walking or being +moonstruck.</p> + +<p>Under the influence of this heavenly body the moonstruck individual +is actually enticed from his bed, often gazes fixedly at the +moon, stands at the window or climbs out of it, “with the surefootedness +of the sleep walker,” climbs up upon the roof and walks +about there or, without stumbling, goes into the open. In short, he +carries out all sorts of complex actions. Only it would be dangerous +to call the wanderer by name, for then he would not only +waken where he was, but he would collapse frequently and fall +headlong with fright if he found himself on a height.</p> + +<p>Besides there is absolute amnesia succeeding this. Upon persistent +questioning there is an attempt to fill in the gaps in memory +by confabulation, like the effort to explain posthypnotic action. +Furthermore, it is asserted that a specially deep sleep always ushers +in night wandering, that indeed the latter in general is only possible +in this condition. It is more frequent with children up to puberty +and throughout that period than with adults. At the same time the +first outbreak of sleep walking occurs often at the first appearance +of sexual maturity. According to a widespread folk belief sleep +walking will cease in a girl when she becomes pregnant with her +first child.</p> + +<p>It seems to me that practically no scientific treatment of this +<span class="pagenum"><a name="Page_viii">viii</a></span>problem exists. Modern psychiatry, so far as it takes a sort of general +notice of it, contents itself, as Krafft-Ebing does, with calling +night wandering “a nervous disease,” “apparently a symptomatic +manifestation of other neuroses, epilepsy, hysteria, status nervosus.”<a name="FNanchor_2_2" href="#Footnote_2_2" class="fnanchor">[2]</a> +The older literature is more explicit. It produces not only a +full casuistic but seeks to give some explanation aside from a +reference to neurology.<a name="FNanchor_3_3" href="#Footnote_3_3" class="fnanchor">[3]</a> So, for example, the safety in climbing +upon dangerous places finds this explanation, that the sleep walker +goes there with closed eyes and in this way does not see the danger, +knows no giddiness and above all is in possession of a specially keen +muscular sense.</p> + +<p>The phenomena of sleep walking and moon walking must be +acknowledged, as far as I can see, almost entirely as pathological +yet connected or identical with analogous manifestations of normal +profound sleep. The dreams in such sleep, in contrast with those of +light sleep, are characterized by movements. These often amount +merely to speaking out, laughing, weeping, smacking, throwing oneself +about and so on, or occasionally to complicated actions, +which begin with leaving the bed. Further comparison shows the +night wandering as symptomatically similar to hysterical and hypnotic +somnambulism. This interpretation might be objected to upon +the ground that unfortunately we know nothing of the origin of the +motor phenomena of the dream and that understanding of the hysterical +and hypnotic somnambulism is deplorably lacking. Still less +has science to say about the influence of the moon upon night wandering. +The authors extricate themselves from the difficulty by +simply denying its influence. They bring forward as their chief +argument for this that many sleep walkers are subject to their attacks +as frequently in dark as in moonlight nights and when +sleeping in rooms into which no beam of moonlight can penetrate. +Spitta indeed explains it thus: “The much discussed and romantically +treated ‘moon walking’ is a legend which stands in contradiction +to hitherto observed facts. That the phantasy of the German +folk mind drew to itself the pale ghostly light of the moon and +could reckon from it all sorts of wonderful things, proves nothing +<span class="pagenum"><a name="Page_ix">ix</a></span>to us.” I can only say here that ten negative cases signify nothing +in the face of a single positive one and a thousand-fold experience +undoubtedly represents a certain connection between the light of +the full moon and the most complicated forms of sleep walking.</p> + +<p>Not merely does science avoid these things on account of their +strangeness, but also the poets best informed in the things of the +soul, whom the problems of night wandering and moon walking +should stimulate. From the entire province of artistic literature I can +mention only Shakespeare's “Macbeth,” Kleist's “<span lang="de" xml:lang="de">Prinz von Homburg</span>,” +the novel “<span lang="de" xml:lang="de">Maria</span>” by Otto Ludwig, “<span lang="de" xml:lang="de">Das Sündkind</span>” by +Anzengruber, “<span lang="de" xml:lang="de">Jörn Uhl</span>” by Gustav Frenssen and “<span lang="de" xml:lang="de">Aebelö</span>” by +Sophus Michaelis.<a name="FNanchor_4_4" href="#Footnote_4_4" class="fnanchor">[4]</a> Finally Ludwig Ganghofer has briefly sketched +his own sleep walking in his autobiographical “<span lang="de" xml:lang="de">Lebenslauf eines +Optimisten</span>,” and Ludwig Tieck has given unrestrained expression to +his passionate love toward this heavenly body in different portions +of his works.</p> + +<p>Only in “<span lang="de" xml:lang="de">Maria</span>” and in “<span lang="de" xml:lang="de">Aebelö</span>” however do these themes +play an important part, while in the other works mentioned they +serve properly only as adornment and episodic ornament. I am not +able to explain this unusual restraint, unless we accept the fact that +our best poets shrink from touching upon questions which they +themselves can so little understand.</p> + +<p>It has been expected that the psychoanalytic method, which +casts such light upon the unconscious, might do much to advance the +understanding of the problems of sleep walking and moon walking. +But unfortunately no one undergoes such an expensive and time-consuming +treatment as psychoanalysis for moon walking, so that +the hoped for illumination can come at the best only as a by-product +in the psychoanalysis of neurotics. That has in fact been my good +fortune twice, where I have been able to lift the curtain, though +only a little, in two cases among my patients and also in individuals +who were otherwise healthy. What I discovered there, I will relate +in detail in what follows.</p> + +<p>One point of view I will first set forth. Two questions appear +to me to stand out among those closely bound with our theme. +First on the motor side. Why does not the sleep walker, who is enjoying +apparently a specially deep slumber, sleep on quietly and +work out the complexes of his unconscious somehow in a dream, +<span class="pagenum"><a name="Page_x">x</a></span>even though with speech or movement there? Why instead is he +urged forth and driven to wander about and engage in all sorts of +complicated acts? It is one of the most important functions of the +dream to prolong sleep quietly. And then in the second place, What +value and significance must be attributed to the moon and its light? +These two chief questions must be answered by any theory that +would do justice to the question of sleep walking and moon walking.</p> + + + +<div class="new-h2"> </div> +<div><span class="pagenum"><a name="Page_1">1</a></span></div> +<h2 style="line-height: 1.5em;"><a name="PART_I" id="PART_I"></a>PART I<br/> +<span class="smcap">Medical</span></h2> + + +<p><span class="smcap">Case I.</span> Some years ago I treated a hysterical patient, exceedingly +erotic. She was at that time twenty-two years old, and on her +father's as well as on the mother's side, from a very degenerate +family. Alcoholism and epilepsy could be traced with certainty to +the third ascendant on both sides. The father's sister is mentally +diseased, the patient's mother was an enuretic in her earlier years +and a sleep walker. This mother, like her father when he was +drunk, was markedly cruel and given to blows, characteristics, which +according to our patient, sometimes almost deprived her of her +senses and in her anger bordered upon frenzy.</p> + +<p>The patient herself had been as the youngest child the spoiled +darling of both parents and until her seventh year had been taken +by them into their bed in the morning to play. In her first three +years she always slept between the parents, preferably on the inner +side of one of the two beds and with her legs spread, so that, in her +mother's words: “One foot belongs to me and one to her father!” +She was most strongly drawn, however, to the mother, toward whom +at an early age she was sexually stimulated, already in her first year, +if her statements can be relied upon, when she sat upon her mother's +lap while nursing.</p> + +<p>The little one early learned also that, when one is sick, one receives +new playthings and especially much petting and tenderness, +on account of which she often pretended to be sick purposely or she +phantasied about dark forms and ugly faces, which of course she +never saw, except to compel the mother to stay with her and show +her special love and tenderness. Already in her second year she +would go to bed most dutifully, “right gladly” to please father and +mother and gain sexual pleasure thereby. The father then let her +ride on his knee, stroked her upon her buttocks and kissed her passionately +upon the lips. The desire after the mother became the +stronger. When the latter had lain down and the little one had been +good, then the child would creep to the mother under the feather +bed and snuggle close to her body (“wind herself fast like a serpent”). +The mother's firm body gave her extraordinary pleasure, +<span class="pagenum"><a name="Page_2">2</a></span>yes, not infrequently it led to the expulsion of a secretion from the +cervix uteri. (“The good comes,” as she expressed it.) I mention +convulsive attacks and enuresis nocturna, as pathological affections +of her childhood which belong to my theme. The patient had +in fact suffered in her first year a concussion of the brain, through +being thrown against a brick wall, with organic eclamptic attacks as +a result. The great love which she had experienced because of this +led her also later to imitate those attacks hysterically. In the fourth +year, for example, when she had to sleep in a child's crib, no longer +between the beloved parents, she immediately produced attacks of +anxiety in which she saw ugly faces and witches as in the beginning +of the eclamptic convulsions. Thereupon the frightened mother +took her again into her own bed. Later also she often began to +moan and fret until the mother would take her in her arms to ward +off the threatened attacks, and thus she could stimulate herself to +her heart's content. As she reports, at the height of the orgasm she +expelled a secretion, her body began to writhe convulsively, her face +became red as fire, her eyes rolled about and she almost lost herself +in her great pleasure.</p> + +<p>Concerning her enuresis, in its relation to urethral eroticism, the +patient relates the following: “When I pressed myself against my +mother's or brother's thigh, not only ‘the good’ came, but frequently +also urine with it. At about eight years old there was often a very +strong compulsion to urinate, especially at night, which would cause +me to wet my bed. This was however according to my wish to pass +not urine but that same secretion which I had voided at two or three +years old, when I became so wildly excited with my mother, that is +when, lying in bed with her, I pressed her thigh between mine. I +could not stop it in spite of all threats or punishments. Very curiously +I usually awoke when I voided urine, but I could not retain +it in the face of the great pleasure.”</p> + +<p>I lay emphasis upon a specially strong homosexual tendency<a name="FNanchor_5_5" href="#Footnote_5_5" class="fnanchor">[5]</a> +among her various perversions, although she had the usual sex relations +with a legion of men with complete satisfaction. Furthermore, +as sadistic-masochistic traits, there was an abnormal pleasure in giving +and receiving blows and a passionate desire for blood. It was a +sexual excitement that occurred when she saw her own blood or +that of others. I have elsewhere<a name="FNanchor_6_6" href="#Footnote_6_6" class="fnanchor">[6]</a> described this blood sadism and I +<span class="pagenum"><a name="Page_3">3</a></span>will refer here to only two features, which are of significance also +in regard to her moon walking. The first is her greatly exaggerated +vaginal eroticism, which at menstruation especially was abnormally +pleasurably excited. The second, on the other hand, was that our +patient already at the age of two years should have experienced +sexual pleasure in the mother's hemoptysis. Sitting on the mother's +lap she stimulated herself upon the latter's breast, when she began +to scrape and then to cough up blood. She reached after her bloody +lips in order afterward to lick off her own fingers. As a result of +the sexual overexcitement which occurred then, blood has afforded +her enormous pleasure ever since, when she has looked upon it.</p> + +<p>As for the rest of her life, I will refer to two other points only, +which are not without importance for our problem. First of all was +the change of dwelling after the father's death in our patient's +seventh year. The other is her burning desire, arising in her third +or fourth year, to play mother and most eagerly with a real live +child. A baby doll, of which she came into possession, was only a +substitute, although for want of something better she carried this +around passionately and did not once lay it out of her arms while +asleep. At the age of eight it was her greatest delight to trudge +around with a small two year old girl from the house and sing her +to sleep as her mother had once done to her. “Carrying that child +around was my greatest delight until I was fourteen years old.”</p> + +<p>I mentioned above that her mother had been sadistic and at +the same time a sleep walker. “Mother herself told me that she +also rather frequently walked at night. As a child she would wander +around in her room without being able to find her bed again. +Over and over again she would pass it without finding her way into +it. Then she would begin to cry loudly with fright for her bed +until Grandmother awoke and lifted her into bed. In the morning +she remembered nothing at all about it.</p> + +<p>“It was the same way with her desire to urinate. Every night +she had a frightful need to urinate and hunted for the chamber, +but, although it always stood in its accustomed place, she was not +able to find it. Meanwhile the desire grew more severe, so that she +began moaning fearfully in her sleep while hunting. She sought +all over the room, even crept around under the bed without touching +or noticing the chamber, which was there. Often she did not +then return to her bed until Grandmother was awakened by her +moans, brought her what she wanted and helped her to bed. It +happened rather frequently that, because of the very great need, she +<span class="pagenum"><a name="Page_4">4</a></span>wet the bed or the room while on her search, whereupon naturally +a whipping followed. Sometimes she lay quite quiet later on +in her sleep, but when she could not find her bed, was obliged to +pass half the night in the cold room. Once when I myself wet my +bed, she struck me with the words: ‘Every time that this happens +you will be whipped; my mother whipped me for this reason’ Although +she knew from her own experience that it could not be +helped, yet she struck me.</p> + +<p>“Besides the moon exercised a great power over my mother. +Since the house in which she lived was low and stood out in the +open country, and there were no window blinds, on bright moonlight +nights the moon shone into the farthest corner. In the corner +stood a box, on which were a number of flower pots, figures and +glass covers. Upon this box she climbed, after she had first taken +down one object after another and placed them on the floor without +breaking anything. Then she began to dance upon the top of +the box, but only on bright moonlight nights. Finally she put everything +back in exactly the same place to a hair's breadth and climbed +out of the window, but not before she had removed there a number +of flower pots out of the way. From the window she reached the +court where she rambled about, climbed over the garden fence and +walked around at least an hour. Then she went back, arranged the +flowers on the window in exact order and—could not find her way to +bed. There was always a scene the next day if Grandmother had +been wakened in the night.”</p> + +<p>The most noteworthy feature in this statement, beside the +phenomenon of sadism, later taken over by the daughter, the urethral +eroticism and the susceptibility toward the moonlight, is the behavior +of the mother while walking in her sleep. She plainly has +an idea where the flower pots stand, which she removes from the +box and the window, but on the other hand she comes in contact +neither with the bed nor the chamber, which yet are in their usual +places. We will also take note further on of the dancing upon the +box in the bright moonlight as well as the climbing out of the window, +climbing and walking about.</p> + +<p>Before I go on with my patient's story, something should be said +concerning its origin. She had been undergoing psychoanalytic +treatment with me for nine months on account of various severe +hysterical symptoms, which I will not here touch upon further, when +she one day came out with the proposal that she write for me her +autobiography. I agreed to it and she brought me little by little +<span class="pagenum"><a name="Page_5">5</a></span>about two hundred fifty pages of folio, which she had prepared +without any influence on my part, except of course that she had, in +those months of treatment, made the technique of the analysis very +much her own as far as it touched upon her case. Practically nothing +in our work together in solving her difficulties was said of her +sleep walking. I have also in no way influenced or been able to influence +her explanation. It originates solely from the patient's associations +and the employment of her newly acquired knowledge of +the unconscious in the interpretation of her symptoms.</p> + +<p>I find then in her account of her life some highly interesting +points. “Even at two or three years old Mother at my entreaties +must soothe me to sleep. As we lay together in bed I pretended +often to be asleep and reached as if ‘in my sleep’ after my mother's +breast in order to revel in sensation there. Also I often uncovered +myself, again ostensibly in my sleep, and laid myself down quite +contentedly. Then I awoke my mother by coughing, and when she +awoke she stroked me and fondled me, and as was her custom kissed +me also upon the genitals. Frequently I stood up in bed between +my parents—a forerunner of my later sleep walking—and laid +myself down at my mother's feet, asleep as she thought, but in +reality awake only with eyes closed. Then I pulled the feather bed +away from Mother and blinked at her in order to see her naked +body, which I could do better from the foot than if I had lain near +her.</p> + +<p>“If she awoke she took me up to my place, kissed me repeatedly +over my whole body and covered me up. I opened my eyes then as +if just awakening, she kissed me on the eyes and said I should go +quietly to sleep again, which I then did.</p> + +<p>“Still earlier, at one or two years, I pretended to be asleep when +my parents went to bed, that I might obtain caresses, because Father +and Mother always said, ‘See, how dear, what a little angel!’ They +kissed me then and I opened my eyes as if waking from deep sleep. +This was the first time that I pretended to be asleep. I often lay +thus for a long time apparently asleep but really awake. For when +the parents saw that I was asleep, they told one another all sorts of +things about us children. Especially Mother often spoke of my +fine traits, or that people praised me and found me ‘so dear’ which +she never said in my presence lest she should make me vain.”</p> + +<p>Here is an early preceding period when the little one deliberately +pretends to be asleep in order to hear loving things, receive +caresses and experience sexual activity without having to be held +<span class="pagenum"><a name="Page_6">6</a></span>accountable or to be afraid of receiving punishment, because everything +happens in sleep. In the same way similar erotic motives and +<ins title="analagous">analogous</ins> behavior may be found in the account of her other actions +while asleep. As she began to talk at two years old her parents +begged her to tell everything that had happened to her, for example +in the absence of either of them. She must tell to the minutest detail, +when she awoke early lying between her parents, what had +happened to her during the day before, what she had done with her +brothers and sisters, what had taken place for her at school, and so +on. She responded so much the more gladly, because in narrating +all this she could excite herself more or less as well upon the father's +as upon the mother's body.</p> + +<p>In fact, this was the very source of a direct compulsion to have +to tell things, from which she often had to suffer frightfully. The +very bigoted mother sent her regularly from her sixth year on +with her sister to the preaching services with the express injunction +to report the sermons at home. And although on account of +her poor head she had to struggle grievously with every poem or +bit of lesson which she had to learn for school, yet now at home she +would seat herself upon a hassock, spread a handkerchief over +her shoulders and begin to drone out the whole sermon as she had +heard it in the church from the minister. And this all merely out +of love for her mother! Furthermore she was, according to her +own words, directly in love with her teacher in the school, who often +struck her on account of her inattentiveness and certainly did not +treat her otherwise with fondness. Here is a motive for the later +learning, singing and reciting of poetry during the sleep walking, +while the pleasure in being struck when at fault was increased by +self reproach, that she in spite of all her pains was so bad at +learning.</p> + +<p>“During my whole childhood,” the patient states, “I talked a +great deal in my sleep. When I had a task to learn by heart, I said +over the given selection or the poem in my sleep. This happened +the first time when I was eight years old, on a bright moonlight +night. I was sleeping at the time in the bed with my sister and I +arose in the night, recited a poem and sang songs. At about the +same period, standing on a chair or on the bed, I repeated parts of +sermons which I had heard the day before at church. Besides I +prattled about everything which I had done the previous day or +about my play. How often I was afraid that I would divulge something +from my sexual play with my brother! That must never have +happened, however, or mother would have mentioned it to me, for +<span class="pagenum"><a name="Page_7">7</a></span>she always told me everything that I said during the night.” I +might perhaps sum up this activity in her sleep after this fashion: +Day and night she is studying for the beloved but unresponsive +teacher and strives to win and to keep her good will as well as that +of the mother through the repeating of sermons and relating of all +the events of the day.</p> + +<p>“As for the talking in my sleep, I began at the age of two or +three, though awake, to pretend to be asleep and to speak out as if +asleep. For example I acted as if I were tormented with frightful +dreams and cried out with great terror, ostensibly in a dream: +‘Mother, Mother, take me!’ or ‘Stay with me!’ or something of the +sort. Then Mother took me, as I had anticipated, under her feather +bed and quieted me, but I naturally became excited while I pressed +my legs about her body presumably from fear of witches and immediately +there occurred a ‘convulsive attack,’ that is I now experienced +such lustful pleasure that ‘the good’ came.”</p> + +<p>Attention may further be called to the fact that she threw herself +about violently in her sleep, which caused her, as the daughter +of so brutal a mother, who was herself a sado-masochist, an excessive +amount of pleasurable sensation. When only two or three +years old, as she lay between the parents, she pushed them with +hands and feet, of which she was quite conscious, while they thought +it happened in sleep. This brought the advantage that she was not +responsible for anything which happened in sleep, for it occurred +when she was in an unconscious condition.</p> + +<p>The changing of the home in her seventh year, after the death +of the father, led to her sharing the bed of her sister six years older +than she. “My sister had the habit of throwing off the covers in +her sleep or twisting her legs about mine. I, on the other hand, +always hit her in my sleep with hands or feet. Naturally I could +not help it since it actually happened while I was asleep, yet when +my sister could stand it no longer I had to go and lie with Mother. +I also struck her in my sleep. Besides I nestled up against her body, +especially her buttocks, and experienced very pleasurable excitement. +For it was simply impossible with her strong body and in +the narrow bed to avoid touching my mother. Only I did it to her +quite consciously, but she was of the impression that I pressed upon +her in my sleep because I had no room in bed. The reason that I +as a small child pushed against my parents in bed was simply the +wish to be able to strike them once to my heart's desire, and since +this was impossible during the day, I did it while asleep, when no +<span class="pagenum"><a name="Page_8">8</a></span>one is responsible for what one does. Striking my sister then actually +in my sleep, when I was seven years old, was again the wish to +be able to excite myself pleasurably by the blows as when a smaller +child.” Here her sadism again breaks through in this desire to +strike mother and sister according to her heart's desire and it especially +excited her because of her constitutionally exaggerated muscle +erotic. I have discussed this sadism at length elsewhere.<a name="FNanchor_7_7" href="#Footnote_7_7" class="fnanchor">[7]</a></p> + +<p>It can be affirmed, if we examine her behavior in sleep, that without +exception sexual wishes lay at the bottom of it, just as the dream +also, as is well known, always represents the fulfilment of infantile +wishes. The plainly erotic character is never wanting in an apparently +asexual action, if we penetrate it more deeply. So for example +this patient repeated the sermon at her mother's bidding in +order to receive her love and praise. Saying her lessons at night +arose from her strong attachment to her teacher, which again in +turn was a stage of her love for her mother. Naturally this was +all concerned with wishes, which, strictly tabooed when awake, could +only be gratified in unconsciousness, somehow carried out in sleep, +or, as with the simulated convulsions, only in the mother's bed. The +behavior during sleep served especially well to grant sexual pleasure +but without guilt or liability to punishment.</p> + +<p>It was quite in order further that a conscious activity preceded +the unconscious activity in sleep, that is, that for a time the patient +while awake, but with closed eyes and therefore apparently asleep, +did the very thing which later was done in actual unconsciousness. +What then impressed itself as an unconscious performance during +sleep, had been earlier done consciously, almost I might say as “a +studied action.” Only in special cases is there any need for playing +such a comedy, for the direct demand of a beloved individual—“You +must tell everything,” “You must learn diligently,” “Repeat +the sermon accurately,”—when the eroticism is well concealed, permits +of open action without more hindrance. It may be noted +further that the patient never betrayed in the least in her sleep what +she must have been at pains carefully to conceal, as, for example, the +sexual play with her brother. Finally the striking participation of +the muscle erotic at times in sleep must be emphasized.</p> + +<p>We have found already as roots and motives of her sleep activity +sexual, strongly forbidden wishes, which particularly could often +be gratified only in bed; the striving that she might commit +misdemeanor without being held guilty or answerable; further the +<span class="pagenum"><a name="Page_9">9</a></span>practicing of these things first while awake; and finally, as an organic +root, at least the pleasure in blows in sleep, the undeniably +exaggerated muscle erotic. Nearly everything takes place in bed, +only occasionally outside it, and then always near it. Complicated +actions are completely wanting. Likewise nothing was said of the +influence of the light or of the moon. Only in passing was it mentioned +that the patient arose in the moonlight for her first nightly +recitation of lessons.</p> + +<p>The group of phenomena which we will now take up displays +complicated performances and stands above all under the evident +influence of the light of the moon. “In my fourth year,” the patient +relates, “I was put for the first time into a little bed of my own, so +that my mother, who the day before had begun to cough up blood, +should have more rest. She had closed the net of my crib and that +I should not be frightened moved the crib up to her large bed. I +pretended to be asleep and as soon as my parents had fallen asleep +I climbed over the side but was so unfortunate as to fall into my +mother's bed. I was quickly laid back in my own bed, without having +seen the blood, which was my special longing. Often after +this, almost every night, I tried again to climb into Mother's bed, +so that finally she placed my bed by the wall in order to prevent my +climbing over to her. For some months I slept alone in my little +bed. She caught me one night, however, this time actually in my +sleep, trying to climb over the side but entangled in the net. Fortunately +I did not fall out but back into bed. At that time I produced +also my pretended convulsive attacks that I might be taken +by Mother into her bed and be able to excite myself upon her.</p> + +<p>“Mother began raising blood again when I was ten years old and +we had already moved into the new home. That year she was +seized twice with such severe hemorrhages that for weeks she +hovered between life and death. Then in my eleventh year I began +my sleep walking. What urged me to it was again Mother's coughing +of blood as well as the desire to see her blood, both reasons why +I had already at four years old pretended sleep so that I could climb +into Mother's bed.”</p> + +<p>The patient proved herself such an ideal nurse on the occasion +of the mother's severe hemorrhage that the mother would have no +one else. She watched tirelessly day and night together with her +sisters, changing every few minutes the icebags which had been +ordered. “Scarcely a moment did I tear myself away from my +mother's bedside and, if one of my sisters relieved me, I often could +<span class="pagenum"><a name="Page_10">10</a></span>hardly move, undress myself and lie down for an hour. If I did +lie down, I threw myself about restlessly, torn with anxiety, and +was only happy again when I sat by my mother's bed.” This fearful +anxiety was not however merely fear for the precious life of +the mother, but still more, repressed libido. In spite of all her concern +for the mother's suffering she could not prevent the strongest +sexual pleasurable sensations at the sight of the mother's snow white +breast in putting on the applications or when she raised blood. This +intensive nursing lasted four weeks until finally a nursing Sister +came to assist.</p> + +<p>“As I now for the first time could enjoy a full night's rest, I +fell into a deep sleep, as from this time on I always did before every +sleep walking. Near my bed stood the table with Mother's medicine +and on the window ledge, behind the curtain, a lamp, which threw +its light upon my bed. Suddenly I arose in my sleep, went to my +mother's bed, bent over her. Mother opened her eyes but did not +rouse herself. Then the Sister, who was dozing on the sofa near +Mother's bed, awoke and rushed forward frightened as she saw me +there in my nightgown. She thought something had happened to +Mother, but the latter motioned with her hand to leave me alone and +to keep still. I kissed Mother and changed the icebag, apparently in +order to see her breast. I could see no blood this time, so without +a sound I moved away and went to the table, where I put all the +medicines carefully together to make a place and then went out into +the pitch dark kitchen without stumbling against anything. There I +took from the kitchen dresser a bowl with a saucer and a spoon and +came back again to the room. Next I seized a glass of water which +stood there and poured the water carefully into the bowl without +spilling more than a drop. With this I spoke out half aloud to myself: +‘Now Emil (my brother-in-law, who had for a long time taken +his breakfast with us) can come to his breakfast without disturbing +Mother, who had always prepared it for <ins title="him.">him.’</ins> Then I went to bed +and slept soundly for some hours, as I sleep only at my periods of +sleep walking, without crying out. All that I have described the +Sister of Charity told me afterward. Naturally I did everything +with closed eyes, without knowing it, and moved about as securely +in the darkness as if it had been bright day. The next morning +they told me about it and laughed over it.”</p> + +<p>This is what she has to say of the influence of the light upon her +sleep walking. “Here also Mother's coughing was the external +cause as it had been when I was four years old. When Mother was +<span class="pagenum"><a name="Page_11">11</a></span>ill, the lamp was left upon the window sill behind the curtain, burning +brightly so that she would not be afraid. Now also, at the time +of my first complicated sleep walking, such a light was burning +behind the curtain throwing its light upon my bed and the wall. +Mother had always left the light burning in order to see me at once, +after I had sometimes climbed over the side of my crib at the age +of four, when she was ill. The light however made me climb over +to her, because in the dark no blood could be seen. Also when I +began to moan, during my convulsive attacks, she made a light and +came to my bed. Or she said, when my bed was pushed close to +hers: ‘Wait a moment; I will make a light and take you or you can +climb over to me.’ Next day I laughed with my parents over my +visit at night, without suspecting that I would soon be repeating it +actually in my sleep. And it was only for this, that I might, as at +the very first time, enjoy the sight of Mother's blood. Now, when +she had a light burning during her illness, this allured me in my +sleep to climb out to her, as at that first time when she had made a +light especially for me to climb over to her.”</p> + +<p>The following memory leads still deeper into the etiology: +“Mother always had the habit of going from bed to bed, when we +children were asleep, and lighting us with her lamp to make sure +that we were asleep. I perceived the light in my sleep, which called +me to Mother. She had lighted me that first time so that I might +climb into bed with her. Now I thought in my sleep, when I saw +the light, that she was calling me again and she found me often at +the very point of climbing over to her. I see myself yet today with +one foot over the bars, almost in a riding position. Yet nothing +ever happened to me. A complete change took place within me when +the light of a candle or a lamp fell upon my face. I might almost +say that I experienced a great feeling of pleasure. I seemed to +myself in my sleep to be a supernatural being. I immediately perceived +the light even when I lay in deepest sleep. There was however +no sign of waking. This must represent a second form of <ins title="consciounsess">consciousness</ins>, +which possessed me at such times. I often asked my +mother all sorts of things while wandering about, always knew to +whom I spoke although I did not see the person and before I heard +anyone speak I already mentioned the person's name. My orientation +in sleep walking was so exact that I never once stubbed my toe +against anything. It was just so with urination, which was probably +connected with the moon or with a night light accidentally falling +upon me. As soon as I pressed out secretion or the urine came, +<span class="pagenum"><a name="Page_12">12</a></span>I found myself in a half sleep without being able to prevent an excessive +feeling of pleasure. Then first I came to myself. This +seems to me to go back to the fact that Mother often awoke me on +special occasions in the night, holding a lamp or a candle in her +hand to set me on the chamber, especially when she heard me moaning +in my sleep and suspected a convulsive attack.”</p> + +<p>In what follows a complete identification with the mother is reported +in detail. That has come in part to our notice in the first +sleep walking, when our patient prepares the breakfast for her +brother-in-law. “After that first sleep walking when Mother was +having hemorrhages, they took place now rather frequently, when +the least glimmer of light fell upon me, when Mother, for instance, +lighted a candle at night to take some drops for her cough. Thus +it happened that almost every night, as long as our beds stood together, +I acted this little part. Often my family did not awaken and +yet we knew the next day, when something was missing, that I had +been the culprit in my sleep, as the next little example will show.</p> + +<p>”My greatest wish at that time, at ten years old, was to be +‘Mother’ and have a child that I might bring up as I pleased. One +morning when Mother got up and wished to dress herself she did +not find her underclothing. We sisters were still fast asleep and +Mother did not wish to waken us. She could remember exactly +that she had laid her clothing as she always did on the chair near her +bed. When she saw that search was in vain she put on fresh linen. +Fully an hour later I awoke and was completely astonished to find +myself dressed and in Mother's clothing. The puzzle was now +solved. The putting on of Mother's clothing during the sleep walking +had plainly been merely my wish to put myself into the mother's +place and also to play mother, as I did with the children day after +day. It was just at this time that I was always seeking to trail +around all day with children, whom I tormented, treated cruelly, +often even struck them for no cause whatever, always with a great +feeling of pleasure, as I myself fared at my mother's hands. It was +very frequently the case that I spread the table for a meal, in +Mother's place, or put on her linen or outer clothing. This happened +most often when she was ill again with her cough or the light +shone upon me in my sleep. The light of the candle was sufficient +for this.”</p> + +<p>At thirteen years she began to be directly affected by the moonlight. +“At that time I had to sleep in a small room which <ins title="by">my</ins> brother +had occupied before this. This room looked out upon the court and +<span class="pagenum"><a name="Page_13">13</a></span>was, especially on the nights when the moon was full, as bright as +if a lamp were burning in the room. I was very much afraid to +sleep alone in a room. This was the first time in my life that it had +happened. I feared that in every corner some one might be standing +and suddenly step forth or might lie hidden behind the bed and +although I first let the candle light shine over everything, I had no +rest but was in continual fear. I slept here perhaps only fourteen +days in all, but it was full moon just at this time and rather bright +in the small room.</p> + +<p><ins title="Before">“Before</ins> going to sleep I always barred the door of the room, +which near the other door of our house opened upon a small passage. +On account of the shop we lived on an upper floor. When +I lay in bed I was always thinking that I had not bolted the door +well and every night I arose three or four times before going to +sleep in order to make sure whether I had actually bolted the door +carefully. This I did while awake. Finally I fell asleep. I knew +nothing in the morning of what happened in the night. Yet for +several days, when I arose in the morning, I found the door which +led out of my room upon the passage standing open. I must also +have gone about the house during the night, at least have been in +the passage. It alarmed Mother and, when early the next day the +door was once more open, she said that I need never sleep alone +again. I had not had the remotest thought that she would watch me +the next night. As usual she could, when I talked in my sleep, ask +me about everything and obtain correct answers without wakening +me. If however she called my name in fright, when I was walking, +as in the scene about to be described, then I awoke. Some nights +apparently I roamed about in the house, God knows where, in the +moonlight, without any one noticing it. Now it was the window in +the passage, which looked into the court and was always closed at +night, that was left open. What took place there I cannot say, since +no one observed me. I can however describe clearly what my +mother saw happen and which she told me afterward.</p> + +<p>“Before I lay down I tried the door several times to see if it were +securely bolted, then slept until about twelve o'clock. Between +twelve and one o'clock, when I as a child had always been most +afraid because this was a ghostly hour, my mother, who compelled +herself this night to remain awake, heard my door creak slightly. +She watched and saw the following: I went out in my nightgown +softly to the door and to the window on the passage, which I opened. +I swung myself upon that rather high window and remained there +<span class="pagenum"><a name="Page_14">14</a></span>a while without moving, sitting there while I gazed straight at the +moon. Then—it seemed to my mother like an eternity—I climbed +down softly and went quietly along the passage into the first story. +Half way along however I considered, turned back and went into +my room. Having reached the door I turned once again and went +along the passage to the door of the court. This was fastened. +Again I turned and now went to the house gate. There I remained +standing. I even tried to open it, as if I heard my name called. +Then I was frightened, looked about me and was awake. Shaking +with cold, for I was there half naked, I could scarcely orient myself. +Then I crept to my bed and slept without waking.</p> + +<p>“This happened in the second week. Every morning my door +was open so that I had to sleep again in Mother's room. The moon +never shone in there and the night light was covered. Nevertheless +the sleep walking began also in this room in two weeks, if only +the light of the candle fell upon me in my sleep. More often I +lighted the candle myself in my sleep and went around in the room +and the kitchen. Sometimes Mother found me standing by the door +of the shop apparently about to open it and walk out. Now I have +frequently, when I am lying in bed, the desire to spring out of the +window, or to open both casements to get air for I am often afraid +of choking. Mother had often felt this way in her illness. It also +happened that Mother found me sitting by my chest, where I was +looking for something which I had needed the day before and intended +looking for the next day. I had laid out all my possessions +about me. If Mother called me by name, I awoke; if she did not +call me but only spoke in a certain way to me, I answered her everything +without waking. I got up in my sleep, put on my mother's +clothes, put on a cape and a nightcap, bade farewell to the children, +to whom I wanted to be the mother, charged them to be brave and +promised to bring them something. Then I took a piece of wood in +my hand for an umbrella and walked about the room as if holding +it opened out over my head because the sun shone. In reality it +was the shining of the lamp. Mother's clothes were long and yet +I wore the train beautifully and gracefully, without stepping on the +skirt. My mother doubled herself with laughter when she saw such +a caricature. Mostly I played the mother. Often I carried a small +piece of wood wrapped in a cloth as a child in my arm and laid it on +my breast. I sang songs, hushed at the same time other children—and +knew nothing at all of it next day. Mother laughed most over +this, that when I dressed myself, I first turned everything wrong +<span class="pagenum"><a name="Page_15">15</a></span>side out. This goes back to the fact that Mother sometimes, when +she had to get up in the night on my account and was half asleep, +slipped her robe on twisted and wrong side out. These things lasted +until my seventeenth year, when Mother was sick and I, as related +above, made coffee in the presence of the Sister of Mercy.<a name="FNanchor_8_8" href="#Footnote_8_8" class="fnanchor">[8]</a></p> + +<p>“Mother was rather often ill, so that beside the care of her, in +which later a nurse assisted us, the shop had also to be looked after, +which always demanded one person during the day. If I lay down +upon my bed after two or three weeks of nursing, I fell into a deep +sleep. This never hindered me however from being in my place to +the minute, when my mother's medicine was to be taken. My mother +could have anything from me, although I lay in a deep sleep. She +did not need to speak, and if she wanted anything, she spoke it half +aloud. The Sister, over weary from night watching, slept lightly, +but if Mother needed anything, it was sufficient for her to breathe +my name and I was awake, although otherwise I did not hear well +and must always be aroused for some time before I was fully awake.</p> + +<p>“In reality I merely imitated my mother in my sleep walking. +In the first place it was my wish to hold some object in my arms +during the night, or lay it near me, as if it were my child, to have +one that I might play with it sexually. In the second place this went +<span class="pagenum"><a name="Page_16">16</a></span>back to my early childhood when I lay near my mother and she +played thus with me. In the third place it referred to a later time +when I felt as a mother toward my doll, and never allowed it out of +my lap by day nor out of my arms at night. When Mother wished +to quiet me if I was suddenly afraid of ugly creatures at night, she +had to make a light as quickly as possible. Then she took me upon +her arm or laid me close to her. The light must however remain +burning until I had fallen asleep so that the horrible faces could not +torture me. As a child I often cried only for the light; it was the +light that first completely quieted me. I longed indeed for the +light that I might see the blood, and at the same time excite myself +upon my mother.”</p> + +<p>The patient proceeds in her story: “This continued until the +seventeenth year. At eighteen I had to go into the country because +of a nervous trouble. There I was quite alone and also had to sleep +alone in a room. I always went to sleep very late and once—my +small room was bright with moonlight—I arose, went into the small +passageway, which opened into the court, and was going out of the +courtyard gate. I was obliged to turn back, however, because this +was fastened. Yet instead of going back to my room, I went into +the sleeping room of my landlady, who was sleeping there with her +daughter, a girl of about twenty-six years. The moon was also +shining into this room and I slowly opened the door. Both of them +then awoke and were, as they told me next day, frightened to death. +It affected the daughter especially, so that she was terrified and at +once sought refuge in her mother's bed. I went back. What happened +further I cannot say, for the daughter had immediately bolted +the door behind me. I had made it impossible for me to stay longer +in the little country village, and although I had paid for my room +for a month I preferred to go away two days later. All the people +avoided me and looked at me askance. Most of all the people with +whom I was stopping! I saw that a stone rolled from their hearts +when I departed.” At my question, whether she perhaps had been +especially attracted by her landlady, she answered: “No, but in fact +with another woman of the village. And it seems that I at that time +wished to go to this woman in my sleep walking. At least the landlady's +room, into which I went, after I found the gate of the courtyard +fastened, lay in the direction of the house where she lived.</p> + +<p>“From this time nothing is known of my walking in my sleep +even on moonlight nights. Only I have sometimes since that time +put on my underclothes in the night, but always my own. That is I +<span class="pagenum"><a name="Page_17">17</a></span>have often discovered in the morning, up till quite recently, that I +had on my linen or my stockings. Besides I often dressed my hair +during the night, and if I had had my hair, for example, braided or +loose when I went to sleep, I would awaken in the morning with my +hair put upon my head. This unconscious hair dressing happened +most frequently before menstruation and was then an absolute sign +that this would take place very soon. This has the following connection. +Mother never went to sleep with her hair done up, but +when in bed had it always hanging down in a braid. Only, when +she was suffering from the hemorrhages—at the time of menstruation +I also lost a good deal of blood—she did not have the braid +hanging down but put up upon her head. Before the appearance of +menstruation this braid hanging down annoyed me very much. +Furthermore, the doing of my hair in my sleep, which occurred a +few days before, is only the wish again to see blood, for which +reason it appears only usually before menstruation.” I will add to +complete this that the ceasing of her sleep walking at her eighteenth +year was contemporaneous with her taking up regular sexual relations +with different men.</p> + +<p>The patient gives still other important illustrations of her awaking +at the calling of her name by her mother, and of staring into the +light, particularly the moon. “In school my thoughts were always +on the sexual and therefore I heard nothing when an example was +explained. I often resolved to listen attentively, but in a few minutes +I was again occupied with sexual phantasies. Then if I heard my +name called I woke up suddenly but had first to orient myself and +think where I was. This awaking at the calling of my name at +school was exactly like that when my mother called me by name +during my sleep walking. Both times I was startled and awoke as +if from a heavy dream. That excessive dreaming while awake goes +back however to my earliest childhood, when I sat evenings on my +mother's lap, while my parents were talking together, and excited +myself with her. Oh, what wonderful things I dreamed! I always +revelled then in sexual phantasies, and, completely lost in them, forgot +entirely where I was until I suddenly heard my name called, +when I started up frightened and had first to orient myself. Mother +always called my name softly and usually added, when I began to +yawn, ‘the pillow is calling you,’ and imitating a wee voice, ‘You +ought to come to it in bed.’”</p> + +<p>Once more: “When evenings I began to dream on mother's lap, +I was compelled to look directly into the flame of the lamp. I +<span class="pagenum"><a name="Page_18">18</a></span>looked straight into it and was as if hypnotized. I laid both hands +upon my mother's breasts and traced their form. Besides I had my +braid lying upon her left breast, which I liked very much, because it +lay as softly as upon a pillow. I was also compelled to look into the +light, gazed steadily at the flame until my eyes were closed. Then I +lay in a half sleep, in which I heard the voices of the family without +understanding what was said. Thus I could dream best, until my +mother called my name and I awoke.</p> + +<p>“Every day I took delight in this sleep by the light of the lamp +and the pleasure experienced upon my mother's lap. I lay quietly +and with eyes closed so that they all thought I was fast asleep. Yet +I knew indeed that it was no ordinary sleep, but merely a ‘daydream,’ +from which I only awoke when Mother called me by name. +When she did not do this, but quietly undressed me and put me into +bed, I began to be restless. I stood up in bed, lay down at their feet +and took care to cry out and throw myself about until Mother, quite +alarmed, called me by name and quieted me. I believe that in these +experiences lies another root for my staring at the moon when sleep +walking, as well as for the dreamy state occasioned by the fixed gazing +at the light.”</p> + +<p>In conclusion there are still some less important psychic overdeterminations. +“I often had the desire, when looking at the moon +at the age of four or five, to climb over the houses into the moon. I +knew nothing at that time of sleep walkers. About the same time +my sisters often sang the well-known song: ‘What sort of a wry +face are you making, oh Moon?’ I stared immovably also at the +moon, when I had the opportunity to look at it once from my window, +in order that I might discover its face and eyes. Then, too, +my eyes grew weary and began to close. Later, when nine or ten +years old, I heard other children say that people dwelt in the moon. +I would have given anything to know how these people looked, and +whenever it was full moon, I gazed fixedly at it. I had understood +that another people dwelt there of a different race. I wished to +have another race of men. Perhaps they had other customs, thought +differently, ran about naked as in Paradise and there I wished to go, +and lead a free life with boys as with girls. Even as a child I +seemed to myself quite different from the rest of humankind on account +of my sexual concerns and sexual phantasies in school. I +always believed that I was something peculiar and for that reason +belonged not on the earth but upon the moon. Once when I heard +the word ‘mooncalf’ and asked what it meant, some one at home +told me that mooncalves were deformed children.</p> + +<p><span class="pagenum"><a name="Page_19">19</a></span>“I thought however that they did not understand; the children +were quite differently formed, just as were all the people in the +moon, so that their feelings were altogether different and they led +a sexual life of a quite different kind. I thought they were kind to +both sexes, because Mother always said, ‘You must not be alone +with boys!’ and that in the moon this was permitted, for there no +distinction was made between the sexes in play.”</p> + +<p>I asked her more particularly in conclusion whether her explanation +for staring at the moon, that she identified moon and lamplight, +was all there was of it. She answered immediately that another +explanation had pressed itself upon her earlier, which she had +rejected as “too foolish.” “The moon's shining disk reminded me +in fact of a woman's smooth body, the abdomen and most of all the +buttocks. It excited me very greatly if I saw a woman from behind. +Whenever I am fondling any one erotically and have my hand on +the buttocks—I always think then of a woman—the moon always +occurs to me but in the thought of a woman's body.”</p> + +<p>According to this explanation the sleep walker would have also +stared at the planet, because the round sphere awoke sexual childhood +memories of the woman's body, or, as I learned from another +source, of the woman's breast, most frequently however of her buttocks. +It is moreover noteworthy that it was always only the full +moon that worked thus attractively, not by chance the half moon or +the sickle. An everyday experience agrees very well with this. +Children, when they see the full moon or their attention is called to +it, begin to snigger. Every one familiar with the child psyche knows +that such giggling is based on sexual meaning, because the little +ones usually think of the nates. Not infrequently will children, +when they are placed on the chamber, pull away their nightclothes +with the words, “Now the full moon is up,” likewise when a child +accidentally or intentionally bares himself at that spot.</p> + +<p>We have now the explanation, if we put together that which has +just been told us, why our sleep walker wakes up on the spot and +comes to herself as soon as she is called by name. This corresponds +to her starting awake when in school she was recalled from her +sexual daydreams and the earlier being startled when the mother +called her out of similar sexual phantasies to go to sleep. The inference +may be drawn from this however that one is startled from +sexual dreaming also when the name is called during sleep walking, +or going a step further, that sexual phantasies are at the bottom of +sleep walking in the moonlight and first find their fulfilment here.</p> + +<p><span class="pagenum"><a name="Page_20">20</a></span>Could the interpretation of our patient be generalized, it might +be said that the sleep walker climbs upon the roofs as a fulfilment +of a childish wish to climb up into the very moon. It is of significance +also how far we may consider universal her infantile belief +that everything sexual is permitted upon the moon, that what +was strongly forbidden her upon earth was there allowed to other +children, and further the opinion that she was quite different because +of her sexual phantasying and did not after all belong upon the +earth but on the moon. At any rate the two motives introduced +for staring at the moon's disk may be frequently met, are perhaps +constantly present, that is the similarity of the moonlight and lamplight +and the comparison of the moon's disk to the human body, +especially the nates.</p> + +<p>Let us attempt to realize now what this case before us may have +to teach, the first and so far the only one of its kind to be submitted +to a careful analysis. It must naturally be candidly confessed from +the start that from a single case history, be it ever so clearly and +fully set forth, no general conclusions may be drawn. Moreover +certain factors resist generalization because they are of a more +specialized character and at most will only occasionally reappear, as +for example, the strong sadistic note, the desire for blood, the hemoptysis +of the beloved mother. More frequently, also with the +female sex, there may be the wish to climb into bed with the parents +or their substitutes, to play the rôle of mother or father, out of love +for them, and finally in general homosexuality may be a driving +factor.</p> + +<p>It is the sexual coloring and motivation of the sleep walking, +especially by the light of the moon, which gives throughout the +strongest tone to our case. This is something which the scientific +authors have so far as good as completely overlooked, even where +it has forced itself into view, as in a series of cases cited by Krafft-Ebing.<a name="FNanchor_9_9" href="#Footnote_9_9" class="fnanchor">[9]</a> +We shall hear, in discussing the works of the poets, that +<span class="pagenum"><a name="Page_21">21</a></span>they and the folk place this very motive before all others, indeed +often take it as the only one. We have here once more before us, +if this opinion be correct, a scientific erotophobia, that is the dread—mostly +among physicians and psychologists—of sexuality, although +this is at least one of the chief driving instincts of human +life.</p> + +<p>There exists a better agreement of opinion over the relationship +between sleep walking and the dream. Sleep walking, analogously +to the latter, fulfills also wishes of the day, behind which +stand always wishes from childhood. Only it must also be emphasized +that the old, like the recent wishes, are exclusively or predominantly +of a sexual nature. Because however that sexual desire +is forbidden in the waking life, it must even as in the dream +take refuge in the sleeping state, where it can be gratified unconsciously +and therefore without guilt or punishment. Most of the +sleep activities of our patient were performed originally in a state +of apparent sleep, that is actually practiced in the conscious state +until later they were carried out quite unconsciously. She would +never then betray what when feigning sleep she had to conceal as +causes. Finally the directly precipitating causes in her erotic nature +for the sleep walking and moon walking seem especially to have +been light and the shining of the moon, her puberty and her mother's +sickness.</p> + +<p>All of our patient's sleep walking, in accordance with the etiology +and interpretation, since it goes back to infantile sexuality, is +<span class="pagenum"><a name="Page_22">22</a></span>half sexual, half outspokenly infantile. It reaches the greatest degree, +indeed the moon walking sets in just at the time of sexual +maturity and leads to the most complicated actions before the menses, +that is at the time of the greatest sexual excitement. And this +activity in sleep and the moon walking too almost cease when the +patient enters upon regular sexual intercourse. The shining of +every light stimulates her sexually, especially that of the moon. +The wandering about in her nightgown or in the scantiest clothing +is plainly erotically conditioned (exhibition), but also the going +about in the ghostly hours (see later), finally the being wakened +through the softest calling of her name by the mother, with whom +alone she stands in a contact like that of hypnotic somnambulism.</p> + +<p>Purely childish moreover is the clever technique of disguise. First +she simulates illness or fear in order to be taken into the mother's +bed. Then she pretends to be asleep, talks in her sleep, throws herself +about in her sleep, that she may be able to do everything without +punishment and without being blamed, finally plays the mother +in a manner which corresponds completely to child's play. Also +later, before and after wandering in the bright moonlight, she produces +specially deep sleep and first as if in an obsession tries the +door repeatedly to see if it is closed. I see in this, naturally apart +from possible organic causes of profound sleep, an unconscious purpose, +which plainly insists: “Just see, how sound-asleep I am (we +are reminded of the earlier pretending to be asleep) and how +afraid I am that the door might be left open! Whoever has to walk +about in spite of such sound sleep and such precaution, and even +perhaps do certain things which might be sexually interpreted, he +plainly is not to blame for it!”</p> + +<p>We might add from knowledge of the neuroses that the fear that +some one might be hiding in the room signifies the wish that this +might be so in order that the subject might be sexually gratified. +There was one circumstance most convincing in regard to this, which +I will now add. Even during the time of her psychoanalytic treatment, +when she did not wander at night any more nor perform complicated +acts in her sleep, she had a number of times in the country +carefully locked the door of her room in the evening, only to find it +open again in the morning. To be sure, her lover of that period +slept under the same roof, though at some distance from her.</p> + +<p>Before I go more closely into the question as to what share the +light had upon the sleep walking of our patient, I will recall once +more that her actions during sleep were at first but few and had +<span class="pagenum"><a name="Page_23">23</a></span>nothing to do with the light. As the years went by they became +more complicated and finally took place only under the influence of +the light, whether it was artificial or natural, that is of the moon. +More extended walks were in general possible only in the light of the +moon, which as a heavenly body shining everywhere threw its brightness +over every thing, in the court, garden and over the street, while +candles or lamps at the best lighted one or two rooms. The patient, +given to sleep walking or moon walking, went after the light, which +meanwhile represented to her from childhood on a symbol of the +parents' love and gave hope of sexual enjoyment.</p> + +<p>It was also bound inseparably within with motor activities of an +erotic nature. When her mother approached her bed with the light +it was a reminder to the child, Now you must go upon the chamber +and you can pass “the good,” or, when she sat on the mother's +lap and gazed into the lamplight, Now you may stimulate yourself +according to your heart's desire. Then the lamp was shining when +the little one wished to climb into bed with the mother in order that, +while exhibiting herself, she might see her as scantily covered as possible. +And finally the striking of the light announced, “the mother +is sick, in nursing her you will have the opportunity to see her bared +breasts and her blood.” Evidently the light thus led, when she +climbed after it, to the greatest experience of sexual pleasure of her +earliest childhood. On account of this strong libido possession the +memory of the light was kept alive in the unconscious and it needed +only that the light of the lamp or the candle should fall upon the +face of the wanderer to permit her to experience in the most profound +sleep the same pleasure, the unconscious was set into activity +and everything was accomplished most manifestly according to the +purpose that served her strong libido.</p> + +<p>It is remarkable that our patient distinguished immediately a +strong feeling of pleasure by the shining of every light, that moreover +she seemed to herself as a supernatural being (glorification +through the sexual feeling of pleasure<a name="FNanchor_10_10" href="#Footnote_10_10" class="fnanchor">[10]</a>), that she herself imagined +it must represent a second sort of consciousness, and finally that she +stood in such contact with the beloved person as that of a hypnotized +subject—somnambulist—with her hypnotist. For she perceived +also the mother's lightest word when most soundly asleep, in spite of +her difficulty in hearing at other times.</p> + +<p>What was the patient's intention in her longer walks under the +<span class="pagenum"><a name="Page_24">24</a></span>moon's influence, that she, for instance, climbed to the first story, +reflected for a moment and then started to go out at the gate? That +becomes comprehensible when it is remembered that she once opened +the door in her sleep for her lover in the country and furthermore +in her first complicated sleep walking. The purpose of the latter has +been stated, to climb into her mother's bed in order to obtain the +greatest sexual pleasure. I do not believe I am far astray when I +assume that this erotic desire of the child lies also essentially at the +basis of her more extensive wandering in the moonlight. She +simply wishes each time to go to the bed of some beloved one, which, +as we shall hear later, is accepted by poets and the folk mind as a +chief motive, and a fundamental one for many instances of sleep +walking, especially with maidens.</p> + +<p>It becomes clear now, likewise, why the patient climbs into the +first story, then recollects herself and seeks to go out at the gate. +In her seventh year she and her family had changed their abode +and this had been before in the first story but was now on an +upper floor. She is trying yet to climb into the mother's bed, this +still remaining as a fundamental motive. Only she is not seeking +the bed where it stands at the present time but where it stood in +childhood, in the first story and in another house. She goes, therefore, +downstairs but remembers, unconsciously of course, that this is +not the right floor and wants now to go out at the gate to find the +home of her childhood. Later in the country when she so thoroughly +frightens her landlady and her daughter, there she is also +going to a woman she loves and she leaves the house for this purpose +and goes at least into the room that lies in the direction of the +house where the beloved lies. Later still she opens the door wide in +her sleep so that her lover can have free entrance.</p> + +<p>We might also explain now in great part the sleep walking of the +mother. As far as I can discover, the mother also as a very small +child lived in another home than the one in which her sleep walking +began. She ran about her room at night and could not find her +bed and felt around in distress without coming upon the chamber, +both of which stood in the usual places. This may be explained by +the fact that in phantasy she was seeking the bed and chamber of +her earliest childhood, which of course stood elsewhere. Moreover +she attained by her moaning the fulfilment of her unconscious wish +to be set by her mother upon the chamber and then lifted into bed. +The wanderings in the moonlight, after which likewise she could not +find her way back to bed, may be similarly explained, though I +<span class="pagenum"><a name="Page_25">25</a></span>learned only this much about her dancing in the moonlight, that in +her childhood she was very fond of dancing, which is also the +case with our patient. Perhaps she wished also to play elves in the +moonlight, according to poems or fairy tales or had, like her daughter, +earned the special love of her parents through her skill in +dancing.</p> + +<p>We are now at the chief problem. How is it then that the night's +rest, the guarding of which is always the goal of the dream, is +motorially broken through in sleep walking? There is first a special +organic disposition, which is absent from no sleep walker, a heightened +motor stimulability<a name="FNanchor_11_11" href="#Footnote_11_11" class="fnanchor">[11]</a>. This appears clearly with children, and +so for example with our patient as a tendency to convulsive attacks, +pavor nocturnus and terrifying dreams, from which she starts up.</p> + +<p>As far as my observations go, it seems to me that there is a +special disposition to sleep walking in the descendants of alcoholics +and epileptics, of individuals with a distinctively sadistic character, +finally of hysterics, whose motor activity is strongly affected, who +also suffer with convulsions, tremor, paralyses or contractures. It +should be merely briefly mentioned that the heightened motor excitability +also establishes a disposition to a special muscle erotic, +which in fact was easily demonstrable in every one of the cases of +sleep walking and moon walking which have become known to me. +The disturbance of the night's rest was made desirable through the +satisfaction of the muscle erotic to every one for whom the excessive +muscular activity offered an entirely specialized pleasure, +even sexual enjoyment.</p> + +<p>Moreover in our case a series of features besides those already +mentioned bear undoubted testimony to the abnormally increased +muscle erotic. I have already elsewhere discussed them in detail<a name="FNanchor_12_12" href="#Footnote_12_12" class="fnanchor">[12]</a> +and will here merely name briefly the chief factors. The patient had +an epileptic alcoholic grandfather on the mother's side, who was +notorious when under the influence of alcohol for his cruelty and +pleasure in whipping. She had, besides a strongly sadistic mother, +two older brothers, of whom the elder was frightfully violent and +brutal, often choking his brothers and sisters, while the other found +an actually diabolical pleasure in destroying and demolishing everything. +Our patient exhibited already at two years old as well as +through her whole life a pleasure in striking blows, and also conversely +<span class="pagenum"><a name="Page_26">26</a></span>a special pleasure in receiving them, further at four years +old an intensive delight in dancing, an enjoyment that was unmistakably +sexual. We have learned above how she delighted to press +herself upon her mother's body or twine herself about her legs. +Moreover, finally, one of her very earliest hysterical symptoms was +a paralysis of the arm.</p> + +<p>More difficult seems to me the answer to the second main question: +What influence does the moon exercise upon the sleeper? It +was earlier discussed, along with the various psychical overdeterminations, +that the moonlight awoke first the infantile pleasure +memories, among other things that that light shining everywhere +lighted the way which led to the house and the dwelling of the +earliest childhood. Mention was made of the infantile comparison +of the moon's disk with the childish nates and perhaps the gazing +upon the nightly orb, which seems besides most like a hypnotic +fixation, may be also referred back to the same. Since we know +today that the love transference constitutes the essential character +of hypnotism, that symptom brings us once more to the eroticism. +Beside there was not wanting with our patient a grossly sensual +relationship. Finally there is also the infantile desire to climb over +the houses into the moon, realizing itself in part at least in the moon-inspired +climbing upon the roof.</p> + +<p>Yet the second leading problem appears to me, in spite of all +this, not completely exhausted. It might not thus be absolutely +ruled out that more than a mere superstition lurks behind the folk +belief which conceives of a “magnetic” influence by which the moon +attracts the sleeper. Such a relationship is indeed conceivable when +we consider the motor overexcitability of all sleep walkers and the +effecting of ebb and flow through the influence of the moon. Furthermore +no one, in an epoch which brings fresh knowledge each +year of known and unknown rays, can deny without question any +influence to the rays of moonlight. Perhaps in time the physicist +and the astronomer will clear up the matter for us. Meanwhile the +question is raised and can be answered only with an hypothesis.</p> + +<p>In conclusion I have in mind a last final connection which the +spell of the moon bears to belief in spirits and ghosts. It is established +through many analyses that the visits of the mother by night +form the basis of the latter, when she comes with the light in her +hand and scantily clothed in white garments, nightgown, or chemise +and petticoat, to see if the children are asleep or, if they are, to set +a child upon the chamber. The so often mentioned “woman in +<span class="pagenum"><a name="Page_27">27</a></span>white” may also be the maiden in her nightgown, who thus exhibits +<ins title="hereself">herself</ins> in her night garment to her parents as she climbs into their +bed, later also eventually to her lover. The choice of the hour between +twelve and one, which came to be called the ghostly hour, may +perhaps be referred to the fact that at this time sleep was most profound +and therefore there was least danger of discovery.</p> + +<p><span class="smcap">Case 2.</span> I introduce here a second case, in which to be sure the +influence of the moon represented only an episode and therefore received +also but a brief analysis. It is that of a twenty-eight year old +forester, who came under psychoanalytic treatment on account of +severe hysterical cardiac distress. The cause of this was a damming +up of his feelings toward his mother, for whom he longed in the +unconscious. His condition of anxiety broke out when he went to +live with his mother after the death of his father and slept in the +next room. He admitted that his father drank. Every Sunday he +was somewhat drunk. Likewise the mother, who kept a public +house, was in no way disinclined toward alcohol. He himself had +consumed more beer especially in his high school days than was +good for him. I would emphasize in his sexual life, as belonging to +our theme, his strong urethral erotic, which made him a bed wetter +in childhood, led in later years to frequent micturition at night and +caused a serious dysuria psychica. His muscle erotic finally drove +him to the calling of a forester.</p> + +<p>Only the portions of his psychoanalysis, which lasted for eight +weeks, which have to do with his sleep activities and his response +to the moon will be brought forward. Thus he relates at one time: +“At thirteen years old, when I was in a lodging house kept by a +woman, I arose one morning with the dark suspicion that I had done +something in the night. What I did not remember. I merely felt +stupefied. Suddenly the boys who slept with me began to laugh, +for from under my bed ran a stream of urine. In the night the full +moon had shone upon my bed. We fellows had no vessel there but +had to go outside, which with my frequent need for urination during +the night was very unpleasant. Now there stood under my bed a +square box for hats and neckties, which I, as I got up in the night +half intoxicated with sleep, had taken for a chamber and I had +urinated in it. This was repeated. Another time, also at full moon, +I wet a colleague's shoe. They all said that I must be a little loony. +When the full moon came, I was always afraid that I might do this +again, an anxiety which remained long with me. I never dared +sleep, for example, so that the full moon could shine directly upon +<span class="pagenum"><a name="Page_28">28</a></span>me. Yes; still something else. Two or three years later the following +happened, only I do not know whether there was moonlight. +I was sleeping with several colleagues in a room adjoining that of +the lodging house keepers, the man and his wife. I must have gone +into them at night and done something sexual. Either I wished to +climb into bed with the wife or I had masturbated, I do not know +which. I had at any rate the next day the suspicion that something +of the kind had happened. The landlord and landlady laughed so +oddly, but they said nothing to me.”</p> + +<p>“Did your mother perhaps in your childhood come to look after +you with the light?”—“Yes; that is so. My mother always stayed +up for a long time and came in regularly late at night with the light +to go to bed. My father was obliged to go early to bed because of +his work and had to get up at midnight, when he always made a +light.” Here he suddenly broke off: “Perhaps it is for this reason +that I have an anxiety in an entirely dark room. If there is not at +least a bit of light I can not perform coitus.”—<ins title="How">“How</ins> is that?”—“I +have remonstrated rather seriously with myself that the sexual act +could be performed only with a light.”—Then at a later hour of +analysis: “When my father went away at night, I came repeatedly +into my mother's bed. I lay down in my father's bed, also in a +certain measure put myself into his place.”—“Did your mother call +you, or did you come of yourself?”—<ins title="I">“I</ins> believe that my mother invited +me to her. Now something occurs to me: The moonlight +awoke me as my father woke me when he struck a light as he was +going out. Then it was time to go into bed with my mother, for +the father was gone, which always gave me a feeling of reassurance.”—“Yes, +when he was gone he could do nothing more to the +mother. And <ins title="they">then</ins> you could take his place with her.”</p> + +<p>Two months later came the following to supplement this: “Already +in the grammar school I was always afraid someone might +attack me in the night, because of which I always double locked the +room and looked under the bed and in every chest. In childhood +Mother came in fact to look after me and set me on the chamber.”—“Then +your neurotic anxiety presumably signifies the opposite, the +wish that your mother shall come to you <ins title="again”">again.”</ins>—“Or rather, I bolt +the door so that my father cannot come to my mother. I followed in +this also a command of my mother, ‘Lock yourself in well!’ She +always had a fear of burglars. Now even since I have been living +with my mother she has said to me more than once, that I should +lock myself in well. But I thought to myself, ‘What, bolt myself +<ins title="in!’">in!’”</ins>—“That would mean also that if the mother wants to come, only +<span class="pagenum"><a name="Page_29">29</a></span>she should come.”—“That is just what I thought to myself, when +Mother woke me early, that she need not knock but come right in. +In the daytime I lay in my mother's bed because her room was +warmer than mine. I was feeling very wretchedly at that time +and my mother said in the evening, ‘Stay there where you are; I +will sleep in the little room next. Leave the door open.’ In the +night I know I was very restless.”—“Did you not perhaps have the +wish that your mother should look at her sick child in the night, as +she once did when you were younger?”—“Yes, to be sure. This +wish pursued me and therefore I slept badly. I would have carried +the thing out further if my dysuria had not hindered me. If I had +arisen in the night or the morning, then Mother would at once have +heard me in her light sleep and I would not have been able to urinate. +One time I crept out of bed very quietly so that she did not hear +me, and yet it held back a long time until I couldn't stand it any +longer. It was just the same at the time when I was in the grammar +and the high school, if Mother asked me to sleep near her +and Father was not there. Then also I could urinate only with +great difficulty. And now when I was living with my mother, I +had the most severe excited attacks. There was no other reason +for I was neither a loafer nor a drunkard. I have laid myself down +in my mother's bed and been unwilling to get out. That is very +significant. And if at any time I went away from home I at once +felt so miserable that I must go back. I was immediately better +when once there.”</p> + +<p>This case, when we consider it, is plain in its relationships. The +excessive love for the mother is a decisive factor as well as the desire +to play the rôle of the father with her. Therefore the fear of +burglars at night, behind which hides in part the anxiety that the +father would have sexual relations with the mother and in part the +wish that the latter might herself come to him. Joined to this is the +desire for all sorts of infantile experiences, such as the mother's +placing him every night upon the chamber because of his bed wetting. +In the later repression the pleasure in the enuresis as well as +in the being taken up by the mother becomes a dysuria psychica. +Naturally to the urethral eroticist in childhood, and also later unconsciously, +micturition is analogous to the sexual act. In puberty +the moonlight awakens him as in childhood the mother's light or +that of the father. So on the one hand the memory of the former +is awakened, who with the light in her hand reminded him to go to +<span class="pagenum"><a name="Page_30">30</a></span>the chamber,<a name="FNanchor_13_13" href="#Footnote_13_13" class="fnanchor">[13]</a> and on the other hand the memory of the going out +of the father, which was a signal to him to go to his mother. He +arises and carries out with her symbolically the sexual act, for he +urinates into a vaginal symbol (box or shoe-vagina). Also the fact +that he got up once by the light of the full moon and wanted to +climb into the bed of the landlady, likewise a mother substitute, is +all of a piece. This case here before us, as may be seen, confirms +what the first has already taught us.</p> + +<p><span class="smcap">Cases</span> 3, 4, and 5.—I wish to give further a brief report of three +cases of walking by moonlight, which I regret to say I could only +briefly outline in passing, not being able to submit them to an exhaustive +analysis. In everything they confirm every detail of our +previous conclusions.</p> + +<p>The first case is that of an unmarried woman of twenty-eight, +who walked in her sleep first in her sixth year and the second time +when she was nine years old. “I got up when the full moon was +shining, climbed over a chair upon the piano and intended to go to +the window to unfasten it. Just then my father awoke and struck +me hard on my buttocks, upon which I went back and again fell +asleep. I often arose, went to each bed, that of the parents and +those of the brothers and sisters, looked at them and went back +again. Between sixteen and seventeen years old, when my periods +first occurred, the sleep walking stopped.” She adds later: “I frequently +as a child spoke out in my sleep. My nose began to bleed +when I was walking on the street and the sun shone upon me. After +this the sleep walking improved. I always clung affectionately to +my parents and brothers and sisters, and never received a blow except +in that one instance by my father.”—“Which you took rather +as a caress, than as a blow for punishment.”</p> + +<p>In this case also the sleep walker plays sometimes the rôle of +the mother, who satisfies herself that her dear ones are asleep. +Moreover a period of talking in the sleep precedes the wandering +by moonlight. It is noteworthy that the sleep walking is intercepted +by a caressing blow from the father and ceases altogether when +menstruation sets in. Also earlier nosebleed had a beneficial effect.</p> + +<p>The second case is that of a forty-year-old hysteric, who in her +marriage remained completely anesthetic sexually, although her husband +was thoroughly sympathetic to her and very potent. Her +father's favorite child, she strove in vain in early childhood for the +<span class="pagenum"><a name="Page_31">31</a></span>affection of the mother, who on her part also suffered severely +from hysteria, with screaming fits, incessant tremor of the head and +hands and a host of nervous afflictions. This mother's daughters +had all of them always an extraordinary passion for muscular activity +with apparently great satisfaction in it. They were among +other things distinguished swimmers and enthusiastic dancers. My +patient besides could never tire of walking for hours at a time.</p> + +<p>In our discussion she related the following to me concerning her +sleep walking: “I got up once in the night when I was about ten +years old. I had dreamed that I was playing the piano. I found +myself however not in bed but standing between a chest and a desk +scratching upon the latter with my nails, as if playing the piano, +which finally awoke me. There was also a paper basket there which +either I had stepped over or there was a space through which I could +slip, at any rate the way there was not quite free. I stood in this +narrow space and dreamed I was playing the piano. Suddenly I +heard my mother's voice, ‘Mizzi, where are you?’ She called me +several times before I finally awoke. Without it was not yet growing +daylight, but the moon shone brightly within. I recollected myself +immediately, realizing where I was, and went <ins title="beck">back</ins> to bed. I +told my mother, as an excuse, that I had to go to the chamber.” +“Had you at that time a great desire to play the piano?”—“Three +years later it made me sick that I had not had to learn, but then I +had as yet no desire for music. We had no piano at that time. Yet +among my earliest memories is that of the way in which my mother +played the piano. As a woman I wished that I could express my +joy and sorrow in music. I would mention further that my brother +and my uncle on the mother's side<a name="FNanchor_14_14" href="#Footnote_14_14" class="fnanchor">[14]</a> are both sleep walkers. The +former always wants to come into my bed in the night when he +walks in his sleep. I must emphasize that he is especially fond +of me.</p> + +<p>“The following often happened to me after I was married but +never in my maidenhood. I awoke in the night, sat up in bed and +did not know what was the matter with me. I could not think consciously, +I was quite incapable of thought. I knew neither where I +was nor what was happening to me; I could remember nothing. I +did not know whether I was Jew or Christian, man or woman, a +human being or a beast, only stared straight ahead into the next +room, at a point of light. That was the only thing that appeared +<span class="pagenum"><a name="Page_32">32</a></span>clear to me. I held myself to it to regain clearness. I always said +to myself: ‘What, what then? Where, how and why?’ My +powers of thought went no further. I was like a newborn child. I +stared fixedly at this point of light because I unconsciously thought +I would obtain clearness there for everywhere else it was dark. +This lasted for a long time until through the light I could distinguish +what it was that caused the light. It was from a street lamp, so +apparently before midnight, and the lamp lighted a bit of the wall +in the next room. After I had said to myself for a long time ‘What, +what?’ and stared straight at that light, I learned gradually to distinguish +what made the light, that is to recognize, That there +above, is a bit of lamplight; again after some time; That is my +lamp. Upon this I recollected my home and then for the first time +everything else. When I had made out the outlines of things around +me, then returned the consciousness that I was a human being and +was married. Of all that I had not before been aware. I do not +remember that I had dreamed anything before this came on, or +that anything had excited me, nor that anything special had happened +beforehand. Beside nothing like it has ever happened to me +when I have been greatly excited. At the most, after my marriage +I led a life of strain. I was tied to a shop which was damp, unwholesome +and full of bad air, and I am a friend of fresh air. I +suffered very much mentally under these conditions, because I love +light and air.”—“Did you think that you were indeed not a human +being?”—“No; only that with God's help I would endure this life.” +I will add here that her second sister also manifested similar disturbances +of consciousness.</p> + +<p>We find first in the foreground a family disposition to sleep +walking and moon influence. The brother significantly always wants +in his wanderings to get into the sister's bed, while our patient herself +openly plays the part of mother, especially the mother of the +earliest childhood. It is interesting also that when in her married +life she had to give up her pleasure in light and air, the disturbances +of consciousness set in, from which she could free herself only +through fixing her attention upon a point of light. She had the distinct +feeling that from this point of light things would become clear +to her. One can easily think of occasions of being dazed by sleep +when perhaps the mother came with the candle in her hand to see +whether her child was asleep and the child awoke. The whole remarkable +occurrence would then be simply a desire for the mother's +love, which she all her life long so sorely missed.</p> + +<p><span class="pagenum"><a name="Page_33">33</a></span>Now for the last case, a twenty-three year old married woman +suffering from a severe hysteria, who clung with great tenderness to +her parents, but received a reciprocal love only from her father, +while the mother preferred her sister. The patient told me of her +moon walking: “I always wanted to sleep by the open blinds so that +the moon could shine upon me. My oldest brother walked about in +the night, drank water, went to the window and looked out, all of +course in his sleep, then he went back to bed and slept on. At the +same time he spoke very loudly, but quite unintelligible things and +one could actually observe that the moon exercised an attraction +over him. My younger healthy brother said that it was frightful, the +many things that he uttered in the night. I also climbed out of bed +one night when sixteen or seventeen years old, because I could not +find the moon, and sought it and met my moon haunted brother. I +immediately disappeared again going back to my bed and he did +not see me.</p> + +<p>“I was ill once, about the same time, with influenza, and continually +repeated in my feverish phantasies that they should take +down some one who was hanged and not punish him; he could not +help it. There was moonlight at that time and moreover a light +burned in the room. I took this for the moon, which I could not see +but wanted to see. I strove only all the time to see the moon. The +windows must be closed because I was afraid, but the blinds must +remain open so that I could see the moon. Some one roused me +then from my phantasies and there I saw that my cousin sat near +me. He was not however the one hanged, it was some one who was +first dragged out by another man, a warden in the prison. The face +of the one who was hanging I did not see, only his body.”—“Of +whom did he remind you?”—“I do not know definitely and yet +it was the cousin who sat near me. And as I awoke, apparently I +called his name for he answered me, ‘Yes, here I <ins title="am!’">am!’”</ins>—“What +about the warden of the prison?”—“A man is first locked up before +he is hanged.”—“Do you see also in phantasy something that hangs +down?”—“Yes; when with my cousin I always had the desire to +see his membrum stiff, as it could be felt and noticed outlined +through his clothing.” I will add likewise that behind the cousin +and her sexual wishes toward him analogous phantasies toward the +father were hidden. That which hangs down (pendens, penis) is +also the phallus. Her adjuration that the hanged person should not +be punished, he could not help it, is a demand for mercy for sexual +sins (see also later).</p> + +<p><span class="pagenum"><a name="Page_34">34</a></span>“Upon the wedding journey my husband did not want to sleep +by the open blinds, and I wanted to sleep nowhere else so that the +moon could shine upon me. I could never sleep otherwise, was very +restless and it was always as if I wanted to creep into the moon. I +wanted, so to speak, to creep into the moon out of sight.<a name="FNanchor_15_15" href="#Footnote_15_15" class="fnanchor">[15]</a> Recently +I was out in the country with my sister and slept by the open +blinds. The light from the heavens, to be sure not the moonlight, +forced its way in and I had the feeling as if something pierced me,<a name="FNanchor_16_16" href="#Footnote_16_16" class="fnanchor">[16]</a> +in fact it pierced me somehow in the small of my back, and I arose +with my eyes closed and changed the position of the bed, upon which +I slept well. I knew nothing of it that I had arisen, but something +must have happened because I now could lie comfortably.</p> + +<p>“Something else still. About two years ago I observed the moon +in the country, as it was reflected in the water, and I could not tear +myself from this spectacle until I was suddenly awakened by my +husband and cried out. Five or six years ago I went out in a boat +upon the Wolfgang lake. The moon was reflected in the water and +I sat there very still. Suddenly my brother, the one who is well, with +whom I do not have much to do, asked, ‘What are you thinking +of?’—‘Nothing at all.’—‘It must be something.’—‘No, nothing!’ +As we climbed out, I was still quite absent minded. Also at night I +always had the moon before me and spoke with it.”—“Consciously +or in a dream?”—“I believe I was more asleep than awake. For if +any one had come upon me then I should have felt it very painfully. +I have incidentally noted the words: ‘Oh moon with thy white +face, thou knowest I am in love only with thee. Come down to me. +I languish in torture, let me only comfort myself upon thy face. +Thou enticing, beautiful, lovely spirit, thou torturest me to death, +my suffering rends me, thou beautiful Moon, thou sweet one, mine, +I implore thee, release me from this pain, I can bear it no longer. +Ah, what avail my words and my complainings! Be thou my happiness, +take me with thee, <em>only pleasure of the senses do I desire +for myself</em>. Thou Moon, most beautiful and best, <em>save me, take my +maidenhood, I am not evil to thee</em>. Draw me mightily to thyself, +do not leave off, thy kisses have been so good to me.’” As may be +seen, she loved the moon like a lover to whom she would yield herself +entirely. The grossly sexual relationship is evident. It is after +this fragment doubly regrettable that a penetrating psychoanalysis +was not here possible.</p> + +<p>The early sexual content of the moon desire and its connection +<span class="pagenum"><a name="Page_35">35</a></span>with the parent complex is shown by her further statement: “Last +summer in the country I had only my mother-in-law with whom I +could talk. It was the time of the new moon and I could not bear +complete darkness in my room. It was frightfully lonely to me thus +and I could not sleep. I had the idea that in the lonely darkness +someone was coming to me and I was afraid.”</p> + +<p>It soon came to light that she and her sister in their early childhood +and again between the ages of eight and thirteen shared the +parents' sleeping room and had repeatedly spied upon their sexual +intercourse. Her present fear is also evidently the wish to put herself +in the place of the mother, to whom the father comes. She recalls +yet one more episode: <ins title="‘When">“When</ins> I was nine or ten years old, the +healthy brother was ill with typhoid and the parents were up nights +on his account. We sisters were sent to stay elsewhere, where we +had opportunity to play with a boy who carried on a number of +sexual things with us. I then dreamed of him at night and phantasied +the sexual things which I had done with him in the daytime. +Apparently I had also at that time played underneath with my genitals. +At the same time, while my brother had typhoid, I was unwilling +to go to sleep and could not, because I could have no rest while +my brother was ill.” It is clear without further discussion to one +who understands these things that it was not anxiety for the brother +but secret, yet insistent sexual wishes which caused the sleeplessness. +It is finally significant that, when later she dreamed of a +burglar, he always came after her with a knife, or choked her, as +her cousin and mother had often done to her.</p> + +<p>As we consider this third case of moon affectivity we find +again familiar phenomena, connections with early sexual dreams +and the parent complex. Especially noteworthy is further her +direct falling in love with the moon, to which she addresses her +adoration in verses and to which she even offers her virginity. It +is as if she saw in it a man, who should free her from her sexual +need. One is reminded how in the first case, the one cured by psychoanalysis, +the four-year-old girl sought continually the moon's +face on the ground of a students' song. It could not, we regret to +say, be ascertained, in the absence of a psychoanalysis, whether in +this case the heavenly body represented to the moon walker some +definite person or not.</p> + +<p><span class="smcap">Case 6.</span>—I add here three autobiographical reports, which I +have gathered from literature. The first originates with the +famous anatomist and physiologist Karl Friedrich Burdach, who +from his tenth to his thirtieth year had occasional attacks of moon +<span class="pagenum"><a name="Page_36">36</a></span>walking, although he apparently “enjoyed the most perfect health.” +“I have during these periods,” he himself relates, “undertaken +actions which I had to recognize as mine, merely because they could +have been carried out by no one else. Thus one day it was incomprehensible +to me why I had on no shirt when I awoke, and it remained +so in spite of my utmost efforts to recollect myself, until the +shirt was found in another room rolled together under a press. In +my twenty-ninth year I was awakened from a night wandering by +the question, What did I want? and then the consciousness of the +somnambulistic state passed over in part to the awaking. First I +found the question strange, but since I thought the reason for it +would become plain, I need not betray it. Immediately, however, +as I began to waken, I asked myself in what that consisted and, +now that the somnambulistic state was over, the answer must be +due me.”</p> + +<p>One cannot help finding this self revelation exceedingly interesting. +The hiding of the shirt, although the affair is so incompletely +reported, especially in its motivation, points unmistakably at least to +exhibitionism. The second sleep walking appears much more difficult +of explanation. In this Burdach sought plainly a definite +goal, which seemed so clear and transparent to him that he could +not at all understand why anyone should question him about it. If +we consider that his first thought on waking was that he need not +betray this purpose, that moreover there enters at once a repression +and causes him completely to forget it, there remains then no other +possibility than that we have to do with a strongly forbidden wish, +which the conscious censor will not allow to pass. It is easy to conceive +a sexual motivation in this second instance if we remember +that in the first sleep walking something sexual surely took place.</p> + +<p>Still more probable is the strongly forbidden sexual goal, if we +take into consideration the circumstances of his life. In his autobiography +“<span lang="de" xml:lang="de">Rückblick auf mein Leben</span>” Burdach tells us how extraordinarily +his mother depended upon him. “Having already +lost four children in their first year, she had longed to bear another +child and especially since the setting in of the illness of my father +had compelled her to think of losing him, she had wished for a son +as a sure object for her love-thirsty heart. Her wish was fulfilled +when she bore me.” Eleven months later the father died, leaving +his wife and his little son not yet a year old unprovided for. Nevertheless +she, the widow, rejected the proposal to return to her parents' +home and preferred rather “trouble, need and a thousand cares +up<span class="pagenum"><a name="Page_37">37</a></span>on herself in order that I might be better educated; for I was the +object of her deepest love. About nine o'clock in the evening she +went with me to bed and twined her arm about me; in the morning +she stole from my side and permitted me an hour or two more of +rest (p. 14).</p> + +<p>“Women had a particular influence upon me; but it was also +natural to me to attach myself to them. As my mother related, I +never as a child went for a ride on my hobby horse without having +at parting and on my return kissed my hand to my lady represented +by a doll” (p. 24). It is superfluous to add that this lady was no +other than his mother. Also the following passage I think is significant: +“I was by nature endowed with as great a sensitiveness to +womanly charm as to womanly dignity and this inclination toward +the other sex grounded in my psychical constitution was nurtured by +circumstances from my earliest youth on. I could but recognize very +soon the high intellectual and moral quality of my good mother, who +in her struggle with poverty kept herself fresh and free from vulgarity +and shunned no sacrifice for me. Likewise the matrons to +whose well wishing I owe my gratitude, inspired me with high +respect for their character. In my former nurse there seemed to +me a pattern of tireless and sagacious activity of a high order and +breeding.… Thus a high respect for true womanhood was implanted +in me. On the other hand I was as a boy made so accustomed +to this rôle by several young women, who entertained themselves +with me and considered me as their lover to while away their +time, that I later retained the inclination to play this part and considered +a friendly advance as an invitation which I in turn held as +a sacred claim of honor and an agreeable duty” (pp. 69 ff.).</p> + +<p>When later the mother took a young widow into lodgings, the +young man, then twenty-one years old, had “the exalted feeling of +being her protector. Then it was all up with my heart” (p. 71). +The death of the dearest one to him on earth, his mother, followed +close upon this and brought an end to it. “I became convinced +that happiness would be found for me only where I shared it with +another being, and that I could be satisfied only by a relationship +similar to that in which I had stood toward my mother; an inner bond +where only a single mutual interest controlled, where one soul found +its happiness only in the other. Without such an absolute love, +penetrating the whole being, life seemed to me worthless and stale. +My mother, whose unbounded love I had enjoyed, was torn from +me; my excellent uncle, heartily devoted to me, I saw in the enjoyment +<span class="pagenum"><a name="Page_38">38</a></span>of his own family happiness. And an unconquerable desire +for the same happiness tortured me as I felt my utter loneliness” (p. 79). +So he concluded to marry although he had only limited prospects +for supporting a family.</p> + +<p>“The first intimation that my wife was pregnant filled me with +delight. I took it for granted that Heaven would send me a daughter. +With my idea of the value of woman all my wishes tended +thither, to possess a daughter and to be able to watch over her while +she unfolded to a noble womanhood. She should have my mother +for her pattern and therefore also be named Caroline after her.<a name="FNanchor_16A_17" href="#Footnote_16A_17" class="fnanchor">[16a]</a> I +spoke so confidently, after I had left Vienna, of ‘our daughter +Caroline’ in my letters to my wife that she was finally quite concerned +and sought to prepare me for the birth of a son. I had not +however made a mistake and my confidence was in the end justified” +(pp. 83 ff.). His wife was confined at some distance from +him and then as soon as possible journeyed to him with the little +one. He relates as follows: “I went in Borsdorf with a beating +heart to the carriage which brought her to me, kissed her hastily, took +my child out of her arms and carried it hastily into the inn, laid it +upon the table, loosed the bindings which bound it to its tiny bed and +was lost in happy contemplation of the beautifully formed, lovely, +vigorous and lively little girl and then first threw myself into the +arms of my wife, who in her mother's pride and joy was feasting +her eyes upon us, and then I had again to observe the lovely child. +What cared I for mankind! What cared I for the whole world! I +was more than happy” (pp. 85 ff.).</p> + +<p>The manner also in which he brought up his child is highly significant: +“Our hearts clung mostly to our daughter.… I enjoyed +the pleasure of possessing her with full consciousness of her +worth, gazed upon her with rapture and was delighted when I observed +in her a new trait of beautiful womanly character. She +recognized by my serious treatment of her the entire depth of my +love, repaid it with inner devotion and challenged it with merry +playfulness. From her first year I delighted to lift her from her +bed in the morning and even when she was eight years old she often +got up of herself, knocked on the window of the alcove door leading +into my work room and whisked back to her bed, so that when I +<span class="pagenum"><a name="Page_39">39</a></span>came she could throw herself with hearty laughter into my arms and +let me take her up. Or she slipped behind my chair and climbed up +behind my back, while I was deep in my work, so that she could fall +triumphantly upon my neck.</p> + +<p>“I must refrain from mentioning more of her winsome childhood. +She was the most beautiful ornament of my life and in the +possession of her I felt myself, in spite of all pecuniary need, immeasurably +happy.” It will not surprise any one with knowledge +of these things that a child so insatiable for love should become +hysterical. “Her sensitiveness was unnaturally exaggerated,” also +she was seized once with a hysterical convulsion, as Burdach relates. +She died young and “the flower of my life was past. The fairest, +purest joy was extinguished for me. I had wished her for myself +and Heaven had heard me. Finding in her the fulfilment of my +warmest wishes, I had never thought it would be possible that I +should outlive this daughter. Nevertheless I bore the pain … +confident of being reunited with her.… For thirty years scarcely +a day has passed on which I have not at least once thought in my +inmost soul of my Caroline” (pp. 142–147).</p> + +<p>I will cite in conclusion still one more fragment of self characterization: +“A chief trait in my character was the need for love, not +that everyday love which limits itself to a personal pleasure and delight, +but that unbounded, overflowing love which feels itself completely +one with the beloved.… The ideal of marriage was before +me in youth, for this need for love has been mine all my life.… I +remember as a student having written in my diary that I would +rather forego life itself than the happiness of family life” (pp. 53 ff.).</p> + +<p>The center of this interesting life is Burdach's deep oneness with +his mother. She on her part took him from the beginning unconsciously +as a sexual object, as a substitute for her husband, who +was failing in health and soon after died. She lay in bed near her +little one, her arm twined about his body and slept with him until +morning. No wonder that the boy was so sensitive to womanly +charm and likewise that later different women looked upon him as +their lover. The thought early established itself with Burdach that +only such a relationship could satisfy him as that in which he had +stood toward his mother. And as he stood for the father it seemed +to him a certain fact that now a little girl should come to be the surrogate +for his mother. Noteworthy also is his attitude toward the +mother who had just been confined and the child. The former is to +<span class="pagenum"><a name="Page_40">40</a></span>him almost incidental, while in the contemplation of his child, in +whom he secures his mother again, he can scarcely get his fill, and +he overwhelms her later with such passionate love as he had once +obtained from his mother. When the girl was torn from him, he +was consoled only by the thought of being united again with her in +heaven.</p> + +<p>We may see finally in the fond play in bed with his daughter a +repetition of that which he carried on with his mother, and we may +remember also that as a child he always slept with his mother. +From all this it seems to me a light falls upon the unexplained purpose +of Burdach's sleep walking. If this seems completely clear to +him but so objectionable that he not only concludes to keep it secret, +but, more than that, forgets it on the spot, then the probability is, +that he desired that night to climb into bed with his beloved mother.</p> + +<p><span class="smcap">Case 7.</span> A second autobiographical account of repeated sleep +walking I find in the “<span lang="de" xml:lang="de">Buch der Kindheit</span>,” the first volume of Ludwig +Ganghofer's “<span lang="de" xml:lang="de">Lebenslauf eines Optimisten</span>.” When the boy +had to go away to school his mother gave him four balls of yarn to +take with him, so that he might mend his own clothing and underwear. +She had hidden a gulden deep within each ball, a proof of +mother love, which he later discovered. In the course of time while +at the school the impulses of puberty began to stir in him and pressed +upon him so strongly at first that frequent pollutions occurred. He +thought he must surely be ill, until finally a colleague explained to +him that this was on the contrary a special sign of health. This +calmed him and now he could sleep splendidly.</p> + +<p>“One night I awoke suddenly as if roused by a burning heat. +I experienced a horrible suffering and believed I felt a hand on my +body. I cried out and pushed with my feet, and as I lay there in a +half consciousness it was as if many of my dormitory companions +were awake and I heard them ask, ‘What is it? Who has called out +this way?’ A voice, ‘Some one has been dreaming!’ And another +voice, ‘Silence in the dormitory!’ And all was gone from me as if +under a heavy veil. Once again quiet. Am I asleep or am I awake? +A wild beating in the arteries of my neck, a roaring in my ears. +Yet in the dormitory all is quiet. The lamp is burning, I see the +white beds. I see the copper of the washstand glimmer like red +gold. Must I have dreamed—an oppressive, frightful dream? +Drops of sweat stood out on my forehead. Then came a heavy +sleep. What was this? I rarely had days of depression or restless, +<span class="pagenum"><a name="Page_41">41</a></span>disturbed nights. And yet in these weeks I entered upon this uncomfortable +experience.</p> + +<p>“One night I awoke. Darkness was round about me. And I was +cold. And I saw no lamp, no bed, no shining copper. Was this +also a dream? Yet my hands felt plainly the hard wood in front of +me. Slowly I recognized a number of vaguely outlined squares, the +great windows. Clad only in my shirt, I sat in the study room +before my desk. Such a horror fell upon me as I cannot describe. +I ran wildly up the stairs, threw myself into my bed and shook. +Another night I awoke. Darkness was about me. Again I was +cold. And I believed that I was again sitting at my desk. No; I +was standing. My hands however felt no wood, my eyes found not +the gray windows. As I moved, my head struck against something +hard. I became aware of a feeble light shining. As I went towards +it, I came from some dark room upon the dimly lighted stair landing.</p> + +<p>“I awoke again in the night. I was cold. A semi-darkness was +about me and over me many stars twinkled. I sat upon the shingle +roof of the bowling alley. It was not a far leap to the ground +below. But the pebble stones of the seminary garden pricked my +bare feet. Moreover, when I wanted to get into the house, I found +the gate closed. My God! how had I then come out? Somewhere +I found an open window and climbed into the house and noiselessly +up to the dormitory. The window near my bed stood open—and +there outside, I believe, was a lightning rod.</p> + +<p>“All day I racked my brains to find a way to escape from the +fear of this dreadful thing. I dared not confide in anyone, for fear +of the ridicule of the others, for fear—I never knew just what I +feared. In the evening I took one of Mother's balls of yarn to bed +with me, bound two double strands about my wrists and tied the +ends around the knobs of the bedstead. In the night, as I was about +to wander again, I felt the pull of Mother's threads and awoke. It +never came again. I was cured.”</p> + +<p>This appears at the first glance a non-sexual sleep walking. This +is only however in its first appearance, although it is to be regretted +that the full explanation can scarcely be given in the absence of any +analysis. It is first to be noted that sleep walking sets in at puberty +and is ushered in by anxiety dreams, pollutions and various anxiety +equivalents. The hammering in the arteries, the roaring in the ears, +the restless, disturbed nights, as well as the unusually disturbed +days, we know these all as manifestations of an unsatisfied libido. +The first “frightful” anxiety dream seems to lead deeper, as well, +<span class="pagenum"><a name="Page_42">42</a></span>as the “horrible suffering” started by a hand, which he felt upon +his body. Must not this hand, which causes this “horrible suffering” +to the youth who had never yet known trouble, have touched +his genitals?<a name="FNanchor_17_18" href="#Footnote_17_18" class="fnanchor">[17]</a> Behind this perhaps, moreover, are very early +memories of the care bestowed upon the nursing infant and the +child.</p> + +<p>The terror which fell upon him every time that he walked in his +sleep is worthy of note, for he was not otherwise easily frightened. +“A terror which I could not describe,” “fear of that dreadful +thing” and fear not merely of the ridicule of his fellows but of +something, what, he never knew, which is a far more violent reaction +than we have been accustomed to find with sleep walkers. +This excessive reaction may be very well understood, however, if +behind it a particularly inacceptable sexual factor hides itself. +Finally the cure by means of the mother's balls of yarn, homely +proof of her love, doubtless has to do with the erotic. It must be +admitted to be sure that we have to confine ourselves to mere conjectures. +Only one may well maintain that even an apparently non-sexual +case soon reveals its sexual grounding. Moreover, a strong +muscle erotic is demonstrated further throughout Ganghofer's +autobiography.</p> + +<p><span class="smcap">Case 8.</span> I will now, especially upon the subject of moon walking, +cite an author who shows a very unusual preference for this +heavenly body. In many a description and in many of the speeches +which he has put into the mouths of his heroes, has Ludwig Tieck, +who also has sung of the “moon-lustered magic night,” given artistic +expression to this quite remarkable love mania—this is the +correct designation for it. Ricarda Huch in her “<span lang="de" xml:lang="de">Blütezeit der +Romantik</span>” makes the striking statement that from this poet's +figures one must “tear away the labels stuck upon them and name +them altogether Ludwig Tieck, for in truth they are only refractions +of this one beam.” One may hear for example how Sternbald +felt: “The orb of the moon stood exactly opposite the window of +his room.” He watched it with longing eyes, he sought upon the +shining disk and in the spots upon it mountains and forests, wonderful +castles and enchanted flowers and fragrant trees. He believed +that he saw lakes with shining swans which were drawing +boats, a skiff which carried him and his beloved, while about them +charming mermaids blew upon their twisted conchs and stretched +their arms filled with water lilies over into the bark.</p> + +<p><span class="pagenum"><a name="Page_43">43</a></span>“Ah, there, there!” he would call out, “is perchance the home of +all desire, all wishes; therefore there falls upon us so sweet a melancholy, +so soft a charm, when that still light, full and golden, floats +upon the heavens and pours down its silver light upon us. Yes, it +awaits us and prepares for us our happiness, and for this reason +its sorrowful look toward us, that we must still remain in this +earthly twilight.” The similarity here with the phantasies of the +psychoanalytic patient at the beginning is indeed unmistakable.</p> + +<p>Yet one or two extracts from the novel “<span lang="de" xml:lang="de">Der Mondsüchtige</span>,”<a name="FNanchor_18_19" href="#Footnote_18_19" class="fnanchor">[18]</a> +the title of which is misleading since it in no way treats of one +afflicted with lunacy but of a <ins title="vertable">veritable</ins> moon lover, presumably our +poet himself. There the nephew, Ludwig Licht(!), writes to his +uncle: “It is now three months since I had a very serious quarrel +with my friend, a quarrel which almost separated us, for he mocked +at an entire world which is to me so immeasurably precious. In a +word, he railed at the moon and would not admit that the magic +light with which it shines was anything beautiful or exalting. +From Ossian to Siegwart he reviled a susceptibility toward the +moon although the poets express it, and he almost had declared in +plain words that if there were a hell, it certainly would be located in +the moon. At any rate he thought that the entire sphere of the +moon consists of burned out craters, water could not be found upon +it, and hardly any plant life, and the wan, unwholesome reflection +of a borrowed light would bring us sickness, madness, ruin of fruits +and grains, and he who is already foolish will without doubt behave +himself worst at the time of full moon.… What concern is it of +mine what the astronomers have discovered in the moon or what +they will yet discover?… It may be ludicrous and vexatious to +devote oneself exclusively and unreservedly to this or that, any +observation, any favorite object. Upon my earlier wanderings I +met a rich Englishman who traveled only to waterfalls and battlefields. +Ridiculously enough, though I have not journeyed only in +the moonlight, yet I have from my earliest youth forever taken +note of the influence of its light, have never in any region missed +the light of the full moon and I dream of being, not quite an Endymion, +but yet a favorite of the moon. When it returns, its orb little +by little growing full, I cannot suppress a feeling of longing while +I gaze upon it, whether in meadow and woodland, on the mountains +or in the city itself and in my own room.”</p> + +<p>And the uncle answers him: “It is true, you are moon sick, +<span class="pagenum"><a name="Page_44">44</a></span>as we have always called you, and to such a one much must be +forgiven which would have to be reckoned differently to a well +man. I have myself however always inclined to this disease.” In +fact the entire action, loving and losing, the development and solution +of the plot, takes place almost exclusively under the light of +the moon. At the conclusion, when the hero finds the beloved +given up for lost, he cannot refrain from the outcry: “Yes, the +moonlight has given her and led her to me, he, the moon has so +rewarded me, his true friend and inspired panegyrist!” I regret +that I find nothing in the biographies which would explain Tieck's +exquisite amorousness toward the moon.</p> + + + + +<div class="new-h2"> </div> +<div><span class="pagenum"><a name="Page_45">45</a></span></div> +<h2 style="line-height: 1.5em;">PART II<br/> +<span class="smcap">Literary Section</span></h2> + + +<p>It is my purpose to bring also our beautiful literature to the solution +of the exceedingly difficult and obscure problem of sleep walking +and moon walking. Our poets, for all our psychiatrists and psychologists, +possess the finest knowledge of the psyche and during +the centuries before science was able to throw light upon the puzzles +of the mind, they solved them prophetically with discerning spirit. +Thus they knew how to bring to light various elements of our +problem. Their creations directed to that end arose from their +own inner nature, through analogy, or because sleep walking was +not foreign to them themselves. And even if neither were the case, +they still had the ability of those who have a real true knowledge of +men, quite intuitively to see clearly into the unconscious of others. +We will come to know what profound interest many of the great +poets, like Otto Ludwig and Heinrich von Kleist took in night wandering +and moon walking and how they have first introduced these +dark problems into other traditional material. A striking similarity +is revealed if one compares that which the poet has in mind with +that which I have been able to report in the medical section. I +shall be able satisfactorily to verify the statement that science and +art have reached exactly the same result. First however I will present +the examples from the poets according to their comprehensibility +and their transparency. I begin with</p> + + +<h3>“<span class="smcap" lang="de" xml:lang="de">Aebelö</span>,” by Sophus Michaelis.</h3> + +<p>Twice had Soelver drawn near to the maiden Gro, daughter of +his neighbor, Sten Basse. The first time was when in the spring he +visited the island Aebeloe, which belonged to him but was quite uninhabited. +So bright the day and so warm the kiss of the sun upon +him, yet suddenly it was “as if his bare neck were flooded by a still +warmer wave of light.” A maiden stood before him, “who was +like pure light. The eyes were as if without pupils, without a +glance; as she looked it was as if white clouds floated forth out of a +heavenly blue background. Soelver sprang up and stood face to +face before her. Her cheeks grew red. Although unknown to each +<span class="pagenum"><a name="Page_46">46</a></span>other, they smiled one at the other like two seraphim. Her hands +opened toward his and before her, as out of her lap, fell the flowers +which she had gathered. Soelver believed for a moment that it was +all a dream. He swung his hands into the air and a hand waved +toward him. He closed his eyes that he might enjoy to the full the +soft, fleeting impression. It floated over his hand like an incorporeal +breath. Was it then a ghostly vision, that wandered there +at his side!” When however he knew that the maiden near him +was a living being, then “his lips sank toward her trembling with +desire, unintentionally and yet irrevocably.” At this moment a +“cloud passed over the sun and the light became at once dulled as if +a mist had fallen upon all the flowers. Of all this he did not become +so quickly aware, as that his own <ins title="checks">cheeks</ins> resounded from a whizzing +blow.” Her face glowed bright with anger and the delicate blue +veins were swollen on her forehead, while with a scornful look she +turned her back to him. His blood was however aflame with desire +for revenge.</p> + +<p>A second time had the young nobleman Soelver sought to satisfy +his masculine passion, when he surprised Gro bathing upon Aebeloe. +She however had defended her maidenhood and struck him about +the head with an old, rusty sword, which she found on the shore, so +that he sank upon the grass covered with blood. “He felt the pain +of his wounds with a strange glow of pleasure. The blow had +fallen upon the hard flint stone within him so that the sparks of +passion had sprung forth. He loved the maiden Gro. A consuming +passion raged in his blood. In his thoughts he knelt always +before that ineffaceable image, which struck him to the earth with a +flame of divine wrath in her eyes.” In revenge for the trespass +committed Sten Basse fell upon Soelver's castle and took the young +nobleman himself prisoner.</p> + +<p>Wild violence of this sort was indeed familiar to Sten Basse. +He himself had once taken his wife thus by force. Just as he was +flattering himself that he had broken her will once for all, she bit +him in his chin so that the blood gushed forth and she spit his own +blood into his eyes. He was struck with admiration at such +strength. He had thought to desert her at once. Now he lifted +her in his arms, carried her from her father's castle into the stable, +bound her to his horse and rode forth—to his own home. Their +marriage had been at first a long series of repetitions of the first +encounter. In the end she loved him as the horse loves the iron bit +between his teeth and the spur in his flank. She did not allow herself +<span class="pagenum"><a name="Page_47">47</a></span>to be subdued by the blows which he gave her, but she was the +weaker and she loved him because he was strong enough to be the +stronger. An evil fate had taken his sons from him one after the +other. Therefore he wished to call forth in his only daughter the +traits of his own blood, his pride, disdainfulness and stiff-neckedness. +“She must know neither fear nor weakness; her will must +be hardened and her courage steeled like that of a man. When he +heard that his daughter had been in danger but had saved herself, +he swore revenge to the perpetrator of the outrage, yet at the same +time his heart laughed with pride at Gro's fearlessness. He took +the young nobleman prisoner and rewarded him with heavy and +tedious torture as penance for his insolence. Yet at the same time +he delighted himself with the thought of putting his daughter to a +still more dangerous proof. He wished to see the young-blooded, +inexperienced birds reach out swinging and scratching in attack and +defense.”</p> + +<p>As if in mockery he gave to the imprisoned youth the passionately +desired Gro to be with him in the dungeon. “She stood there +as if she had glided into his prison by the flood of light entering in +and he trembled lest the light would again absorb her into itself.” +He knew not what power forced him to his knees and threw him at +her feet with a prayer for forgiveness. She had however merely a +scornful laugh for the man humbling himself in his love and the +cruelly abusive word, “Creeping worm!” Then in his sense of +affront there comes the thought that Gro was given into his power. +While he tried the walls of his dungeon to ascertain if he was perhaps +watched, Gro stood and stared out by the aperture through +which the light entered, now paler than before. Soelver stepped +near her, drew the single gold ring from his finger, which had come +down to him through many generations of his forefathers, and extended +it to her as a bridal gift. But she threw it unhesitatingly +out through the peephole.</p> + +<p>Now bitterness raged in Soelver's blood. “He bowed himself +before her face in order to intercept her gaze, but he did not meet it +though her eyes were directed toward his. It was indeed no glance +but a depth into which the whole light of day, which was blue now +without overhead, was drawn down into a deep well. Soelver became +intoxicated with this light, which, as it were, appeared to seek +her alone and threw an aureole of intangible beauty about her form.” +He crept up and pushed forward the wooden shutter, then carried +Gro to his cot. “She had let herself go without resistance and fell +<span class="pagenum"><a name="Page_48">48</a></span>lifelessly with her arms hanging down. Soelver laid his face close +to hers. His breath was eager, his blood was on fire and in his +fierce wrath he intended to yield himself to the boiling heat of sensual +passion. Her cheeks however, her skin, her lips were cold as +those of death. He began nevertheless wildly to kiss her face, once +and again, as if to waken warmth and life in the cold skin. Yet +with every kiss it was as if she grew more fixed, as if the lips +shriveled and grew cold and damp as ice over the teeth. The cold +from this embrace crept over Soelver, and drew the heat and fervor +from his nerves, until he shook suddenly with the cold and shuddered +with the thought that he had a corpse under him. Yet in that +selfsame moment he marked the rising of her breast as she drew in +her breath, full of strength with all its coldness, so full of strength +that it pushed Soelver away and he slipped down to the hard flags +of the floor.</p> + +<p>“Soelver lay upon the floor, congealed with a coldness which +was stronger than that of the hard tiles. It was as dark as in a +walled-in grave. He dared not move however for fear that he +would again feel that ice cold body. ‘Hear me,’ sounded suddenly +a strangely shrill whisper, ‘hear me, if you are a man, let me get +out! Call my father! I want to get out—make light—give me air—I +am almost choking—I want to get out!’” As Soelver opened +the shutter again so that the dim shadowy glow of the night could +enter, he saw Gro “tall and slender in the pale light.” “Let me out, +let me out!” she begged. “I am afraid here below—not of you—but +of myself and of the dark—let me out!” “For the first time +Soelver heard a soft rhythm in this voice smooth as steel. A soft +breath breathed itself in her entreaty. He became a man, a protector +and felt his power grow through her supplication.”</p> + +<p>Yet though he exerted himself to the utmost to open the door of +his dungeon, it was all in vain. It must have been fastened on the +outside with massive oak or iron bars. <ins title="So">“So</ins> finally he gave up entirely +and turned back to the opening where the light came in. Gro had +sunk down under the last bit of light, without complaint, without +sound. Her eyes were closed, she leaned her head against the sharp +edge of the aperture and her arms hung down lifelessly. Soelver +bent over her; her breath was almost inaudible, but irregular and +did not suggest sleep. Like a thirsty plant she stretched herself out +of the single airhole of the dungeon that she might seize the last drop +of light before the darkness extinguished everything. Soelver divined +that she could not be brought away from this aperture for light.” +<span class="pagenum"><a name="Page_49">49</a></span>He brought all the skins from the couch, spread them over her, +pushed them under her body and “solicitously, with infinite carefulness +he protected her from the damp floor, while he shoved his arm +under her for support without ever touching her with his hand. All +his brutality was gone, all his burning passion. Here she lay before +him like a delicate sick flower, which must be covered over from the +cold of night.”</p> + +<p>When Soelver awoke the next morning he noticed that one of +his hands was seized by her, grasped in the unconsciousness of +sleep and held fast by her long, slender fingers, which clasped themselves +about his hand. It was as if her soul clung to him in sleep +as helper and savior from him himself, from his own brutal savagery. +When Gro however opened her eyes and stared into Soelver's +face, lit up by the sun, she broke out into weeping which could +not be stilled. “She was terrified at awaking in a cellar hole, into +the close damp darkness of which she looked, while the face of her +vanquisher blazed strong in the sunlight before her; she wept without +understanding or comprehending anything of what had happened +about her.” Perplexed, Soelver bent over her hand and +kissed it. Then came Sten Basse and saw how uncontrollably Gro +sobbed. “If you have gone near my daughter,” he hissed at the +young nobleman, “there will be no punishment strong enough for +you.” At this there shot up in Soelver a wild lust for revenge and +he answered his enemy with irritating coldness: “Yes, I took what +you gave. You brought her yourself into my presence, you laid her +yourself in my arms. Now you may take her back again. I spurn +your daughter for I have not desired her for the honor and keeping +of my house, but only for the entertainment of a night. Take +her back now! Take her back!”</p> + +<p>Nevertheless better treatment was from this time on accorded +Soelver, which he never for a moment doubted he owed to Gro. As +he dwelt in his cell upon his phantasies, he suddenly heard her voice +singing that melancholy song of Sir Tidemand, who tried to lure the +maiden Blidelille into his boat by vigorous runes written upon roses. +Blidelille awoke at midnight and knew not what it was that compelled +her.</p> + +<div class="poem" style="width: 17em;"> +<div class="stanza"> +<span class="i0">“It drew me along to Sir Tidemand<br /></span> +<span class="i1">Whom never mine eyes had seen.”<br /></span> +</div> +</div> + +<p>In vain the foster mother bids them spread velvets and satins +over her that she might sleep. Notwithstanding she arises suddenly, +<span class="pagenum"><a name="Page_50">50</a></span>dresses herself and goes down to the strand to Sir Tidemand, +who meets her scornfully. Then she goes into the lake, whither +Tidemand follows her, seized with heartfelt remorse.</p> + +<div class="poem" style="width: 19em;"> +<div class="stanza"> +<span class="i0">“For evil the rune on the rose leaf traced<br /></span> +<span class="i1">And evil the work it had wrought,<br /></span> +<span class="i1">That two so noble, of royal grace,<br /></span> +<span class="i1">To ruin and death were brought.”<br /></span> +</div> +</div> + +<p>The woful song trailed itself through Soelver's mind like an +indistinct dream. Then he believed that he distinguished Gro's step, +until it was lost in her sleeping room. With his mental vision he +saw the maiden, as she looked out upon the lake toward Aebeloe. +She looked away from him, of whose fate she took no thought, but +gazed fixedly over the sea, which bore upon its bosom a ship with +silken sails, on whose deck Sir Tidemand stood. “Then Soelver +was conscious of an infinite weakness in his love toward this pure +maiden, whom his coarseness had taken into his arms, his desire had +scorched with its hot breath but who had nevertheless left him benumbed +in his baseness, cowardliness and weakness. Now he understood +that love, in order to triumph, must first humble its own +power, still its own movement and soften its brutal will. Now he +comprehended that he must carve mystic runes of passion upon his +own heart as upon a glowing rose and fling it into the mighty sea of +feeling, praying it to bring the maiden Gro into his hands.”</p> + +<p>Day and night Soelver's thoughts tarried only with Gro. In his +phantasies “he forced himself through the bolted door, climbed +sharp angled passage ways and winding staircases and lifted oaken +beams from barred doors. Without once making a mistake, driven +by a magic sense of direction, he finally reached Gro's couch, at +which he saw himself staring with great white eyes, whose pupils +in the darkness of sleep had as it were glided over to the side. And +upon the cover of her couch lay her two gleaming arms and the +fingers of the right hand trembled as if they grasped another invisible +hand. In this room Soelver remained until her sleep drew +him to itself, until the heaving of her breasts drew him down, until +her fingers entwined themselves with his, until their breath mingled +and his lids closed before her pure gaze.”</p> + +<p>Another time he dreamed that he was upon a vessel, evidently in +the rôle of Sir Tidemand. And Gro actually came over the water +to him like the maiden Blidelille, “with roses like two blood spots +upon her breast. She had crossed her hands beneath them and +<span class="pagenum"><a name="Page_51">51</a></span>fastened her pure gaze upon Soelver, so that he was seized with +terror and, without escaping her look, fled to the lee of the vessel +to the edge of the ship. Yet Gro steadily drew nearer. Now she +reached the ship's border and Soelver retreated. Step by step she +followed him, the painful gaze of her deathly white face absorbed +by his own. And he withdrew over to the other border, drew back +until he felt the railing hard behind him. Gro stepped forward +alone and it was not possible to stop her; he felt as if she wished to +press within him like the sped arrow to its goal. Finally, in an instant, +as her garment fluttered against him, he threw himself with +a loud cry to one side and saw, with a great horror, that Gro went +forward, through the railing as through air and disappeared on the +other side in the sea, while Soelver lay moaning upon the deck and +saw before him only the red roses, which fallen from her breast +crept like living blood over the ship's planks.”</p> + +<p>Was it dream or reality, which he saw when he opened his eyes? +“The sun's rays burst forth through a crack in a long, radiant arrow, +which bored itself into the floor and transfixed as it were something +red that began to glow.” And as Soelver crept nearer his astonishment +grew deeper. “For hard by the vision of red were footprints +breathed so to speak upon the floor, fine, slender prints, directed +toward him, no more distinct than if a warm breeze had blown away +the dampness from the surface of a stone, leaving the outline of a +foot fixed there.” As he now stooped down and with his hand felt +for the blood red spot, his fingers actually touched “a heavy full-blown +rose, whose sweet strong odor he drank as if in an intoxication +of reality.” No one had forced his way in through the hatchway, +of this he soon convinced himself. Gro must have dropped it +here while he was spinning dreams about her.</p> + +<p>In the nights which followed “he slept in a kind of hunger to +feel her physically and tangibly in his arms.” Then when it was +again full moon, he found on awaking, in a spot upon which fell the +rays of moonlight, a little gold cross, “whose six polished stones +seemed to radiate moonlight from themselves. It was as if the +moonlight lay within his hand. He watched the small cross sparkle—it +was the same that he had seen in dreams upon her rose wreath. +Gro had been also within his prison.”</p> + +<p>He was led out soon after this to be shown to the monk, who had +come to obtain news of his imprisonment. “In the doorway the +young nobleman met Gro and drew back, so strong a power seemed +to irradiate from her living form. She stood in the half twilight, +<span class="pagenum"><a name="Page_52">52</a></span>with her white hands and her white neck and forehead, which shone +as with their own light from out her coal black velvet robe. There +was a blinding, marvelous reality about her, which drew him like a +great fragrant flower.” As the monk expressed his compassion for +him, that imprisonment had befallen him, his pride of nobility +awoke. “What do you say of imprisonment and ill foreboding? +Know you not then that I am of my free will Sten Basse's guest?” +This reply astonished even Sten Basse. “He admired the young, undaunted +spirit, who found in himself no occasion for pity. Soelver +stood before Gro, his arms firm at his sides, and breathed deep and +strong. His eyes drank in the clear light from her hands and face.” +When however Sten Basse sought to approach him in a friendly +manner, Soelver motioned him back: “As prisoner was I led forth, +as prisoner I return of my free will. If you wish to make any +apology to me, you know where my dungeon is to be found.” Then +he went quickly, without turning toward Gro, out of the hall and +down into his prison. His senses nevertheless had seized that warm, +radiant picture of the beautiful Gro and transplanted it to the midst +of his cell. He saw it streaming before his eyes in the shimmering +light of the cross of moonlight and longed for the clear light of the +night, that he might go on and make the dream face live. When +the darkness advanced “he stripped himself naked and allowed the +air of the summer night to cool his limbs and purify them, before +he betook himself to his cot. The small cross he laid upon his naked +breast and watched the moonlight glimmer green and blue from +every stone” and kissed it thinking of Gro. Then he fell asleep in +blissful happiness.</p> + +<p>Suddenly however he awoke without any apparent reason, from +no dream or thought. “He was awake, collected and yet at the +same time strangely under the control of something that lay outside +himself, a strange unknown power, which might be either mystical +or natural. It appeared to him as if the moonlight had been loosed +from the moon and now floated about in the room like a living +being. So real seemed this fancy to him that he turned his head +to one side and was not astonished actually to see a form standing +in the center of the darkness. A feeling of reverence and awe swept +over Soelver as little by little he distinguished in the floating folds +of the moon white garment, the firm outlines of a woman's arms, +which were crossed beneath a half bared breast, the line of the teeth +in the open mouth, a flash of white light from Gro's eyes gazing +with a certain fixed power.</p> + +<p class="center">“Holy Mother of God—it was Gro herself!</p> + +<p><span class="pagenum"><a name="Page_53">53</a></span>“Soelver started upright, frightened at his own movement, for +he scarcely dared breathe, much less go towards her. He felt his +nakedness as a crime, even his being awake as a transgression. The +form glided forward out of the moonlight, the crossed hands separated +themselves from the breast and Gro pursued her way with +outstretched hands, feeling her way and yet mechanically sure like +a sleep walker.</p> + +<p>“Yes, she was walking in her sleep. Soelver recognized it by +the staring look in her eyes, which gazed through the night as +through miles of space. Soelver slid noiselessly to the floor in front +of her, afraid that he would be seen, in deadly terror lest she should +awaken. For he knew how dreadful it might be to awaken a sleep +walker and in his excited phantasy he heard already the cry of +horror and madness which would issue from Gro's mouth if she +awoke and saw herself in this dark, subterranean depth alone with +a naked man as with a demon. It was as if everything in Soelver +cried out in protective anxiety that Gro should not awaken. He +crouched beseechingly upon the ground, his whole soul was a sobbing +prayer for grace, for instant means of deliverance, now that +Gro had come to him as if by fate.</p> + +<p>“There came a whispered sound from her open mouth, as her +lips for a moment sought each other. It was as if she breathed out +the one word ‘Soelver.’ This, however, to hear his name spoken, +made Soelver strong at once. It compelled him to arise from the +floor, it banished fear from his soul, it made him rejoice in every +fiber of his being. The next moment her outstretched arm reached +his hand—he felt the firm, cool skin under his trembling finger tips +and his face felt the warm breathing of her voice, ‘Soelver, Soelver!’ +And driven by some mystic power of will, he forced himself under +the same hypnotic influence which surrounded her. He compelled +<ins title="himeslf">himself</ins> to leave the clear broad way of reason and to enter the +ecstatic, perilous, paths of the sleep walker. He was no longer +awake. He sought, he touched, he stood before that after which he +had groped. He was himself driven by a magic power, by a marvelous +single purpose, which must be attained. This whole transformation +took place in him merely because he felt that this was +the only means of saving her from awaking to consciousness and +madness.</p> + +<p>“‘Soelver—Soelver!’—‘Yes.’—‘Soelver—are you—are you—there?’—‘Yes—I—am—here.’—‘Yes—that +is you—that is you—I +feel you.’—‘And you see me?’—‘Yes, I see you.’—‘And you will +stay with me?’—‘Yes—I will—I will stay with you.’</p> + +<p><span class="pagenum"><a name="Page_54">54</a></span>“Soelver answered her in the same whisperings in which she +breathed out her words. His hands passed over hers with infinite +carefulness. But finally his arms closed about her neck and he felt +a marvelous tingling in his finger tips as he touched her soft silken +hair. His mouth approached hers and mingled his warm breath +with the breath which escaped cold from her lips. He drew in the +air with her own rhythm, it was as if his naked heart bowed toward +hers so that they all at once touched one another. Then the blood +flamed out of her cheeks and streamed over into his, although they +lay not upon each other. The blood burned in all her skin and +Soelver trembled for a moment lest this transport was the beginning +of the awakening.</p> + +<p>“His heart stood still with fear. However the blood continued +to surge through Gro's body. She pressed Soelver close to herself +and through her soft clothing he felt her breast swell and throb, as +if she would bore herself into his flesh. ‘Soelver—I love you.’—‘Gro—I +love you.’ Then a strange giddiness seized him as if he +were rushing into her arms on a tower miles high. He breathed +upon her ethereal kisses, which closed her lips, moistened her forehead +and descended thence like a refreshing spring rain so that her +lids drooped. When her eyes were closed Soelver felt for the first +time quite secure. He fastened them with a real kiss and now, +since her sleep wandering had reached its goal in his arms and +Soelver was sure that her love dream was too deep to be disturbed, +he whispered louder than before, ‘Gro—I love you!’—‘Soelver—I +love you!’—‘How long have you loved me?’—‘Longer than I +have known you, Soelver.’—‘Why have you not said so, Gro?’—‘That, +Soelver, I will never tell!’</p> + +<p>“So Soelver carried his wonderful burden to his couch and inhaled +her youthful fragrance and lifted his mouth to hers and all +his blood at once leaped forth. Every fiber of his being was stirred +to kisses, every blood drop became a yearning mouth to meet the +thousand mouths of her blood. And lost to sense—vehemently, +seized by the divine power of nature, unafraid that she might +awaken, without control over himself and yet proud as a master of +worlds, he was impelled as the sunbeam to its goal, when it forces +open the flower and buries itself in its fragrant depths. Soelver +united himself with Gro. She on her part slumbered on, quiet as +the sea which has closed over its sacrifice.</p> + +<p>“But Soelver felt his senses reawakening. What now? Should +he let Gro sleep until day woke her and she saw herself in his arms? +<span class="pagenum"><a name="Page_55">55</a></span>He bent over his beloved in deepest distress. She must not awaken +in terror, not again weep as on that first morning when she was with +him. The most delicate chords in her soul had trembled and sung +to him in the night, to him whom she unconsciously loved with all +the indefinable conviction of her heart. This love must not be rudely +plucked and allowed to fade like a plant whose tender shoot is torn +asunder. She must go back to her maiden's couch until the flower +of the day had burst forth from its leafy covering. Then he discovered +that the panel at the foot of his cot was opened, while some +planking had been pushed back. Gro must have come this way and +by this way he carried her back. Led by an unerring instinct, as if +he knew from his nightly phantasied visits all the turnings of the +way, he went without deliberation into the secret room behind the +panel, found the passage to the main stairway, passed straight up, +turned through corridors, passed under the heavy tapestry curtains, +opened the last door and noticed first that he bore a burden when +he laid it down. The moon threw its faint silver light round about +in the little room. With a sweet wonder Soelver gazed upon the +prayer stool and the brown rosary—without its cross.”</p> + +<p>I may pass briefly over the remainder. In the first place Soelver +was given his liberty and he went back to his castle. The death of +Sten Basse occurred soon after. Soelver whispered to his daughter +at his death bed, “Gro, whatever may happen, know now that we +belong to one another.” She “turned her head slowly toward him +and looked at him with her large eyes swollen with tears. Her look +was that of a stranger and quite uncomprehending, so that Soelver +understood that she did not simply deny everything but she had no +recollection at all.” So Soelver turned and went. For the first +time when bathing in the lake “he found again his youth and his +freedom, his radiant hope and the jubilant certainty of his love. +Gro loved him! Only the thought of love had not yet arisen from +the depths of her soul like pearls to the light. Nevertheless the +wonderful flower of her affection was growing in the golden light +of dreams. He longed after Gro as after his bride, although he was +only the bridegroom of her dreams, who dared to kiss her only +when her eyes were closed. By day he was her foe, as the bear in +the fairy tale, who by night alone is changed into a beautiful young +man.”</p> + +<p>They met therefore first again at Sten's bier, at the side of which +they both kneeled. “Gro's eyes were directed upon him as upon a +stranger, staring with wonder, burning with a mystic light. Why +<span class="pagenum"><a name="Page_56">56</a></span>was this stranger here near her, the man whom her dead father had +tortured and derided? And yet her eyes were wet with tears of pity +and she felt that this man only desired to take her hand. Soelver +observed her with his inmost soul. He pressed the small cross of +moonshine between his hands, he bent over it and kissed it and a +gleam from its blazing stones smote Gro's eyes. She stretched out +her arms and took the cross from him and gazed into the stones as +into well-known eyes. She knew not how this had come into Soelver's +hands but she also bent over it and kissed it and her soul went +out toward Soelver as toward a soul far, far away, whom she once +had known, whom however she could scarcely remember.”</p> + +<p>After this Soelver came and went at Egenaes, Sten Basse's +castle, as if he were lord and heir of the estate. “It was rumored +also among the tenants and the servants that he was betrothed to +the maiden Gro. Yet no word of it was exchanged between them. +Soelver stood by Gro in small things and great, and she allowed +herself to be guided by his strength and cleverness. Since that night +when he had kneeled with her at her father's lifeless body, she was +bound to him by a nameless bond of gratitude, of mutual feeling, +and by an inner apprehension that their fate was interwoven. Still +no consciousness of love colored Gro's attitude. She longed for +Soelver's strong handclasp because it made her will strong to withstand +her sorrow. She could think of herself lying upon his broad, +deep breast, only however because there slumber would come in +sure forgetfulness. There was moreover a tenderness in her look, +when in a fleeting moment she let her glance rest upon his, such as +the realization of another's goodness awakens in us, especially when +the goodness is undeserved and disinterested. Yet there was never +any of love's surrender. Only she was glad to know herself observed +by these quiet, steadfast, clear eyes, from which the red +specter of passion, which had so frightened her that day upon +Aebeloe, had long been banished. She believed that she had in +Soelver a friend given her for life and death, a friend who could +not desire her in love nor be desired, a brother whom one might +trust with infinitely more serenity than any lover.</p> + +<p>“Soelver was ever watchful of Gro. His eyes were on the lookout +whether he might not once surprise in hers the brightness of the +dream, and make the hidden rose of love break through the green +covering and bloom in reality. He longed thus within himself +once to see the day and night aspects of her soul melt into a +wonderful golden twilight. But Gro made no response to the +<span class="pagenum"><a name="Page_57">57</a></span>gaze from his eyes. She turned her head aside so that her silken +lashes concealed her glance. ‘Gro, why do you never look at +me?’—‘I do look at you.’—‘Do you see me with your cheek, +Gro?’—‘I see you, though, Soelver. I see you with the outermost +corner of my eye.’ Soelver bent his face beneath hers. ‘Are you +looking at me?’ But Gro pressed her lids together as before a +bright light and shook her head, ‘No, Soelver, not so! You look too +sharply, you look too deeply. You look so deeply that it hurts me +very much. No, stand so Soelver, turn your eyes away!’—‘Are +you afraid of me?’—‘No, no—why should I be afraid? But I do +not feel comfortable to have you all the time wanting to read my +heart, to have your eyes searching for some writing that does not +stand written there. My friend and beloved brother, I fear what +your look would draw from me—what would you drag out from my +<ins title="soul?">soul?’</ins>—‘The spring day, Gro, when we first met.’—‘Ah! Soelver, +I scarcely remember it. It seems to me that I have always known +you, that all your days you have been good and kind to me. Lately +I have felt it in my heart and upon my cheek, as when my mother +caressed me and that is long, long ago.’—‘Gro, only say it, you are +afraid of the word, but not truly—just say it—you love me.—You +are silent because it is true.’ ‘No, Soelver, I have never felt that.’—‘So +you have dreamed it, Gro.’—‘Dreamed!’ Gro became fiery +red. ‘Dreamed—dreamed—oh Soelver, what have I dreamed? +What do you know of my dreams? To have dreamed is to have +dreamed, and my dreams belong to me, to me alone!’ For a moment +she turned to him a shy, quivering look, then tears trickled down +from under her drooping lids. But Soelver observed that he had +hit upon the truth. Immediately however he regretted that he had +cast this look into the sanctuary of her soul. It was like the curious +peeping of which the knight had been guilty, spying through the keyhole +upon his wife, Undine.</p> + +<p>“A long time they sat silent. At last Gro was herself again, +quiet and controlled. Then she spoke in a soft but firm voice, +‘Soelver, if you remain with me to awaken me to love, then I beg +of you, go and never return. I can never look upon you with the +eyes of love. Passion seems to me like a glowing sword, which +burns out one's eyes as it goes by. There was a day when you +made the flaming sword of your desire pass by my face—since that +time it is burned out. I have been blinded, Soelver, I am blind to +the desire of your eyes, and all your fervent prayers. I have hated +you, despised you, defied you, yet you have repaid evil with good +<span class="pagenum"><a name="Page_58">58</a></span>and now I return good for good. Look not upon me with love's +eyes, seek not to awaken the dead in me to life. You are to me more +precious than if the proud brother of my childhood had returned in +you, your spirit is his, I did not believe that in the will of a man so +much kindness could dwell. Leave it so, stay with me as my brother, +or leave me like my brother, but never speak to me of love, neither +in words nor in looks for I know no reply.’”</p> + +<p>The young nobleman knew finally, for all his eager power, no +other way of escape than to go with the king to the war. He saw +quite clearly that “Gro struggled against the force deep in her heart. +And yet the day's flaming sun could cause the weak chrysalis of the +dream to shrivel so that no butterfly would break through the covering +and rejoice in the strong light of midday. But with Soelver +away, the longing for him would support the invisible growth of +the dream and prepare the way for it into consciousness. Ah! it +was worth his departure.” Then he took leave of his beloved. +“Goodbye; forget me not on our island. Bid me return when you +will. The wind will find me, wherever I am. Tell the wild birds, +when you want me and would call me home.”</p> + +<p>Gro, remaining behind alone, first became aware what she had +lost in him and in his “strong will, which was her source of light.” +She began to long more and more for him who was far away. “Ah, +if he would only come again!” And when a bird flew by, she +“flushed red at her own thought; was that a message sent forth by +her desire? This took place contrary to her wish and will—she +wished not to long for him, not to call him back, not to love him! +Angrily she roused herself and sought to recall the burning gaze +with which Soelver had wounded her modesty. So with a vexed +and hard stroke of the oars she pushed the boat away from Aebeloe.”</p> + +<p>When the war was ended, Soelver went to serve the king of +France. For, as he wrote in a letter sent by carrier pigeon, “he +who is not summoned, comes not.” Meanwhile love towards the +young nobleman had begun to grow in her bosom. “Night after +night she dreamed of Soelver and at last one night she suddenly +awoke and found herself cold and naked, wandering around in her +room and heard the last note of her heart's unconscious avowal, +‘Soelver, I love you.’ There was a change within her. Hour after +hour would she sit inactive and half asleep, listening to the irregular +beating of her heart—something was drawing upon her very depths, +sucking her strength from her, from her proud will, something that +paralyzed her thought and bound her always to the same name, the +<span class="pagenum"><a name="Page_59">59</a></span>same memory.” As she listened to her own depths, “she caught a +momentary something like a weak, quickly beating echo of her own +slow heart, a busily living little heart, that ticked louder and louder +until at last it deafened hers. A trembling joy seized her at that +moment through all her senses as she knew that she bore a life +within her life, that she enclosed in her body the germ of a new life +that was not growing from her alone and of her life alone.”</p> + +<p>Suddenly a crushing terror overcame her. Who was her child's +father? “So abruptly came this question over her naïve soul that +she fancied for a moment that this might be the punishment of fate +for her longing for Soelver. This longing was desire, and desire +was sin no less than the love itself. Her wish for him had grown to +a fire in her blood and now she was stained by her own passion, +pregnant from her own sin. God's punishment had visited her and +soon would be visible to all the world. Gro saw however immediately +the foolishness of her thought. For one moment she lingered +at the thought of the one woman of all the earth, who had immaculately +conceived. Then she uttered an inward prayer that the +Mother of God would lighten her understanding and give her clearness +of vision that she should not go astray in her brooding over +this mystery.”</p> + +<p>When she questioned her nurse and the latter finally put it to +her, “Have you spent no night under the same roof with Soelver?” +then there occurred to her the many nights <ins title="when">“when</ins> she had dreamed +of the lonely imprisoned man, who was being punished because of +her. When she lay in her bed in the dark, a strange curiosity had +overcome her to imagine his lot there below and, when sleep seized +her and dreams chased away the bitter, hard thoughts, her heart +had become softer and the sun had shone over the visions of her +dreams as the spring day over the woods blossoming with the green +May bells. Many a night and many a morning was she awakened +by a strange burning desire in her thoughts, and her mouth was as +though touched with fresh dream kisses, and she had entered into +judgment with her own weak heart and had so inflamed herself +to scorn and hatred that she had done nothing to soften the fate of +the prisoner. But how could Soelver have been the guest of her +dreams? And how had he been able to command the virgin love fed +by her slumber? Then came the nurse to her aid and made it clear +to her. She knew that the maiden Gro had walked in her sleep; +the servants had told of a white ghost on the stairs and once she +<span class="pagenum"><a name="Page_60">60</a></span>herself had seen it and recognized Gro, who had disappeared upon +a secret stairway, which led down into the dungeon. She had kept +still about it, for she thought it was a voluntary sleep walking to +the young nobleman.”</p> + +<p>Thus was Gro enlightened as to the source of her pregnancy. +“She quivered with shame that the desire in her dreams had the +power to drive her down to the lonely prisoner and she shook in her +inmost soul at the memory of that happy dream, which she had had +the night before her father's death. Now her love suddenly burst +into the light like a wonderful flower, which suddenly springs up +with a thousand fragrant buds. Now it was impossible to stem it +or to conceal it. She had wanted to suppress every germ, with her +father's coldness and the day's dispassionately proud haughtiness +she had been willing to stifle every impulse toward love, every longing +for self avowal. Now she found her pride was dead and buried +and her being within and without was permeated by love.</p> + +<p>“For she had loved Soelver from the first springtime kiss, which +he had imprinted upon her cheek as she wandered among the fresh +May bells, loved him in the blow which she had inflicted upon his +head when he had touched her chaste nakedness, loved him in those +nights when he had slept uncomplaining in the cellar dungeon, loved +him in those bitter moments of his humbling when he, in spite of +scorn and insult, maintained his pride, loved him that evening when +he kneeled at her father's bier and kissed the hand of his enemy +now dead, loved him day by day all the time they were together, +loved him in that hour when she saw his banner disappear among +the hundred others, and today upon Aebeloe when she heard that +new life singing within hers. And now she rejoiced; for she bore +him always within her, she could never again lose her Soelver.”</p> + +<p>As we glance over the material of this tale, we find as the nucleus +of the night wandering and moon walking the strong repression of +every conscious love impulse and the breaking through of the unconscious +in sleep and dream wherever the censor's rule is relaxed. +For the maiden Gro had loved Soelver from the first moment, yet +this love was confessed only in moments of occasional self forgetfulness, +as by the first meeting with the young nobleman, when her +hand met his, yes, even pressed it for the moment. Only Gro +should not have been frightened out of her half unconscious action +by a kiss or a passionate desire, for at once there arose to life within +her the coldness and haughtiness of her father and the highhanded +reaction which her mother had manifested to her conqueror. The +<span class="pagenum"><a name="Page_61">61</a></span>determining factor, to speak in psychoanalytic language, is the +struggle between the strong sexual rejection and the equally compelling +sexual desire. At first the former held the upper hand with +our heroine in her waking and conscious action, the latter in the unconscious. +Through the force of her will Gro seemed cold, even as +she had learned of her father. She defended herself from her +lover's craving by force and blow; even when conquered finally +through the noble spirit of her enemy, she would see in him only +the friend for life and death. She directly refused to think of love +and displaced it to external things, she even bade the young man go +rather than desire her as his wife. Soelver's devotion reminded her +most significantly of her mother's tenderness, his pride, of the +brother of her childhood. “It is as if in you the proud brother of +my childhood had returned. Your spirit is his. Leave it so, stay +with me as my brother or leave me like my brother, but never speak +to me of love, neither in words nor in looks, for I know no reply!”</p> + +<p>Yet she avoided Soelver's searching eye and as he reminded her +of her dreams, she was smitten in the depths of her soul. For her +dreams, she well knew, chased away the bitter and hard thoughts, +the repressed unconscious broke through and the true feeling of her +loving heart. This already appeared clear to her when her beloved +languished in captivity at her father's hands. The strange desire +to work out the fate of the young nobleman, who suffered on her +account, had overcome her lying there in her bed in the dark. And +in the morning she awoke with a strange burning desire in her +thoughts and her mouth was flecked with his fresh dream <ins title="kissees">kisses</ins>. +Still she consciously kept back every outer manifestation of love +and met the young man while her father was alive with coldness +and suspicion and later even merely as a brother. The great distance +separating her beloved from her and above all the child which +she bore from him under her heart for the first time conquer her +haughty pride and her conscious aversion. And as she dreams one +night again of the loved one far away she finds herself suddenly +awake, going about cold and naked in her room and perceives as +the lingering sound of her heart's unconscious avowal, “Soelver, I +love you!”</p> + +<p>So severe is this struggle between conscious sexual denial and +unconscious desire, that it even forces itself through in her sleep +and her night wandering. Her dreams had indeed, as she later +acknowledged with shame, the force and the power to compel her +below into the young nobleman's dungeon. She had clasped Soelver's +<span class="pagenum"><a name="Page_62">62</a></span>hand in her sleep, she had told him everything in the moonlight, +with eyes closed, everything which she secretly felt, and had +pressed him to herself. Yet when he asked her why she could +never confess to him that she had always loved him so deeply, she +repulsed him: “That I will never tell!” Even when he had united +himself to his beloved, she had slumbered on as if nothing had +happened and the next day knew nothing of it all.</p> + +<p>This leads now to that which, according to folk belief, constitutes +the very core, the chief ground for sleep walking and moon +walking in a maiden. It is easy to understand the wish, on the part +of the female sex with their strongly demanded sexual repression, +to come to the beloved one and taste all the delights of satisfaction +but without guilt. This is possible only through wandering in unconscious +sleep. For, as my first patient explained, one is not accountable +for anything that happens in this state, and thus can enjoy +without sin and without consciousness of what is not permitted. +Convention demands that the maiden wait until the lover approaches +her, but in that unconscious state she may surrender herself. The +need for repression explains then the subsequent amnesia. Yet +wandering by night is not concerned merely with sexual enjoyment, +over and above that it fulfills a second desire that arises out of childhood, +as we know from psychoanalysis. Every small maiden has, +that is, the wish to have a child by her father, her first love, which +is often in later years defined thus, one might have a child, but without +a husband. The night wandering fulfills this desire to have a +child yet without sin. Therefore has that motive of an unconscious, +not to say immaculate, conception inspired not a few poets, +as it has already, as is well known, been active in the creation of the +drama.</p> + +<p>Less transparent than that chief motive is the action of the light, +sunlight as well as moonlight. The heroine of the story stands +toward both in a special relationship. Her body is almost illuminated +by its own light, her hair sparkles electrically when it is +touched, “warm waves of light” emanate from her, which Soelver +noticed at their first meeting, the sun seems expressly to seek her, a +halo of impalpable beauty surrounds her and above all glows from +the depths of her eyes. Not only so, Gro seems to dwell chiefly in +the light, whose last drops she greedily absorbs within herself. +When the light fades, her body becomes cold as ice like a corpse. +In similar manner the shining of the full moon affects her, the light +of which the stones of her gold cross have absorbed. The first time +<span class="pagenum"><a name="Page_63">63</a></span>that the slumbering youth saw Gro wandering, it seemed to him as +if the moonlight had been loosed from the planet and floated only +in his room like a living being. The poet, to be sure, has offered no +explanation of this mystical effect of light and what the reader may +think for himself would be merely drawn from other sources. For +this reason I will not pursue this point further.</p> + +<p>The narrative affords somewhat further means for an understanding +in another direction. It is not explained more fully just +why Gro follows the sunlight and moonlight or why both exercise +upon her a peculiar attraction, yet the tendency to a motor breaking +through of the unconscious may be derived from an inherited +disposition. The father is a rough, violent robber knight while the +mother shows distinctly sadistic traits and a truly ready hand at +fighting. That confirms what I explained in the first part, a heightened +muscular excitability and muscle eroticism, which strives to +break through again on the sexual side in sleep walking. Finally it +may be affirmed without doubt that the ghostly white figure upon +the stairs was no other than the maiden in her shift.</p> + + +<h3>“<span class="smcap" lang="de" xml:lang="de">Jörn Uhl</span>,” by Gustav Frenssen.</h3> + +<p>I can deal more briefly with <ins title="Jörn">“<span lang="de" xml:lang="de">Jörn</span></ins><span lang="de" xml:lang="de"> Uhl</span>,” the well-known rural +romance of Frenssen, in which the sketch of a moon walker constitutes +merely an episode. Joern Uhl, who, returned from the +war, takes over the farm of his unfortunate father, discovers Lena +Tarn as the head maid-servant. She pleased him at first sight. +“She was large and strong and stately in her walk. Besides her +face was fresh with color, white and red, her hair golden and +slightly wavy. He thought he had never seen so fresh and at the +same time so goodly appearing a girl. He was pleased also at the +way she nodded to him and said ‘good evening’ and looked him +over from head to foot with such open curiosity and sincere friendliness.” +She sings too much to please the old housekeeper! “She +is so pert and too straightforward with her speech.” It is noteworthy +too that she talks to herself in unquiet sleep.</p> + +<p>Lena Tarn can soon make observations also upon her side. +Joern was very short with the old graybeard, who advised him to an +early marriage: “The housekeeper is with me, I do not need a +wife.” Lena, entering just then, heard what the unmannerly countryman +said and assumed a proud look, thinking to herself, “What +is the sly old man saying!” Since however the old man began to +talk and compelled her and Joern Uhl to listen, she was concerned +<span class="pagenum"><a name="Page_64">64</a></span>almost entirely for the latter, whose “long, quiet face with its deep +discerning eyes she observed with a silent wonder, without shyness, +but with confident curiosity.” Not alone in the kitchen, which is +under her control, can Lena show what is in her. When a young +bull broke loose and came after the women, she met him with +sparkling eyes, “Stop you wretch!” When he would not allow +himself to be turned aside, she threw a swift look flashing with +anger upon the men, who were idly looking on, then swung the +three-legged milking stool which she had taken along and hit the +bull so forcibly on the head with it that frightened, he lunged off +sideways. “Lena Tarn had however all afternoon a red glow +coming and going in her cheeks because the farmer had looked upon +her with the eyes of a high and mighty young man. That caused her +secretly both joy and concern.” Immediately after this she experienced +one satisfaction. Joern Uhl was dragged into the water +by a mischievous calf and was much worse cut up by it than she, +the weaker one, the woman had been.</p> + +<p>“Lena saw always before her the face which Joern Uhl had +made when she had gone forward against the bull. She was +otherwise in the best of humors, but when, as in the last few days, +she was not quite well physically she was inclined to be angry. She +preserved a gloomy countenance as well and as long as she could. +Soon though, as she went here and there about her work and felt +the new fresh health streaming through her limbs, she altered her +looks.… Joern Uhl moreover could not be quiet that day. The +sudden plunge in the water had brought his blood to boiling. The +spring sunshine did its part. A holiday spirit came over him and he +thought that he would go into the village and pay his taxes, which +were due. On the way he thought of Lena Tarn. Her hair is +coiled upon her head like a helmet of burnished brass, which slips +into her neck. When she ‘does things,’ as she says, her eyes are +stern and directed eagerly upon her work. When on the other hand +she is spoken to and speaks with any one she is quick to laugh. +Work seems to her the only field where quiet earnestness is in place. +‘That must be so,’ she says. Toward everything else she is angry +or in a good humor, mostly the latter. Only toward me is she short +and often spiteful. It has been a great joke for her that I had the +ill luck to have to go into the water with that stupid beast. If she +only dared she would spread it three times a day on my bread and +butter and say ‘There you have it.’”</p> + +<p>Now he meets old Dreier who gives him good advice: “How +<span class="pagenum"><a name="Page_65">65</a></span>old are you? Twenty-four? Don't you marry, Joern. On no account. +That would be the stupidest thing that you could do. I +bet you $50.000 you don't dare do it. Time will tell, I say.” “Take +it for granted that I will wait yet ten years,” he answered. And he +went on thinking to himself, “It is pleasanter to go thus alone and +let one's thoughts run on. Marry? Marry now? I will be on my +guard. After I am thirty!” Then his thought came back to Lena. +“She looked well as she flung the stool at the bull. Prancing like a +three-year-old horse. Yesterday she did not look so well, her eyes +were not so bright, she spoke harshly to Wieten (the old housekeeper) +and said to her afterwards, ‘Do not mind it, Wieten, I +slept badly,’ and laughed. Funny thing, slept badly? When one is +on the go as she must be all day, one should sleep like a log. But +that is all right in the May days. It is well that men understand +this, otherwise every spring the world would go all to pieces.” Then +he rejoiced that he was so young and could point out on the farm +what was his. “Later, when the years have gone by and I am well +established I will take to myself a fine wife with money and golden +hair. There are also rich girls who are as merry and fresh and as +desirable and have as stately forms. It need not be just this one.”</p> + +<p>Then he came to the parish clerk who had just been notified that +day of six children to be baptized and who was complaining of the +increase in births. Joern agreed with him: “What will we come to, +if the folk increase like that? Marrying before twenty-five must +simply be forbidden.” “With these words he departed, filled with +a proud consciousness that he was of the same opinion with so intelligent, +experienced an old man as the parish clerk.” At home he +met Lena Tarn with an old farmer, who came to inquire after the +fate of his son who had been with Joern in the war. Then for the +first time the girl heard of the frightful misery and the suffering of +the soldiers which cried to heaven, so that her face was drawn +with pain. “Deep in her soul however thrilled and laughed a secret +joy, that you have come back whole, Joern Uhl.”</p> + +<p>Later, when she was making out the butter account with the +farmer, “she had to bend her glowing head over the book, which +he held in his hand. There came such a glistening in his eyes that +he wrinkled his forehead and did not conceal his displeasure at such +an unsteady flashing.” In the evening she came to get back the +book. Then Joern spoke to her, “You have not been in a good +humor these last days. Is anything the matter?” She threw her +head back and said shortly, “Something is the matter sometimes +<span class="pagenum"><a name="Page_66">66</a></span>with one; but it soon passes over.”—“As I came through the passage +yesterday evening I heard you call out in your sleep in your +room.” “Oh, well!… I have not been well.”—“What … you +not well? The moon has done that. It has been shining into your +room.”—“I say, though, there may be some other cause for that.”—“I +say that comes from the moon.” She looked at him angrily, +“As if you knew everything! I did not call out in my sleep at all +but was wide awake. Three calves had broken out and were frisking +around in the grass. I saw them clearly in the moonlight. I called +them.” He laughed mockingly, “Those certainly were moon calves.” +“So? I believe not. For I brought them in myself this morning +and then I saw that the stable door stood open. I thought to myself, +the boy has gone courting tonight. Your eyes always sweep over +everything and light upon everything and you [du] worry so over +everything out of order, I wonder that you [du] have not seen it.”—“You +say ‘thou’ [du] to me?”—“Yes, you say it to me. I +am almost as great as you and you are not a count, and I am as intelligent +as you.” She carried her head pretty high and as she +snatched the book from the window seat as if it lay there in the fire, +he saw the splendid scorn in her eyes. “Take care of yourself +when the moon is shining,” he said, “otherwise again tonight you +will have to guard the calves.”</p> + +<p>“He had arisen, but dared not touch her. They looked at one +another however and each knew how it stood with the other. He +had again the look which he had revealed once in the morning, a +presuming look, confident of victory, such a look as if he would +say, ‘I know well enough how such a maidenly scorn is to be interpreted.’ +But her eyes said, ‘I am too proud to love you.’ She +went slowly into the darkness of her room as if she would give him +time yet to say something or to long after her. He was however +too slow for that and laughed in confusion.”</p> + +<p>The night fell upon them, a wonderful still night. “I will take +one more look at the moon,” thought Joern Uhl and took his telescope. +He went through the middle door with as little noise as possible, +but the door of Lena's room stood open and she appeared upon +the threshold and leaned against the side post. “Are you still +awake?” he asked anxiously. “It is not yet <ins title="late”">late.”</ins>—“The sky is so +clear. I want to look at the stars once more. If you wish you may +come with me.” At first she remained standing, then he heard her +coming after him. When he had directed his telescope to a nebulous +star he invited her to look in. She placed herself so awkwardly that +<span class="pagenum"><a name="Page_67">67</a></span>he laid his hand on her shoulder and asked her, “What do you +see?”—“Oh!” she said, “I see—I see—a large farmhouse, which +is burning. It has a thatched roof. Oh!—Everything is burning; +the roof is all in flames. Sparks are flying about. It is really an +old Ditmarsh farmhouse.”—“No, my girl, you have too much imagination, +which is bad for science.—What else do you see?”—“I +see—I see—at one side of the farmhouse a plank which is dark; +for the burning house is behind it. But I can look deep into the +burning hall. Three, four sheaves have fallen from the loft and lie +burning on the blazing floor. Oh, how frightful that is! Show me +another house which is not burning.—Show me a house, you know, +show me a farmyard just where they are who hunt up the calves.” +He laughed merrily. “You huzzy,” said he, “you might well see +your three-legged stool in the sky, not? So, high overhead!”—“You +should have had the three-legged stool. I do not forget you +that day, you … and how you looked at me. That you may +believe.”</p> + +<p>He had never yet let anyone share in his observations. Now he +marveled and was pleased at her astonishment and joy. And then +he showed her the moon. He placed her and held her again by the +arm as if she were an awkward child. She was astonished at the +masses on it: “What are those? Boiling things, like in our copper +kettles? Exactly. What if it hung brightly scoured over our fireplace +and tomorrow morning the fire shone up upon it.”—“The +boiling things are mountains and valleys.—And now you have seen +enough and spoken wisely enough. Go inside. You will be cold +and then you will dream again and see in the dream I do not know +what. Will you be able to sleep?”—“I will try.” He wanted again +to reach out his hand to her but his high respect for her held him +back. He thought he should not grasp her thus, along the way as it +were. “Make haste,” he said, “to get away.”</p> + +<p>She went and he remained to pursue his studies. So the time +passed. He had grown eager and busied himself noiselessly with +his telescope. “And he thrust aside once more that young life, +which an hour ago had breathed so very near him and came again +to the old beaten track of thought that the old Dreier was right. +‘Don't do anything foolish, Joern.’—And yet, ‘Fine she is and +good. Happy the man about whose neck her arms lie.—What precious +treasure must those eyes hold, when they can look with such +frank confidence at a man.’”</p> + +<p><span class="pagenum"><a name="Page_68">68</a></span>About him now were only the customary sounds of night. Suddenly +it was as if near by over the house roof and then at the side at +the wall of the house he heard the soft cry of a goose and the weak +flapping of wings. And “as he looked, there stood under the house +roof in the bright moonlight a white human form, with one hand +over the eyes and with the other feeling along the wall, as if it would +enter the house where there was however no door. It spoke in excited +hurried words, ‘The calves are in the garden; you must be +more on the watch. Get up Joern and help me.’ Joern Uhl came +in three long strides over the turf and softly called her name: ‘I +am here.—Here I stand.—It is I.—So! so!—Now be still.—It is I.—No +one else is here.’ She was speechless and began to rub her +eyes with the back of her hand, as a child rubs the sleep out of its +eyes, and she fretted also in childish fashion. Then he embraced +her and told her again where she was, and led her to the stable door +seeking to comfort her. ‘Look, here is the door of the stable. Here +you have gone through, you dreamer; you have gone all through the +stable in your sleep. Have you been seeking the moon calves? Ah +you foolish child!—So, here you need not be anxious. You will +straightway be back in your room.’ When she finally clearly recognized +her situation, she was frightened, flung her hands against her +face and uttered mournful cries. ‘Oh, oh, how frightful this is!’ +But he caressed her, took her hands from her face and said to her +feelingly, ‘Now stop that complaining. Let it be as it is.’ So they +came to the open door, which led to her room. It must have been a +remarkable night, for not only had half the calves in the pasture +broken out and in the morning were actually standing in the garden +and the court, but the boy this night of all nights had not come +home, but only returned in the early morning twilight.”</p> + +<p>The next morning Joern Uhl went to the parish clerk that the +banns might be published for him and the nineteen year old Lena +Tarn. He was almost embarrassed when he came again before her, +“I should merely like to know what you think of me.” As she remained +speechless, he came nearer. “You have always been a great +heroine, especially to me. Hold your head high and make it known +that I am right.” She was still silent, merely pressed both hands +to her temples and stared into the glowing hearth. Then he drew +one of her hands down softly from her hair, seized it and went +with her over the vestibule, through the door communicating with +the front of the house. She followed him passively, her eyes upon +the ground and the other hand still on her hair. In the living room +<span class="pagenum"><a name="Page_69">69</a></span>he led her to the large chair which stood by the window and forced +her into it. “So,” said he softly, “here we are all alone, Lena. +Here in this chair has Mother sat many a Sunday afternoon. You +now belong in it.” Still she said nothing. “I have been to the +parish clerk and arranged everything and the wedding will be in +June. Have you nothing to say yet?” Then she seized his hands +and said softly, “As you think, it is all good so.” And she covered +her face with her hands and wept. Then he began to stroke her +and kiss her. “Child, only cease your weeping. You are my fair +little bride. Only be happy again.” And in his distress he said, +“I will never do it again. Only laugh again.” At last when he +could think of no more cajoling names, he called her “Redhead.” +Then she had to laugh, for that was the name of the best cow, which +stood first in the stalls. Now she lifted her head and gazed long at +him without moving. Thus Joern Uhl came rightly to that tenderness +and comfort which he thought he deserved.</p> + +<p>I have only a little to add that is important for our theme. As a +young wife also Lena Tarn was busy the whole day, working from +early to late without rest. The work flew from her hand. And +when her confinement was over, she got up the sixth day, against +the earnest warning of the housekeeper, cared for her boy alone the +whole day, went even to the kitchen and carried water for his bath. +Joern Uhl allowed it. For he was proud to have such a strong wife, +“not so affected as the others.” It led however to her death. Somehow +she must have become infected, for soon after a severe childbed +fever broke out.</p> + +<p>Even as a young wife she, the poor humble cottager's daughter +whose childhood was pinched by bitterest need, shed a wealth of +love and joy upon all who dwelt about her. Yet now, “she, the +friendly one, who had never caused suffering to any one, went in +her fever delirium to every one in the house, even the smallest +servant boy and to every neighbor and begged their forgiveness, ‘if +I have done anything to hurt you in any way.’ Towards morning +she became quieter but it was the exhaustion of death and she spoke +with great difficulty. Her husband must ‘tell Father that she had +loved him.’ Joern Uhl sobbed violently: ‘Who has never spoken +a kind word to you, poor child.’ She tried to smile. ‘You have had +nothing but toil and work,’ he said. Then she made him understand +in labored speech that she had been very happy.” The last +fever phantasies finally put her back into her childhood. Her love +went out to the old teacher Karstensen, then again to Joern Uhl, +<span class="pagenum"><a name="Page_70">70</a></span>until she was finally led through angels to a further father-incarnation, +to the dear God. “It came to her like peace and strength. +Clasped by many hands and led forward, she came to an earnest, +holy form who leaned forward and looked kindly upon her. Then +she stretched her hand out and suddenly she had a great bunch of +glowing red flowers in her hand. She gave them to him saying, +‘That is all that I have. I pray you let me remain with you. I am +fearfully weary. Afterwards I will work as hard as I can. If you +would like to hear it, I will gladly sing at my work.’”</p> + +<p>Scarcely in any other tale is the fierce strife between the clearly +active sexual longing, and the conscious sexual denial present at the +same time, as well as the final victory which the unconscious attains, +so plainly shown as in Gustav Frenssen's romance, where the +moon walking, exhibitionistic woman completely overthrows the +reasoning of the man. The poet expresses it clearly and decisively: +They each knew the desire of the other. Joern Uhl saw through +the meaning of a maiden's scorn and Lena's eyes said, I am too +proud to love you, but I do love you. Yet opportunity must be +given to the unconscious to break through victoriously so that the +inhibiting reason shall be deprived of its power. Therefore the +powerful increase of libido with the woman during the occurrence +of menstruation and through the wooing of the boy, who lets the +calves break out, in the man through the cold bath and furthermore +in both through the seductive May air. Finally the moon +acts directly with its light as a precipitating cause.</p> + +<p>The night before she had spoken out loud in her sleep just as +Joern Uhl went by to his room. He had spoken of it directly as +the action of the moonlight, which she of course contradicted; she +had been lying awake and heard the calves break out.<a name="FNanchor_19_20" href="#Footnote_19_20" class="fnanchor">[19]</a> Then she +takes the following night, when the housekeeper, with whom she +slept, was sitting up nursing an old farmer and the boy had gone +courting again, to approach Joern Uhl on her part as a moon walker, +who knew nothing of what she did and could not be held responsible. +More than this her unconscious had a fitting speech ready, +the calves had broken out again.</p> + +<p>The breaking through of the motor impulse is also well grounded. +Everything with Lena Tarn is joy in muscular activity, the restless, +<span class="pagenum"><a name="Page_71">71</a></span>almost unappeasable desire for work and pleasurable “getting +things done,” “exerting herself,” the constant singing, the easy giving +way to anger. Work is the only thing which she can carry on +earnestly because in that she lives out in part her sexuality, she +meets every one else smilingly or angrily according to her mood. +It is noteworthy too that her unquiet libido transforms itself toward +Joern Uhl into anger and animosity and so much so that once in +anger she addresses him as “thou” and acts as if she were his +beloved.</p> + +<p>One thing is especially evident in this example of sleep walking +and moon walking, the invariably infantile bearing of these phenomena. +When Lena, walking in her sleep, was called by her lover, she +rubbed her eyes with the back of her hand as a child rubs the sleep +from its eyelids and fretted also in childish fashion. Then again +there is her strange behavior when Joern announces that he has arranged +for the publishing of the banns. The farmer had in a significant +way put her literally into the mother's place and then in the +same manner shown tenderness toward her, stroking and caressing +her, as he himself had once been treated by his mother. Still Lena, +who already in the night responded to the sudden realization of her +position with the cry, “Oh, oh, how frightful this is!” cannot yet +quiet herself. It is hardly to be believed that a farm maiden would +so lose control of herself at the thought of an illegitimate relationship, +which furthermore was to be immediately legalized by marriage. +Many things however point to this—I mention only her +later fever phantasies—that she always felt inwardly guilty because +she had been untrue to some one else, the first beloved of her childhood, +her own father. Only when Joern Uhl on his part becomes +a child and in his way solemnly <ins title="declares">declares,</ins> “I will never do it again,” +and in the end names her “Redhead,” apparently a pet name of her +parent, then she has to laugh and looks long at him without moving, +wondering perhaps if he is the real father. After this everything +falls into proper place. I can now somewhat extend the statement +at the beginning of this section. Night wandering and moon walking +have not only inner connections with the infantile but more +exactly with the infantile erotic.</p> + +<p>I will briefly mention still one circumstance in conclusion. The +influence of the moonlight is but little touched upon in our tale. +Joern Uhl speaks of it only once. There is on the contrary a connection +with actual occurrences, a recent cause for Lena's moon +walking. She has looked at the moon through the lover's telescope +<span class="pagenum"><a name="Page_72">72</a></span>and received instruction in regard to it. That wakens the memory +of the instruction of the old Karstensen, her teacher when she attended +the folk school, from which we understand that he appears +in the place of her father.</p> + + +<h3>“<span class="smcap" lang="de" xml:lang="de">Maria</span>,” by Otto Ludwig.</h3> + +<p>Perhaps no poet has felt so deeply and expressed so clearly +what constitutes the fundamental problem of sleep walking and +moon walking as Otto Ludwig in his youthful novel “<span lang="de" xml:lang="de">Maria</span>.” This +novel has, according to a letter from the poet, “sprung from the +anecdote of the rich young linen draper, who was passionately +roused to commit an unnatural offence at sight of the landlord's +daughter laid out apparently dead in the room through which he +was conducted to his own. As a result of this, when he put up +there years after, he found her, whom he supposed to have been +buried, a mother, who had no knowledge as to who was her child's +father.”</p> + +<p>This anecdote, which he learned from a friend, took such a hold +upon him that he immediately wrote down not only what he had +heard but the first plan, although upon the insistent protestation of +that friend he did not work out the story as it had been first conceived +nor so glaringly. “I saw,” writes our poet, “at first only +the psychological interest in this material. The problem was to +present the story as well as possible and this was indeed a significant +one for the narrator. A distinctly esthetic interest would not be +possible in conjunction with that.”</p> + +<p>There is no doubt in the mind of the experienced psychoanalyst +that, when a poet is laid hold of in this manner by an anecdote, this +only happens because his own significant infantile complexes are +roused out of the unconscious. Also the transformations, not +unworthy of consideration, which the poet makes with the story are +highly indicative. The seemingly dead maiden becomes a moon +walker, the landlord's daughter is changed to the attractive daughter +of a pastor. “Out of the linen draper there is finally made a cultivated, +artistically sensitive youth, who has in him much of Ludwig's +own personality” (Borcherdt). The finished romance the +poet considered the best which he had so far created, it came nearest +to his ideal of a story. Although his attempts always failed to find a +publisher for the “<span lang="de" xml:lang="de">Maria</span>,” the poet retained his love for this work +all his life and it was one of the few productions of his youth which +he occasionally still shared with his friends in his last years.</p> + +<p><span class="pagenum"><a name="Page_73">73</a></span> +The theme of “<span lang="de" xml:lang="de">Maria</span>” is, as indeed the significant title represents, +the unconscious, not to say, the immaculate conception. It is +unconscious because the heroine, drawn by the moon and walking +in her sleep, comes to her beloved and becomes pregnant by him +without a conscious memory of the experience. Furthermore the +analogy with the Mother of God becomes emphasized by the fact +that in a picture “Mary and Magdalene” described at the beginning, +the Queen of Heaven bears quite unmistakably the features +of the heroine of the title. The main event, with its results and discovery, +is developed out of the character of both hero and heroine +with extraordinary psychical keenness.</p> + +<p>Eisener like Maria is the only child of rich parents. For both +love manifests itself for the most part rather unfortunately. Apparently +neither gets on well with the father and both have early +lost their mothers. Only Eisener even yet clings with deepest veneration +to the mother who taught him to revere all women and, +judging from his words, her influence upon her husband and the +son's desire still appears. “Whatever of good there is in me, I owe +to women. The thought of my excellent mother restrained me from +many an indiscretion, as also the teaching and the example of the +wisest and best of men (the father). This gentle power which is +so sweet to obey and at the same time so full of reward! In loving +surrender it obeys the man, while its divine power rules the man +without his knowing it. The imperceptible but mighty influence of +her gentle presence has determined his decision before he has comprehended +it. It has fallen upon him in his anger like an angel +before his own strength could arm itself, it has turned him to what +is right and proper before he is conscious of the choice. Before +her clear look confusion cannot exist, the coarse word of insolence +sinks back unspoken into the shame filled breast. The brightness +of a lost paradise shines from her eyes upon the fallen bringing +pain and warning, the consolation of eternal pity smiles upon the +penitent. These are the suns about which the planets of greatness, +honor and beauty revolve, lighted and warmed by them.” Maria's +mother on the other hand is not praised by a single syllable. We +do not discover when she died nor how old the little one was when +she lost her natural protectress. Only indirectly can one make +conjectures in regard to this peculiarly important point.</p> + +<p>Maria was from an early age a marvelous child. “She spoke +a language of her own, which only the initiated or a very poetic person +could understand. All lifeless things lived for her; she transferred +<span class="pagenum"><a name="Page_74">74</a></span>to flowers, trees, buildings, yes, even furniture and clothing +the feelings of a human soul. She mixed sense impressions in her +speech in the strangest fashion, so that she asserted of tones that +they looked red or blue, and inversely of the colors that they sounded +cheerful or sad. A girl a few years older than she named her the +blue song.” Both phenomena, the attributing of life to inanimate +things, to which one speaks as to beloved human beings, as well as +the phenomenon of synesthesia, color audition and seeing of tone +colors, are as we know positively today, to be referred back to +erotic motives.<a name="FNanchor_20_21" href="#Footnote_20_21" class="fnanchor">[20]</a></p> + +<p>“With Maria's seventh year perhaps, the tendency to play and +purposeless dreaming, which is always bound with such lively, +mobile phantasy, gave place, to the astonishment of all, to an exactly +opposite tendency. From this time she began to take root in +life with all the intensity of her nature. Already in her twelfth or +thirteenth year she looked after the father's household, to the admiration +of all who beheld her. A divine blessing seemed to accompany +everything which she undertook; everything increased under +her hands. She could in passing enjoy herself well in the idealistic +dreams of the poets and of her acquaintances, but her own peculiar +element was reality.”</p> + +<p>What had produced this sudden turn about? I cannot escape +the conjecture that here the death of her mother had a decisive influence +and with it the necessity to take the place with her father +of his wife. Her housewifely activity is noted first to be sure from +her twelfth or thirteenth year. Yet I am of the opinion that she +<span class="pagenum"><a name="Page_75">75</a></span>had already in her seventh year begun to play this rôle—in which +year the death of her mother would be placed—only because she +was too small it had been under the eye of a maid or housekeeper. +My analyses of hysterics has taught me that so profound and sudden +a transformation of the whole character always takes place +upon definite erotic grounds and for a quite definite erotic purpose.</p> + +<p>The earliest love of the tiny maiden belongs almost always to +her own father, who is in truth her first beloved. One can often +hear it from the child's lips, “You know, Papa, when Mama dies +then I will marry you.” That is in the childish sense meant quite +properly and literally. The early, premature death of the mother +gives reality to such infantile wishes, at least as far as concerns the +care of the house. As soon then as Maria may begin to play this +part, she fills it in a striking and inimitable fashion, although in +years she is yet a mere child. She is altogether the mother in the +care of a boy outside the family and this, as he quite rightly remarked, +laughing boisterously and heartily, even where it is not +necessary. Thus her first thought, when she spends her first night +banished from home, is of “the poor father, who must go to bed +without the little services to which he is so accustomed.”</p> + +<p>She possesses a maturity in the management of the household +which few elders have. Everything goes on and is done without +any one noticing that it is being done. “Is there anything more +charming than this sixteen year old little house mother in her housekeeping +activities?” says one of her admirers. “Just look, let her +do what she will, she accomplishes it in the best way and at the same +time most beautifully.” She is quite contented in the position +which she has made. Her eroticism seems completely satisfied. +“She is psychically yet so little a woman that there is not the least +sexual inclination in the charm that infuses her and therefore her +bodily development is overlooked. There is also no trace yet of +that entrancing shyness which springs from the mere suspicion that +there must be something else about the man.” A friend of the family +expresses it thus: “When one considers the repose, the self +possession of her nature, the freedom from constraint and the spirituality +of it, one might almost believe that <em>she was not originally +of this earth but perhaps a native of the moon, which seems to exercise +more influence upon her than the earth</em>.” Every trace of +dreamy maiden phantasies, which represent nothing but unconscious +love desires, was wanting in her. What she formerly possessed of +these was now completely bound with her care of the father.</p> + +<p><span class="pagenum"><a name="Page_76">76</a></span> +Her erotic nature is for the time satisfied and needs nothing more +to veil it and has nothing to wish for. Therefore she has on the one +hand kept childhood's clearness of vision, before which there can +be no deceit, on the other hand unbroken contentment with herself +and all the world as well as the capacity to forgive immediately +every wrong suffered. According to the picture drawn by the poet +of the passionate nature of the father, which is capable of hurrying +him, the pastor, into reviling God, it seems to me plain why Maria, +if she suffered wrong, “is distressed merely over the remorse which +the other one, she knows, must feel, when he has finally come to an +insight and to reflection.” This is nothing else than the father's +voice, who had once done wrong to his child and had in a later +searching of heart repented of it. Maria, with such early satisfaction +of her feelings of love begged “even as a child for nothing +which the parents had to refuse her. If she had any need it was to +be busy, to take care of the order and the nourishment of the house, +the satisfaction and welfare of the inmates. Where she could love, +she was happy and at home. Yet even the love for her father never +proclaimed itself passionately but always rather in unwearied attention +and concern for his smallest need, which only she might suspect +as well as for that which manifested itself actively.” For herself +she scarcely had any wants. A piece of bread and two apples +satisfied her as her day's nourishment, which is typical for the hysteric +anorexia and perhaps merely signifies the unconscious wish to +cost the father as little as possible. Just one single characteristic +was wanting for her perfection, the soft, clinging, typically feminine +characteristic. This also becomes understandable when one considers +that all eroticism toward the father is inhibited in its sexual +goal, and may manifest itself only intellectually on account of the +incest barrier, at least as far as it comes into consciousness.</p> + +<p>The womanly within her shall nevertheless find release through +the young Eisener. I have mentioned above how he hung upon his +mother. As the early inclination of the small maiden is generally +toward the father, so the first love of the boy is for the mother. It +is she who teaches him to love and to seek the woman of his heart +according to her own image. Later, just before puberty we might +say, the boy becomes acquainted with the secrets of sexual life, then, +clinging to certain impulses of his childhood, he begins to desire the +mother also in the newly acquired sense, while he begins to hate +the father as a favored rival, who stands in the way of this wish, +and develops a conscious antagonism toward him. He falls, as we +<span class="pagenum"><a name="Page_77">77</a></span>say, under the domination of the Œdipus complex. Yet the wishes +toward the mother go as a rule no further, since meanwhile the +incest barrier has already for a long time been erected. Through +this the boy is compelled to submit the mother complex to a splitting. +For a moment the phantasy may come to him that the mother +shall conduct him into the sexual life—a feature not wanting in +any youth—but it is now decidedly rejected or more typically displaced +upon those women who make of love a profession and actually +take care to initiate the youth into the sexual life. For this +reason the remainder of the mother complex is idealized and the +mother transformed to a pure virgin woman, toward whom no man +dares direct his desire. Similarly is it with the loved one, whom one +chooses after the pattern of the mother.</p> + +<p>So Eisener expresses himself warmly. “Maria is not made for +love, only for <ins title="reverence.’”">reverence.”</ins></p> + +<p>Yet without the child's craving for the mother<a name="FNanchor_21_22" href="#Footnote_21_22" class="fnanchor">[21]</a> he would not +have become a compulsive neurotic,<a name="FNanchor_22_23" href="#Footnote_22_23" class="fnanchor">[22]</a> with all the hypermorality of +the latter, pride in his moral purity and extravagant self reproaches, +even a lustful self laceration after he had at one single time been +overpowered by sensuality. Furthermore his lack of resoluteness, +decisiveness and courage is not, as he mentions, the result of his +myopia but of his neurosis. He has developed himself, out of an +unconscious rivalry, in direct contrast to his intensely narrow-minded +father. The latter was only a tradesman, who set his comfort +above everything, for whom art had value only in so far as it +increased his own enjoyment of life. So painting becomes the son's +chief delight in spite of his exaggerated myopia or perhaps just on +account of it. He bore his father's tyranny with difficulty<a name="FNanchor_23_24" href="#Footnote_23_24" class="fnanchor">[23]</a> and +with inner protest. His tendency toward the free kingdom of art +stood in contrast to him, and in the same way he sought on the +other hand a substitute for the mother in every woman. He offered +up for his sin the dreams of his youth when he first believed that +his moral nature was stained and became as a result, as even the +elder feels uneasily, an over obedient son.</p> + +<p><span class="pagenum"><a name="Page_78">78</a></span>How had this so easily befallen him with a mother so deeply +honored! Around her spun all the boy's love desire and twined +itself about her, and all that lava heated feeling belonging so peculiarly +to the child alone. He had hung upon that idol the longing of +his heart, the phantasies of a power of imagination lustfully excited, +which is not indeed wanting in the best of children, although +commonly these are inhibited, and later even completely forgotten +because of restraining moral impulses. Therefore the memory of +the highly honored mother is awakened not only through Maria, the +pure one, but also through Julie, who comes into contact with his +sensual desire and the unclean childish phantasies slumbering in the +last analysis behind this. It is interesting how strikingly the poet +is able to point out that double emotion in Eisener's soul.</p> + +<p>There the moral restraining impulses were first crowded back +by the wine plentifully pressed upon him, which he, accustomed +from his early years to moderation, could tolerate in only the smallest +amount. Now “the sly Julie seemed to him ever more charming. +A play of glances began between the two, which appeared to +make the young hunter jealous. On the other hand Eisener himself +felt something similar when his neighbor on the left addressed to +the earnest Maria words which did not conceal the liking she had +inspired. He listened to her replies almost with fear and was delighted +that there was not audible in them the least response to this +inclination, and then he wondered at himself over this same division +in his nature. In Julie's dark eyes glowed a flame, of which he +felt how it kindled him and that its fire must attract more and more +to itself without his being able to defend himself from it, yes, without +his wishing to be able to do it.” To be sure when “the slender +Maria stood like a holy picture behind Julie, the alluring child of +the world with all her seductive graces sank low in value in contrast +to the former. He felt the need to be open with himself.” Transparency +was a necessity to him from his youth, as an inheritance +from his wise mother. “Then Breitung thrust with his glass +against Eisener's refilled one. Laughing and drinking he found +the motley interchange of the liveliest ideas outwardly, which already +had taken the place of quiet thought, soon becoming less and less +menacing and finally even agreeable and desirable.”</p> + +<p>His sexual excitement, heightened besides through the plentiful +indulgence in alcohol and the general boisterousness, was brought +to a high pitch by an episode with the passionate Julie. Eisener +had to leave the room with her during a social game. “A strange +<span class="pagenum"><a name="Page_79">79</a></span>thing happened to him, for as he bent down in the adjoining room +in the dark to the quick breathing Julie, instead of her ear her burning +mouth met his mouth, and the soft pulsating form fell as if +fainting into his arms. Wrestling with himself, striving to keep his +senses, he seized her arm involuntarily and stood again with her in +the assembly room before he was conscious what it was all about.”</p> + +<p>Is not this behavior of the youth burning with desire peculiarly +strange? What if behind it there is fixed a memory perhaps of a +scene with the mother, who brought him to his senses by seizing his +arm? Yet, it might always be so for him, he had found the power +once more to withstand the hot temptation. Not to be sure without +subsequent regret. For when he later sought his room he could +not go to sleep and “his phantasy conjured up again, as often as he +resisted it, that dark room about him and the bewitching Julie in +his arms. He regretted a thousand times, so much did he distress +himself, his joy at his instinctive flight, that he had not drunk that +sweet poison to the full, whose mere touch had brought his whole +being to this feverish pulsation.”</p> + +<p>He sought now to find cooling for his heated blood in the garden, +and in fact the fragrance of the flowers and the rustling of the +leaves so soothed his excited mind that gradually the sense of a +pleasant languor came over him. In a half unconsciousness he went +upstairs again and back to bed. He was just falling asleep when +he saw a white form enter, whose features he could not make out +because of his shortsightedness. As it disrobed and came toward +him, he first, as if seeking for help, reached with his hands toward +the side where his friend should be sleeping. He did not however +find him, he apparently had been put into another room. “The +thought of being alone for the first time with a womanly being in +the security of night crept over him at first like icecold drops, then +like the glow of fire over all his nerves. His heart pounded audibly +as the figure climbed into his bed. The strangeness and adventure +of the situation was not fitted to work rationally upon the intoxicated +man, whose excitement throbbed into his finger tips. The +power of the warning inner voice disappeared with his reason and +the strife was brief before nature came off conqueror.”</p> + +<p>I have before this sketched Maria's character development up +to the time when Eisener came into her life. Yet one point may be +added. She had retained one single influence from her childhood in +spite of all change in her seventh year, which “with the beginning +of maturity appeared only occasionally and as it were in secret. +<span class="pagenum"><a name="Page_80">80</a></span>The moon had been her dearly beloved and her desire; as a small +child she had been able to look at the moon for hours without intermission. +If she was sick her mother or nurse must carry her to the +window through which she might look upon the friend of her small +soul.” About half a year before her acquaintance with Eisener +“the moon had made its influence felt upon her sleep, as it had +before affected her waking. At the time of the full moon she often +left her couch, dressed herself and went up into the corner room +in the pavilion. Here she stood for some time and turned her closed +eyes toward the moon. Then she dropped the curtain, undressed +and lay down in the bed, which stood in the spot where she had been +used to sleep as a child. As soon as the moon had left the windows +of this room or shone through the windows of her present sleeping +room, she arose again, dressed herself and returned. She herself +knew nothing of these wanderings, and whatever was done to +awaken her during them was in vain. The physician thought that +these attacks of moon walking would disappear finally when maturity +was established, or at least at her first confinement.”</p> + +<p>In this picture from a layman are some new and striking features. +First is the love—one can call it nothing else—which the +child <ins title="betows">bestows</ins> upon the planet. Why is the moon her beloved and +her desire from childhood up, why can she stand by the hour looking +at it, why does she long when sick to be laid so that she can look +at it all the time? He who observes children knows that such extreme +love, which endures for years without wearying of it, and +finally that ability to stare steadily at the moon, must have a sexual +content, although naturally no one will admit this. Only when the +object, in our case the heavenly body, is sexually stimulating is the +love for it enduring for all time, undergoing no change, no abatement +of feeling for it. As Maria's erotism later found satisfaction +in her father, her love toward the moon steadily receded. But at +the entrance upon puberty her sexual impulse increased and she +began to wander in the moonlight. The love finally which Eisener +inspires in her, together with the strong sexual excitement, which +the fête the day before had called forth in her, occasions again an +attack, in which she surrenders herself willingly to the beloved.</p> + +<p>The folk, like the family physician, have not a doubt of the +sexual basis of the moon mania with her as with individuals in general. +When puberty is established or she has a child of her own +the attacks will cease, is the opinion of the latter. The servant maid +Grete also, a living book of fairy tales among her people, explains +<span class="pagenum"><a name="Page_81">81</a></span>the moon wandering as nothing else than the result of an unsatisfied +sense desire. There was a young knight who had wooed a rich +woman of gentle birth. Shortly before midnight they were both +led into the bridal chamber. “Yet hardly were they alone together +when a strange voice outside before the castle called, ‘Conrad, come +down here! Conrad, come down here!’ And again it called, ‘Conrad, +come down here!’ The voice sounded so plaintive and at the +same time so threatening. The bridegroom said, ‘That is my best +friend; he is in need and calls me.’ The maiden said however, ‘The +voice belongs to my cousin, who was found dead two years ago.’ +Then she shuddered so that the gooseflesh stood up over her whole +body,” and she implored her bridegroom not to follow the evil +spirit or at least to remain with her until the ghostly hour was past +and the full moon was up. But he would not be restrained: “Be it +an evil spirit or a good, no one shall call me in vain!” “And he +went out. The lady went to the window but could see nothing for +the darkness outside and for the tears in her eyes. Then the haunted +hour was over and the full moon arose and she waited and waited, +but the knight never returned. Thereupon she swore to take no rest +on a night when the moon was full until she had gone to bed with +her bridegroom. And as her first bridegroom never and nevermore +came back, so she waited for another, but there was no one who +knew her story who would woo her, because each one thought it +would fare with him as it had fared with that other. Thus she died; +her oath is however still unfulfilled. Whenever it is full moon, she +is looking out to see if any bridegroom comes and she laments sorely, +and holds her hands weeping toward the moon.”</p> + +<p>In this folk tale the exclusively sexual foundation of the wandering +is quite plainly expressed. The ghost makes use of a voice, +complaining and threatening at the same time, which the bridegroom +believes to be the call for help of his best friend, and the bride on +the other hand imagines it the voice of her cousin, who had been +found dead two years before, perhaps after she had taken her own +life because unhappy in love. Both may be driven by sexual jealousy—I +offer this as a hypothesis—which would not permit the +other sexual gratification which is denied to himself or herself, the +friend perhaps meaning jealousy from a homosexual tendency. +The ghost having accomplished its purpose at the hour of midnight +and in the light of the full moon, the lady swore “to take no rest on +a night when the moon was full until she had gone to bed with her +bridegroom.” That is the kernel of the entire myth, the naïve and +<span class="pagenum"><a name="Page_82">82</a></span>yet apparently conclusive folk interpretation of the riddle of moon +walking, at least in its most frequent form.</p> + +<p>I have above taken it for granted that Maria's erotism was satisfied +through her care for her father. That must of course be understood +with some qualification. For she could play the rôle of +mother only as housekeeper, not as wife. The former is satisfying +therefore only so long, until stronger sexual impulses awaken +through external stimuli or, according to rule, through the natural +development of a maiden. When once that has come to pass, one +so disposed to it as Maria was, begins to wander in the moonlight. +Why then, it may further be asked, does Maria seek for her childhood +bed, if the goal and the aim of the wandering is the sexual +satisfaction of the maiden? In the case analyzed at the beginning +the compelling motive was a sexual self stimulation upon the mother, +in later years in the loved object whoever it was, male or female. +In most cases, since normal sexual feeling predominates, the aim of +the sleep walking is that of the folk tale, to go to bed with the lover. +That would explain without difficulty the scene of the union in +Maria's case, as soon as she had come to know Eisener.</p> + +<p>But what lay specially at the foundation of her earlier wandering, +when no man had yet made an impression upon her? Or +was there perhaps one, in relation to whom sexuality is most +strongly forbidden, her own father? What if her erotic desire +toward him was repressed and the indifference which she had attained +was transferred over to all men? Much that is apparently +harmless is permitted to a child, which would be regarded with +horror in the adult. Many parents like to take their children into +bed early in the morning and play with them without any consciously +sexual thoughts and without suspecting how very often +they in this way stimulate sexual desire in their children. Frequently +also the mother or father visit the child before going to +sleep, lean over the bed, allow themselves often to press the child +passionately to themselves and count this asexual love toward the +child. The case analyzed at the beginning teaches us how much of +the grossly sexual erotic is concealed behind this, even if well hidden. +Maria likewise sought presumably in her sleep walking for the bed +of her childhood because her earliest erotism was bound with it.</p> + +<p>This had already happened under the instigation of puberty, +before her heart had spoken. How is it now since she loves Eisener? +We must keep in mind her unconscious wish, to climb into the bed +of the man she loves, and on the other hand that Maria as housemother +<span class="pagenum"><a name="Page_83">83</a></span>knew well that he was not sleeping alone, but with his +friend, so only a compromise form of action would be possible. So +she goes up again to her childhood room, which lies in the same direction +as Eisener's sleeping room. There she first draws the curtain +aside that she may gaze at the moon, which increases the sexual excitement +with her, as I have earlier discussed. Then she undresses +before the mirror as she probably had done as a child, and moves +forward toward the beloved one, who after a brief struggle with +himself embraces her passionately. She nevertheless submits to +his caresses without response but also without resistance. For thus +alone can the fiction be maintained that she has loved without consciousness +of it and therefore also without culpability. It is not +difficult, according to the analysis of the first case, to understand +how she finally at the withdrawal of the moonlight gets up again, +dresses herself before the mirror and leaves the room as noiselessly +as she had entered it.</p> + +<p>The later portions of the narrative must confirm my assumptions +if they are correct, that Eisener merely embraces the mother +in Maria and that she on the other hand knows well enough in the +unconscious both as child and as maiden that she wishes for that +which is sexually forbidden and knows whom she desires. Let +us see what the poet tells us. As Eisener awakes after the bridal +night, he is not at all invigorated and uplifted as otherwise a man +in like case, but psychically and physically cast down, as if he had +to atone for some great wrong. “He strove to consider the strange +adventure of this night as the delusion of a fevered dream. Yet +that adventure painted itself before him, in spite of all his effort to +forget it, in ever more vivid colors,” because indeed a wish of his +heart had been fulfilled through it. His inner unrest drove him +forth and, as walking about he met his beloved, he marveled “that +Maria seemed taller to him today than yesterday, or rather that he +believed that he first noticed today that she was tall.” What could +this mean except that Maria now seemed big to him as once the +mother had seemed to the small boy? Only he had first to embrace +his beloved, before he could perceive such a thing and give heed to +it. Maria herself, who apparently had enjoyed her pleasure only +in her sleep and unconsciously, and therefore knew nothing of it +all, had lost her frank manner with him, which she still possessed +the day before. She grew red at his look and drew the hand which +she gave him “quickly back again in confused fear,” without consciously +knowing why. “The flower of womanhood which had +<span class="pagenum"><a name="Page_84">84</a></span>slumbered in her too serene, too cold image, appeared in this one +night to have come with magic swiftness to bud and immediately to +have unfolded in all its fragrance.” Maria herself pictures her +condition: “That morning I can never forget. Everything was so +still, so solemn; the guests were all yet asleep. I had never been so +strong of heart. I felt that morning as if all my life before had +been only a dream and life was now just beginning. It seemed to +me that I had suddenly become grown up and was now for the first +time a child no <ins title="more.">more.”</ins> Maria thus felt herself through the bridal +night to have grown up from the child to the mother, only, now, it +was for the lover who had taken the father's place.</p> + +<p>Both Eisener and Maria conducted themselves further entirely +in accordance with their earlier unconscious wishes. The former +for example “found a growing pleasure in representing his own +action, when it was really the effect of many circumstances acting +one upon the other, as the result of a cold, calm calculation on +his part.” And was it not at bottom actually something like a calculation, +since he in his earliest childhood phantasies imagined +something similar for himself from the mother? It is only natural +that he now greatly exaggerated in consciousness the sin which he +had desired. Never for a moment did it occur to him “to throw +any part of the burden of guilt upon that being who so closely +participated in it. His rightful feeling remained in regard to it that +he had this night given to a woman a right to himself, which he, if +she should demand it, could not dispute. It was a source of calmness +to him to look upon himself as punished, as it were, in this +manner.” Only all <ins title="to">too</ins> evident! This punishment was in reality a +disguised reward, fulfilment of the infantile wish to win the +mother.<a name="FNanchor_24_25" href="#Footnote_24_25" class="fnanchor">[24]</a> For this reason he had not been able earlier to withstand +Julie although Maria attracted him far more. For the former was +the indulgent mother of his power of imagination, the latter on the +contrary the proud, unapproachable mother of his real childhood. +Moreover, though he did not conceal from himself that his heart +belonged to the chaste Maria, yet he resolved, if Julie should convince +him that she had been the ghostly visitor, to offer her his hand +immediately. “The doubt, whether she deserved it, which was near +enough at hand, he put from him as an excuse which he wished to +make so that he could believe that he might release himself from +<span class="pagenum"><a name="Page_85">85</a></span>that which he had to recognize as his duty.” Maria however “he +had in these days accustomed himself to think of as a being so high +above him that his love must profane her.” Again the well known +splitting of the mother into the holy and the yielding one.</p> + +<p>How did it appear at this time to her, herself? The first weeks +after that moonlight night the woman in her bloomed forth more +and more, in spite of the fact that her lover tarried at a distance. +Yet when in her body a new life began to develop and Eisener still +did not appear, she was seized suddenly with a hysterical convulsion—she +was wearing significantly the same rose-colored dress in +which he had seen her that morning—which lasted twelve hours so +that every one looked upon her as dead. The despairing father +threw himself across her feet and lay there—a situation which will +occupy us later—and Eisener, who was just now returning, was +driven by the bitterest self reproaches across the ocean. After +waking from her catalepsy Maria did not regain her former blooming +health but grew more and more ill, which the family physician +finally discovered as the result of her pregnancy.</p> + +<p>“The good girl herself believed at first that what she felt and +what they told her was a vivid troubled dream.” This idea will not +appear strange to us who know so much about moon walking and +that one does everything merely “in sleep” in order to remain +blameless. “That she should become a mother seemed to her so +strange and wonderful that she appeared to herself as some one +else (this might well read, as her own mother dead at so early an +age) or as suddenly transplanted into another world with strange +people, animals and trees. The sound of her own voice, the tone of +the bells seemed to her as other and strange sounds.” We may +bring forward in explanation in this place the case analyzed at the +beginning, where a moon walker had abandoned herself to all sorts +of dreams. In the moon must be living men of another sort with +other feelings, customs and manners, and the sexual, strongly forbidden +upon earth, must be freely permitted upon this planet. She +seemed to herself on account of her sexual phantasies already as a +child quite different from other people, as if she belonged not upon +this earth but upon the moon. Could not a similar thought process +have taken place with Maria?</p> + +<p>I said of her father, that he had been her first beloved. And it +comes almost as an unconscious recognition of this when he, filled +with anger, calls out to her mockingly, “Why do you not say that +the whole affair has come to pass out of love to me, to prepare for +<span class="pagenum"><a name="Page_86">86</a></span>me an unexpected joy?” Breitung also enjoyed since her earliest +childhood her unlimited confidence only on this account because he +loved her as his own child. Therefore she looks up with all her +anxiety so trustfully and self confidently to this friend of her father. +But when Breitung also no longer believed in her and her father +turned from her with scorn it was “as if all her blood streamed into +her eyes that, pressing out as tears, it might relieve her. Yet here it +remained and pressed upon her brain as if threatening its fibers. +With a strangely fearful haste she pressed her eyes with her fingers; +they remained dry; a cry of pain would unburden her soul—no +sound accompanied the trembling, convulsive breathing. The old +servant, who entered after a while, found her lying with her breast +upon the sofa pillow, her head thrown violently back,” in hysterical +opisthotonos. “The old man had loved Maria from her earliest +childhood” and stood accordingly in the place of a father. “He +clasped his hands together in distress. She recognized him and suffered +him patiently to bring her head to a less forced position. She +looked at him sharply as if she would convince herself that he was +the one she took him to be. His Kalmuck features seemed to her as +beautiful as the soul which they hid and seemed to want to disown.</p> + +<p><ins title="The">“The</ins> friendliness, the affectionate regard, which spoke so unmistakably +out of the familiar old graybearded, sunburnt face, did her +no end of <ins title="good.">good.”</ins> Since she could not yet entirely believe she asked, +“Is it indeed you, Justin? And you will still recognize me? And +you do not flee from me?” At first the deplorable commission +which the old man had to carry out threw her back again. When +she had to understand that her father would not again set foot in +the pastor's house until she had departed, her countenance became +deathly pale and convulsive movements trembled in quick succession +over her delicate body so that the old man wept aloud, for he believed +that she had gone mad. His signs of distress, the faithfulness +and love which spoke through them, touched her so effectually that +at last the hysterical convulsion relaxed and she sank down. “The +old man caught her up. He placed her on the sofa. She lay across +his lap; her head lay upon his left hand, with the other he held her +body fast that it should not slip to the floor. It seemed as if she +would weep her whole weary self away. The old servant held her +with trembling hand and heavy heart.” Now the scene of childhood +is complete, except that the old man plays the rôle of her father. +So had Maria presumably done as a child when she felt too unhappy +and so also the pastor's throwing himself down, as we saw above, +over his daughter whom he believed dead, is not strange.</p> + +<p><span class="pagenum"><a name="Page_87">87</a></span> +When Maria had left the parsonage her first thought and silent +concern was how her father must now live without her care, even +that perhaps he would not be there any more, when everything had +later turned out well. Then she thought again of the time when +she would be a mother and “her life seemed to her as a tale that is +told.” On her journey to her new home there came over her ever +more strongly “the feeling of her complete abandonment. All the +dear childhood memories, into whose protection she would flee, +turned in anger from her. With tears she cried to God for a heart +that she might love, some one for whom she might really care. For +it seemed as if a curse lay upon her, which estranged all hearts from +her. She thought with fear at her heart that the being to whom she +would give life might likewise turn from her, as everything had +done that she loved.” Then a good fate brings to her the unfortunate +Johannes whom his crazy father wished to throw into the +water in order to preserve him for eternal happiness. At once +Maria assumes the rôle of mother toward the boy and now “that +once more she had to care for some one, she was again the calm and +serene being.”</p> + +<p>What had so thrown her out of her course? It was not so much +the banishment from the father's house, not the contempt of all the +world, nor even of her very oldest and truest friend. She would +have been able to look beyond both of these, because her consciousness +felt itself entirely blameless. But she took so to herself +the truth that she was no more the loving, caretaking house mother +nor might play that part, that for a brief while she planned to take +her life. She prayed to God with tears for one heart only that she +might love, that she might actually care for. Since the care of her +father is taken from her she feels herself at first truly and utterly +forlorn, all the dear memories of childhood turn in anger from her +and a curse seems to rest upon her soul.</p> + +<p>Why do all the memories of her childhood turn from her, if +she actually knows herself guiltless? Is this merely because the +father is indissolubly bound with them? If she still consciously +feels entirely blameless toward him, and if he openly did her wrong +from a false assumption, then should not the childhood memories +return to her? I think the solution must be sought elsewhere, in +this, that Maria knew nothing in clear consciousness of the happenings +of that moonlight night and could honestly swear to that, but +everything was known in the unconscious. Here is the sense of +guilt engendered, of which consciousness may know nothing, here +<span class="pagenum"><a name="Page_88">88</a></span>she knows well enough that the youthful Eisener has embraced her +and she has together with him deceived the father whom she first +loved. The goal of all moon walking is none other than to be able +to enjoy and still be blameless, it is blamelessness because without +accompanying consciousness.</p> + +<p>The poet's words must confirm this, if this assumption is correct. +We will test them. The first night of her banishment Maria, while +going to sleep, thought first of her father “who must go to bed +without the little services which he was accustomed to receive from +her.” Then she thought of Breitung and the apothecary's daughter, +who had turned from her full of scorn. “The young Eisener occurred +to her in the midst of this, she knew not how, and a sort of +curiosity whether Eisener also would have turned from her in so +unfriendly a fashion as Breitung. She pictured to herself how he +might have looked upon her now with contempt, now with friendliness, +as on that morning which she so gladly remembered.” Also +an evident identification of the young Eisener with the father and +the father's friend, and flight from the loved ones who had cast her +off to him who had inclined to her as a friend.</p> + +<p>Yet more convincing is a passage which follows. Maria had +born a son and “the more she looked with joy upon the small infant +contemplating his sound and beautiful body, the more grew the need +within her, only instinctively felt at first, to have some one who +could rejoice in the child with her, not out of mere sympathy with +her, but because he had the same right to it and so that she could +rejoice again in his joy, as he might in hers. Without knowing how +and why, she thought again of the friendly and true hearted Eisener. +Her dreams brought his picture before her eyes in most vivid colors. +It seemed as if it were Eisener who should enjoy the child with her. +She hastened to him with tears of joy to lay the beautiful boy in his +arms, and when she now stood by him, she had scarcely the heart +to show him the boy. Then she cast down her eyes and said confusedly, +<ins title="“See">‘See</ins> this beautiful child, Eisener, <ins title="Sir!”">Sir!’”</ins> Maria knew quite +well in the unconscious that she had conceived her child from +Eisener and the sudden restraint when she laid the boy in his arms +is only a compromise with consciousness, which must not know the +facts, otherwise she could not be spared her feeling of guilt. Yes, +when Julie then came with her love child, which she had conceived +that same moonlight night from the hunter, although she really +loved Eisener, then “Maria experienced, she knew not why, a gentle +aversion toward her. She said quietly, ‘That in which one has +done no wrong and cannot change, one must bear patiently.’”</p> + +<p><span class="pagenum"><a name="Page_89">89</a></span>Soon however there awoke a desire in her “for something new, +still unknown to her, which she nevertheless felt must come now. +It was the strange, fearfully sweet condition of the ripeness of love, +which had not yet found the object on which she could open her +heart. That night a need awakened, formerly repressed into the +background by greater pain, but which threatened now to outgrow +other desires and feelings in the undisputed possession of him.” +Often she sat knitting and dreaming at the boy's cradle. “There +was a fair at Marklinde. She went early in her rose-colored dress +into the garden and plucked wild hedge roses. She was startled +for she heard a noise behind her and she knew that it was Eisener +who was coming after her. She turned into another path; she was +afraid to meet him, and yet she wished that he would follow her. +As she bent low behind some flowers, she threw a hasty look behind +her. She grew rosy because he might have noticed the look, and +still it would have made her glad if he had noticed it. ‘Yet if he +knew everything,’ she whispered to herself; ‘but I could not tell +him, nor could I let him perceive it. I would have to say No, although +he understood it as Yes!’ Suddenly he stood near her; he +had seized her hand and was looking into her eyes. She bowed her +head, he bent toward her. It seemed so strange to her—their lips +touched—Maria frightened and blushing, sprang involuntarily from +her chair, as if what she was dreaming were real.</p> + +<p>“A strangely mingled feeling drove her from her chair to the +window and from the window back to the chair. She felt herself +stirred in her very depths by something which wounded her sensibility +as much as it excited her longing. She fled to her child. She +strove to think of something else; in vain. That thought continually +returned and gradually lost its frightful character. Soon she felt it +only as a sweet dread and so the idea received a double stimulation +while it woke the curious question, why and for what reason +she must really be afraid. And as she looked now upon the child, +it seemed to her so marvellous that she, mother and yet maiden, +knew nothing of the happiness of which this little life must be the +fruit. Julie's words were continually ringing in her ears, ‘The +happiness which is granted him, has to be reckoned too dear.’ It +gave her unending satisfaction, to think of herself actually in such +a situation to the young Eisener that all her unhappiness was the +result of a joy which she had granted him, without knowing what +joy this must have been.” I consider it superfluous to add a word +<span class="pagenum"><a name="Page_90">90</a></span>to complete the interpretation of these phantasies, which speak for +themselves. They confirm everything that I have said above, better +than any labored explanation. Later Maria came to know that what +had sustained her in the hours of her sorrow was nothing else than +that mysterious but certain premonition of a happy life with Eisener +and her <ins title="George.”">George.</ins></p> + +<p>And now back to the purpose of the analysis of all these tales. +What does it teach us for the understanding of moon walking? +First of all it confirms many of our earlier conclusions. The most +important thing, in the first place, is that sexual impulses lie at the +foundation, desire for sexual gratification, and that one apparently +acts in sleep in order to escape all culpability, while the unconscious +still knows all about it. The sleep walking begins, in accordance +with the sexual basic motive, at the time of puberty and lasts until +it is inhibited by the close of that period or in women with the birth +of the first child. It is further established that at the beginning the +bed of childhood is sought, the place of earlier sexual pleasures, +later however the bed of the loved object, who appears in the place +of the originally loved object, the parent. Finally, moreover, when +the night wanderer fixes his closed eyes upon the moon before +starting out on his wandering, erotic thoughts hide behind this, +which in turn go back to earliest childhood. The heavenly body +effects a sexual excitement not only through its light, but indeed +also through sexual phantasies which are bound with it. Lastly +folk myth knows likewise that the woman in white represents nothing +else than the maiden in her night shift with all her sexual +longings.</p> + +<p>One thing more this novel also confirms, which our earlier discoveries +have already taught us, the abnormal muscle excitability +and muscle erotic. For Maria was seized with a hysterical convulsion +when her father's unkindness pressed itself upon her. It is +interesting that this abnormal muscle excitability, which manifested +itself in various muscular convulsions, was present with Otto Ludwig +throughout his earthly career. Already as a boy he often suffered +convulsive muscular twitchings, when he had exceptional +tasks to perform or hard thinking was required of him, and “nervous +twitchings of the head” are recorded of him when twenty-three +years old, also presumably a tic had won for him the nickname +of “the shaker.” Later moreover our poet suffered chronically +from convulsive manifestations of a lesser degree, repeatedly however +<span class="pagenum"><a name="Page_91">91</a></span>in a stronger, special form although only in temporary +attacks.<a name="FNanchor_25_26" href="#Footnote_25_26" class="fnanchor">[25]</a></p> + +<p>In other words, it may be said that Ludwig assigns to Maria +and the young Eisener a series of his own personal characteristics. +That is to say, not only was the tendency to convulsive attacks +peculiar to him, but also to fainting, and a compulsive neurotic and +hysterical tendency, the high grade myopia, a fondness for discussing +painting, talking with inanimate things,<a name="FNanchor_26_27" href="#Footnote_26_27" class="fnanchor">[26]</a> colored audition, +as well as other synesthesias, and finally a special reverence for his +mother.</p> + + +<h3>“<span class="smcap" lang="de" xml:lang="de">Buschnovelle</span>,” by Otto Ludwig.</h3> + +<p>The moon plays an important part in the romance just discussed, +even apart from Maria's night wandering, and a number of significant +events take place under its very light. We find this relationship +still stronger in Otto Ludwig's “<span lang="de" xml:lang="de">Buschnovelle</span>,” briefly referred +to earlier, which I add here, though it really does not directly +treat of our problems. The heroine Pauline passed with many as +moon struck and her blue eyes “have a strange expression of their +own. They gaze as aliens upon this world, as angels, which, transplanted +to our marvelous earth, belong to the heavenly home and +cannot find themselves amid this confused and agitated humanity.” +Likewise his bride asserts of the count that he knows no other recreation +“than to climb about in the night over the rocks and worship +the moon.” This perhaps gave occasion to the rumor of a ghost +or at least breathed new life into an old tale.</p> + +<p>A prince was banished under an enchantment to the rocks of the +gods. He had “a face as of a person twenty years old or so, but +pale and quite transparent like moonlight, and he could be rescued +only through a maiden eighteen years old and as innocent as when +she came from the mother's womb.” The count, whom his bride +<span class="pagenum"><a name="Page_92">92</a></span>deceived, became very melancholy over it and trusted no woman +after this. He learned to know and love Pauline upon the rocks of +the gods, where he was accustomed to wander in the moonlight. +When she believed she saw in him the enchanted prince and declared +her intention of voluntarily rescuing him, he stipulated that she +must climb down from off the rocks, down from the cross, without +touching them with her hands but holding her arms toward the full +moon. “And that must take place tomorrow night when the moon +is sailing overhead, otherwise I must remain enchanted. When you +shall have climbed down the rocks, I shall be saved and then I will +make you my princess.” One may read afterward from the poet +how Pauline then carried out her resolve—her determination alone, +sprung evidently from a great love, had already cured the count of +his sadness—how the count saved her and later wooed her.</p> + +<p>Emphasis will be laid here merely upon two facts, first that not +only all important events happen in the light of the full moon, but +that also no other novel shows so many autobiographical features. +The most recent publisher of this tale, Heinrich Borcherdt, gives +this explanation: “One can recognize without much trouble in the +portrait of the count with his well-trimmed beard the poet himself, +who at that time tended to great seriousness and to melancholy. +For this very reason the cheerfulness, gaiety and unrestrained +naturalness of his bride Emilie worked most refreshingly upon him. +Pauline in the tale exercised a similar influence upon the count. +What we know of Emilie Ludwig from without agrees likewise with +the picture of Pauline. Pauline's father suggests Emilie's father.… +The greatest weight will be laid upon the fact that we possess +in this work a poetic glorification of Otto Ludwig's love happiness +in Triebischtal. The rural life is reproduced in every detail.” +Nothing unfortunately is reported in the different sketches of his +life whether and how far the poet and his bride allowed themselves +to be influenced by the light of the full moon. The striking +fact remains at any rate that twice in the course of two years he +spun out this theme and each time moreover with a strongly autobiographical +note. That cannot be sufficiently explained merely +through the influence of Tieck, whom he, to be sure, read diligently +in his youth.</p> + + +<h3>“<span class="smcap" lang="de" xml:lang="de">Lebensmagie, Wirklichkeit und Traum</span>,” by Theodor Mundt +(“Life's Magic, Reality and Dream”).</h3> + +<p>In the seventh volume of the “<span lang="de" xml:lang="de">Euphorion</span>” Richard M. Meyer +has exhumed a probable source of Ludwig's “<span lang="de" xml:lang="de">Maria</span>.” It is a +<span class="pagenum"><a name="Page_93">93</a></span>fictitious tale of the “young German” Theodor Mundt, which appeared +in his collection “<span lang="de" xml:lang="de">Charaktere und Situationen</span>” in 1837, five +years before the “<span lang="de" xml:lang="de">Maria</span>,” and shows in fact some external similarities +with this. Still Otto Ludwig expressly acknowledges a +tale told by a friend as the source, but gives no syllable of mention +to Mundt. I must say that it seems at least very questionable that +the latter's story was the model, although the Berlin literary historian +comes to the conclusion, “A direct utilization would be here +difficult to dispute.” I will reproduce the contents of this story, as +far as it touches our problems, as closely as possible in the words of +Mundt, although this story, which is contained in the collection mentioned +under the separate title of “<span lang="de" xml:lang="de">Lebensmagie, Wirklichkeit und +Traum</span>,” hardly possesses an artistic value.</p> + +<p>The theological student Emil Hahn had, as one of his friends +states, “lost life itself over his books and before his merry companions, +who would have initiated him into the true enjoyment of +existence, crowed many a moral cock-a-doodle-doo of virtue and +self restraint.” On the ride home to his father and foster sister +Rosalinde he was urged by two student acquaintances to a little +drinking bout, at which he partook of more wine than was good for +him. The two comrades sang the praises of Rosalinde, whom Hahn +had left as a fourteen year old girl and who in the two years of +separation had blossomed out in full beauty. As Hahn returned to +the father's house in a half intoxicated state and met Rosalinde in +an adjacent room, he found at once, in contrast to his shyness of +former times, the courage to approach her. “Ardently and daringly +he embraced her and the passionate kiss which he impressed upon +her maidenly lips was followed, as one lightning flash succeeds another, +by a second more lingering one, which was reluctant to leave +off.” After he had for some time, again quite contrary to his custom, +held his own place at the large party which his father was giving +that very evening, “he felt himself gradually seized with weariness +and the lively and excited mood, to which the wine he had enjoyed +had awakened him, began little by little to disappear with the +intoxication. He made his adieus in a dejected tone and betook +himself with heavy, hanging head to his room, there to recover himself +through sleep, which he could no longer withstand because of +his painful state.</p> + +<p>“It was late in the night when Emil sprang from his bed. A +vivid dream seemed to have confused and frightened him. He +<span class="pagenum"><a name="Page_94">94</a></span>stood half clothed in the middle of his room and stared straight +ahead as if trying to recollect himself. Above in the night sky +glowed the full round moon with a sharp ray seldom seen and its +white silver light pierced directly over the head of the youth walking +in his sleep. The room gleamed brightly in the moonbeams trembling +with mystery, which had spun themselves out in long, glimmering +threads over floor and ceiling. Emil had fastened his eyes +upon the great disk of the moon and staggered with uncertain steps +to the window to open it.” While he stood thus there came a small +snow white cat—the cat is well known as a favorite animal of the +romantic writers—and spoke to him: “I am come to congratulate +you on your bridal night. Yes, yes, I know well that you are married. +This is a beautiful night to be married. The moon shoots +down right warmly, and its strong shining stings the blood and we +cats also feel the impulses stirring in the whispering May night. +Happy one, you who are married! Married to Rosalinde!”</p> + +<p>“Emil, distracted, clasped his forehead. Everything which he +saw about him appeared to him changed and even the inanimate +things in his vicinity seemed in this moment to have been drawn into +a magic alliance. Everything, the very table, chair, press looked at +him, rocking themselves saucily in the bright moonlight, personally +and familiarly, and had to his eyes, arms and feet to move about, +mouths to speak with, senses for communication. At the same time +a fair picture rose before the youth deep out of the bottom of his +heart, at which he smiled longingly. It was the recollection of +Rosalinde and her matured beauty. She passed like a burning, +ominous dream through his soul and he felt himself drunken, trembling, +exultingly united with the proud but now subdued maiden in +a love thrilled bridal night. While he was thus lost in thought his +look was held chained by a painting, which hung on the wall opposite +him. Strange, it was Rosa's portrait and he knew not whether +this picture had just now arisen warm with life merely out of the +force of the idea which was kindling him, or whether it had actually +been formed over there in its golden frame by a painter's hand.” +Then the cat mewed again: “That is your young wife Rosalinde. +The moonbeam chases her; see how its brightness kisses her temples +unceasingly. The young woman is queen on her bridal night. +We will crown her, all we who are here in this room and owe our +life to the brightness of the moonlight night, we will crown her. +I present her for her bridal crown burning, tender desires.” Then +<span class="pagenum"><a name="Page_95">95</a></span>the May blossoms in the room bestirred themselves and conferred +upon her the bloom of fond innocence for her bridal crown. Also +the bird in the cage made himself understood: “I give her for her +bridal crown the score of my latest melody. Harmony and melody +should be the dower of all young brides.” Finally a cockchafer +also which flew in offered her for her bridal crown “a pair of lovely +crickets.”</p> + +<p>“The dreaming Emil, surrounded by these fairy treasures of +the May night, stood in sweet intoxication opposite the glowing +picture, bathed in moonlight, of the maiden to whom all this homage +belonged. The longer and the more vividly he pictured to himself +and leaned toward all the maidenly charms, which had allowed the +first passionate wish in the young man's phantasy to blaze up, the +more an impatience, almost consuming, pounding, benumbing his +heart, seized him, which he did not know how to explain and had +never felt before in his life. Like a seductively sweet poison the +delusion imparted itself secretly to him that Rosalinde was his +bride, his wife, and that this wondrously beautiful spring night, +bright with moonlight, was his wedding night. His heart swelled +with mighty, growing desire, youthful passion breathed high in him. +Trembling, fearful, wavering, longing, he still felt himself strangely +happy.</p> + +<p>“Then it seemed to him that Rosalinde's picture began to move, +as if the gleaming shoulders lifted themselves gradually and gently +at first from it. Then the delicate outline of the bosom rose as +the lovely form came forth, the face streaming with love bowed +itself in modest shame before him. The form grew larger, rose to +full beauty, stretched itself to life size. Smiling, beckoning, gazing +at him full of mystery, promising favor and happiness, she took +some steps toward him, then fled back again ashamed and as if +frightened, floated away with sylphlike movements to the door and +remained hidden behind it, yet peeping and looking out at the youth.</p> + +<p>“He did not know if he should, if he might follow her. He was +drawn powerfully after her and yet he stood still and hesitated. +The bright moonlight seemed, like a fairy toward one enchanted, to +make merry at the loud anxious beating of his heart. He restrained +himself no longer; with a passionate movement he hastened with +open arms to the beloved apparition, desiring to embrace her, throw +himself upon her bosom, breathe out upon her his burning desire. +She fled, he followed her. She fled before him, but softly and +alluringly and he, intoxicated, rushed after her from room to room +<span class="pagenum"><a name="Page_96">96</a></span>unable to overtake the form flitting on with ghostly swiftness. Like +a star drawing him onward she floated there before him, his footsteps +were as if bewitched by her running, and thus she led him +after her, on and on, through a succession of rooms, so that he marveled +and thought himself wandering about in a great, unfamiliar +enchanted palace.</p> + +<p>“At last he saw her no more, the lovely picture had suddenly +disappeared from him. He must however still hasten and hasten, +there was no rest for him. He no longer knew himself what he was +seeking and what he hoped to find. But now he ran upon a door; +it opened and he entered a small, cosy room in which stood a white +bed. Seized with a strange apprehension the youth drew back the +curtains with bold hand, and looked, astonished, smiling, burning +with bliss. There lay a beautiful maiden asleep and dreaming—ah! +it was Rosalinde herself. In the sweet forgetfulness of sleep, unveiling +herself like the outblown petals of a rosebud, she revealed +her most secret charms in lovely fulness to the eye of night. Emil +stood before her in the dear delusion of aroused passion and bent +over her. ‘Is not tonight my bridal night?’, thought he. He reflected +and the hot tumult of exulting senses tore him irresistibly. +Then he flung himself passionately into her arms, pressed his mouth +to her mouth in yearning kisses and clung closer and closer to the +warm, living delight of her charming form. He dared the boldest +work of love. The sleeper did not oppose the daring beginning; in +the power of a dream, like him, according to the myth, whom the +chaste Luna had seized, she seemed at first to yield softly to the +seductive moment. Only a glowing color suffused the tender cheek, +a gentle halting exclamation breathed through the half open lips. +The bright light of the full moon shone on high with its trembling +beams directly over the couch of the maiden.</p> + +<p>“Now, now however she awakes from the strange troubled +dream. She opens her eyes, she shakes her beautiful head as if +she would free herself from the fetters of a dark enchantment. +With a loud outcry she beholds herself actually in the young man's +arms and sees alas! that she has not dreamed it. Wildly with all +the strength of horror she pushes him from her, springs up and +stands wringing her hands distracted before him, her fluttering hair +only half disclosing her frightened countenance. Then she calls +him by name in a tone indescribably piercing, painfully questioning, +‘Emil!’ He in turn, hearing himself called by name, falls at the +same moment with a faint sigh swooning to the floor. After a pause +<span class="pagenum"><a name="Page_97">97</a></span>he raises himself up, rubs his eyes and looks wonderingly about him. +He cannot comprehend how he has come here. The influence of +the moon has permitted the poor night wanderer to experience this +adventure. When he was completely awake and had come to himself, +he stood up and began to think over his situation. Then his +eye fell astonished upon Rosalinde, who continued to stare at him +speechless and immovable. Shame and anger adorned with a deep +glowing color the injured maiden, whose virgin whiteness had been +sullied by the strange events of this night. A dark, frightening +recollection of what had taken place flashed now like a remote, +faded dream into Emil's consciousness. The alluring spirits of the +night, which had buzzed around him, now mockingly stripped from +him the deceitful mask.</p> + +<p>“‘Go, go, go!’ called Rosalinde finally, who could no longer +bear his look. ‘Go!’ she called and stretched out her hand with a +passionate movement toward him, as if she would with it jerk a +reeking dagger from her breast. ‘Go, go!’ she repeated, sobbing +and beseeching. Then she hid her aching head with a loud outbreak +of tears. Emil slipped away heartbroken and in despair. He was +in such a state, when he reached his own room, that he would have +put a ball through his head, had there been at that moment a pistol +at hand.” How Rosalinde then became pregnant and in spite of +her resistance toward Emil, still married him to reëstablish her +honor, how though after the wedding feast two acquaintances of +the young husband, whom he had not invited, played him so mischievous +a trick that he lost his reason in consequence, that deserves +no further rendering.</p> + +<p>We find here also as the nucleus of moon walking, when we +strip from the foregoing all its mystical setting, the longing to approach +the love object and there to be able to indulge oneself without +punishment because it is done unconsciously. The literary historian +Richard M. Meyer regards it quite correctly: “Theodor +Mundt believed that he had emphasized something new in his way +of presenting it. ‘The influence of the moon had caused the night +wanderer to undergo this adventure.’” To be sure Mundt attributes +all sorts of mystical-romantic rubbish to the action of the heavenly +body.</p> + + +<h3>“<span class="smcap" lang="de" xml:lang="de">Der Prinz von Homburg</span>,” by Heinrich von Kleist.</h3> + +<p>Heinrich von Kleist also like Ludwig carried night wandering +and moon walking into material at hand. We know that Kleist not +<span class="pagenum"><a name="Page_98">98</a></span>long before the origin of the “<span lang="de" xml:lang="de">Prinz von Homburg</span>” under Schubert's +influence occupied himself very much with the “night side +of the natural sciences” and Wukadinovic has made it also apparent +that the poet went still deeper, back to one of Schubert's +sources, to Reil's “<span lang="de" xml:lang="de">Rhapsodien über die Anwendung der psychischen +Kurmethode auf Geisteszerrüttungen</span>.”<a name="FNanchor_27_28" href="#Footnote_27_28" class="fnanchor">[27]</a> There he found a +number of features which he then interwove into his drama, although +by no means all that he permitted his moonstruck hero to +do. The matter of the drama is presumably so well known that I +content myself here with giving the mystical setting and the beginning +and end of the action.</p> + +<p>Wearied with a long ride, the Prince von Homburg throws himself +down to sleep that he may obtain a little rest before the great +battle in which he is about to engage. In the morning when they +seek the leader they find him sitting on a bench in the castle park +of Fehrbellin, whither the moonlight had enticed the sleep walker. +He sits absorbed with bared head and open breast, “Both for himself +and his posterity, he dreams the splendid crown of fame to +win.” Still further, the laurel for this crown he himself must have +obtained during the night from the electoral greenhouse. The +electress thinks, “As true as I'm alive, this man is ill!” an opinion +in which the princess Natalie concurs. “He needs the doctor.” But +Hohenzollern, his best friend, answers coolly, “He is perfectly +well. It is nothing but a mere trick of his mind.”</p> + +<p>Meanwhile the prince has finished winding the wreath and regards +it idly. Then the elector is moved to see how far the former +would carry the matter and he takes the laurel wreath out of his +hand. “The prince grows red and looks at him. The elector throws +his necklace about the wreath and gives it to the princess; the +prince stands up roused. The elector withdraws with the princess, +who holds up the wreath; the prince follows her with outstretched +arms.” And now he betrays his inmost wish, “Natalie! my girl, +my bride!” In vain the astonished elector, “Go, away with you!” +for the prince turns also to him, “Friedrich, my prince, my father!” +And then to the electress, “O my mother!” She thinks wonderingly, +“Whom is it he thus names?” Yet the prince reaches after +the laurel wreath, saying, “Dearest <ins title="Natalie,">Natalie!</ins> Why run away from +me?” and really seizes her gloves rather than the wreath. The +<span class="pagenum"><a name="Page_99">99</a></span>elector however disappearing with his retinue behind the gates calls +to him:</p> + +<div class="poem" style="width: 22em;"> +<div class="stanza"> +<span class="i0">“Away, thou prince of Homburg, get thee back,<br /></span> +<span class="i1">Naught here for thee, away! The battle's field<br /></span> +<span class="i1">Will be our meeting place, when't pleases thee!<br /></span> +<span class="i1">No man obtains such favors in his dreams!”<br /></span> +</div> +</div> + +<p>“The prince remains standing a moment with an expression of +wonder before the door, then pondering descends from the terrace, +laying his hand, in which he holds the glove, before his forehead, +turns as soon as he is below and looks again toward the door.” +Out of this state the Hohenzollern returning awakens him. At +the word “Arthur” the moonstruck prince collapses. “No better +could a bullet have been aimed.” Afterward of course he makes +up some story in regard to his sleep walking, that he had slipped +into the garden on account of the great heat. Only the princess's +glove recalls to him what has happened in his sleep:</p> + +<div class="poem" style="width: 24.5em;"> +<div class="stanza"> +<span class="i0">“What is this dream so strange that I have dreamed?<br /></span> +<span class="i1">For all at once, with gold and silver gleaming,<br /></span> +<span class="i1">A royal castle flung its portals wide.<br /></span> +<span class="i1">While from the marble terraced heights above<br /></span> +<span class="i1">Thronged down to me the happy dancers all;<br /></span> +<span class="i1">Among them those my love has held most dear.<br /></span> +<span class="i1">Elector and electress, and—who is the third?<br /></span> +<span class="i1">—What name to call her?”<br /></span> +</div> +</div> + +<p>For the name of the princess there is amnesia, as well as for +the reason for his moon walking. Then he continues:</p> + +<div class="poem" style="width: 24.5em;"> +<div class="stanza"> +<span class="i0">“And he, the elector, with brow of mighty Zeus,<br /></span> +<span class="i1">A wreath of laurel holds within his hand.<br /></span> +<span class="i1">And pressing close before my very face<br /></span> +<span class="i1">Plucks from his neck the chain that's pendant there.<br /></span> +<span class="i1">His hand outstretched he sets it on my locks,<br /></span> +<span class="i1">My soul meanwhile enkindled high.”<br /></span> +</div> +</div> + +<p>Now again the complete forgetting of the loved one's name. He +can only say:</p> + +<div class="poem" style="width: 24.5em;"> +<div class="stanza"> +<span class="i0">“High up, as though to deck the brow of fame,<br /></span> +<span class="i1">She lifts the wreath, on which the necklace swings,<br /></span> +<span class="i1">To crown a hero, so her purpose seems.<br /></span> +<span class="i1">With eager movement I my hands outstretch,<br /></span> +<span class="i1">No word, mere haste to seize it in my grasp.<br /></span> +<span class="i1">Down would I sink before her very feet.<br /></span> +<span class="pagenum"><a name="Page_100">100</a></span> +<span class="i1">Yet, as the fragrance over valleys spread<br /></span> +<span class="i1">Is scattered by the wind's fresh blowing breath,<br /></span> +<span class="i1">Along the sloping terrace flees the throng.<br /></span> +<span class="i1">I tread the ramp—unending, far away<br /></span> +<span class="i1">It stretches up to heaven's very gate,<br /></span> +<span class="i1">I clutch to right, I clutch to left, and fear<br /></span> +<span class="i1">No one of all the treasures to secure,<br /></span> +<span class="i1">No one of all the dear ones to retain.<br /></span> +<span class="i1">In vain—the castle's door is rudely closed;<br /></span> +<span class="i1">A flash of brightness from within, then dark,<br /></span> +<span class="i1">The doors once more swing clatteringly together.<br /></span> +<span class="i1">And I awaking hold within my hand<br /></span> +<span class="i1">Naught but a glove, alas! as my reward,<br /></span> +<span class="i1">Torn from the arm of that sweet dream caught form<br /></span> +<span class="i1">A glove, ye Gods of power, only this!”<br /></span> +</div> +</div> + +<p>It is evident that there is complete memory of the latter part of +his night wandering up to the name of the beloved maiden, although +he thinks, “One dumb from birth to name her would be +able!” Only once, when he was dreaming by himself, he was on the +way toward recollecting the repressed name. He turns even to the +Hohenzollern:</p> + +<div class="poem" style="width: 22em;"> +<div class="stanza"> +<span class="i0">“I fain would ask you, my dear friend,<br /></span> +<span class="i1">The electress, her fair niece, are they still here<br /></span> +<span class="i1">The lovely princess of the House of Orange,<br /></span> +<span class="i1">Who lately had arrived at our <ins title="encampment?’">encampment?”</ins><br /></span> +</div> +</div> + +<p>But he was cut off briefly by his friend, “Eh, what! this long +while they've been gone.” The same friend had however to explain +in detail later, when he appeared before the elector in behalf +of the prince condemned to death:</p> + +<div class="poem" style="width: 23em;"> +<div class="stanza"> +<span class="i0">“When I awoke him and his wits he gathered,<br /></span> +<span class="i1">A flood of joy the memory roused in him;<br /></span> +<span class="i1">In truth, no sight more touching could you find!<br /></span> +<span class="i1">At once the whole occurrence, like a dream<br /></span> +<span class="i1">He spread before me, drawn with finest touch.<br /></span> +<span class="i1">So vivid, thought he, have I never dreamed.—<br /></span> +<span class="i1">And firmer still within him grew belief<br /></span> +<span class="i1">On him had Heaven a favoring sign bestowed;<br /></span> +<span class="i1">With all, yes all his inner eye had seen,<br /></span> +<span class="i1">The maiden, laurel crown and noble jewels,<br /></span> +<span class="i1">Would God reward him on the battle's day.”<br /></span> +</div> +</div> + +<p>We see here plainly that the kernel of the supposed dream +belonging to the night wandering is wish fulfilment, desire for glory +<span class="pagenum"><a name="Page_101">101</a></span>and the hand of the beloved. It agrees very well with this conception +that the prince himself takes the laurel from the gardener's +forcing house to wind a wreath of honor for himself. He looks at +it with admiring eyes and puts it upon himself, playing the rôle of +being beloved, only the elector and Natalie come in to interfere. +The princess and the laurel, also love and fame really hypnotize +him and draw him magnetically. The prince follows them both +with outstretched arms until the elector and Natalie disappear +behind the gates. It seems to me very significant that not long +before the creation of this drama a crowning with laurel at the +hands of a loved one had actually taken place in the life of the poet +and that, as it is now generally admitted, Kleist himself stood as +the model of the prince. “Two of the smallest, daintiest hands in +Dresden,” as Kleist relates, crowned him with laurel at a soirée in +the house of the Austrian ambassador after the preliminary reading +of the “<span lang="de" xml:lang="de">Zerbrochenen <ins title="Kruges,">Kruges.</ins></span>” (“The Broken Pitcher.”) These +daintiest hands belonged to his beloved Julie Kunze, to whom Dame +Rumor said he was engaged. Wukadinovic defines quite correctly +the connection of the drama with its autobiographical meaning: “As +the poet sees the ideal of love arising next to that of poetic fame, +so he grants to the ambitious prince, who exhibits so many of his +own traits, a loving woman standing at his side, who rewards him +at the close with the wreath.”</p> + +<p>The matter goes yet much deeper. The prince says of the +elector: “Plucks from his neck the chain that's pendant there.… +My soul meanwhile enkindled high.” The laurel attains a further +value for the prince, because the elector binds his own necklace +about it. The latter is continually taken by Homburg as the father, +to which a number of verses testify. Since the prince unmistakably +stands for the poet, it cannot be denied that Kleist had desired the +reward not only from the beloved one, but this still more with the +express concurrence of the father. In the beginning to be sure he +is repulsed by him, “Naught here for thee, away!” and later on +account of his disobedience is even condemned to death.<a name="FNanchor_28_29" href="#Footnote_28_29" class="fnanchor">[28]</a> He was +not only pardoned, however, after he had acknowledged his wrong +and recognized the father's judgment as correct, but when he believed +his last hour had struck, he was bedecked with the wreath +which he desired and on which moreover his elector's chain hangs. +Still further, the latter, the father himself, extends the laurel to +<span class="pagenum"><a name="Page_102">102</a></span>Natalie and leads the beloved to him. It is beyond question that +love is the chief motive of the moon walking of the prince von +Homburg, love to a woman as well as a homosexual tendency otherwise +authenticated in the case of Kleist. Only it appears here +closely amalgamated with desire for fame, something completely +unerotic, and with the sexual, as we have found it so far regularly +in night wandering and moon walking, quite excluded.</p> + +<p>We will attempt to get more light on the last two points. The +striving after poetic fame does not remain with our poet within the +usual, normal limits but becomes much more a peculiar neurotic +<ins title="charactertistic">characteristic</ins>. No less a hope for instance had Heinrich von +Kleist than with an unheard of creation to strike at Sophocles, +Shakespeare and Goethe and concerning the last named he uttered +this audacious sentiment, “I will rend the crown from his brow!” +Since he fails to attain this goal in spite of repeated most earnest +onslaughts, he rushes away to die upon the battlefield. He writes +to his sister, however, “Heaven denies me fame, the greatest of +earthly possessions; I fling back to it all else like a self willed +child!”</p> + +<p>What lay in truth behind that unattainable goal that Kleist tried +again and again to carry by force? He himself confesses that it +was not the highest poetic art or at least not exclusively so. Otherwise +Kleist would have been able to content himself with his so +commanding talent and with that which he was able to accomplish +with it, like so many other great poets. Let us not forget that he +sought to outdo especially the three greatest. Therefore I think, +in accordance with all my psychoanalytic experience, that Sophocles, +Shakespeare and Goethe are together only father incarnations, that +Kleist thus wanted to remove the father from the field. One has a +right to definite surmisings on the basis of various works of Kleist, +although nothing is known to us of the poet's relations to his +parents. The incest motive is one of the chief determining factors +of artistic creation, as Rank has outlined in his beautiful book.<a name="FNanchor_29_30" href="#Footnote_29_30" class="fnanchor">[29]</a> +It is in the first place the desired and striven for incest with the +mother herself, in the way of which the father naturally stands. +The poet realizes in the freer land of poetry what is impossible in +life, by displacing it <ins title="over upon">over</ins> a discovered or given material.</p> + +<p>I discussed in a larger work,<a name="FNanchor_30_31" href="#Footnote_30_31" class="fnanchor">[30]</a> previous to Rank's book, how +<span class="pagenum"><a name="Page_103">103</a></span>Heinrich von Kleist made the incest phantasies of his childhood the +foundation of many poems. So for instance the <span lang="de" xml:lang="de">Marquise von O.</span>, +assaulted in a fainting fit, is protected from the foe pressing upon +her by some one who loves her and will subsequently surely marry +her. I need hardly explain that the evil one who will positively +force himself upon her is the father, from whom the son defends +the mother, that he may subsequently woo her. It is again only the +poet himself who sets himself as a youthful ideal god in place of +the aging father, as Jupiter descended from his throne renewed in +beauty and youth according to his divine power, to visit Alcmene +in the form of her spouse Amphitryon. In the “<span lang="de" xml:lang="de">Zerbrochenen +Krug</span>” (Broken Pitcher) the judge breaks violently into the room +of the beloved one—a typical symbol for one's own father who is +also in fact the child's first judge—and is driven out by the rightful +lover.</p> + +<p>The objection need not be made that the poet has simply held to +his pattern. The choice of material betrays the purpose, which frequently +remains unconscious. What, we may say, impelled the poet +although he wished to translate it wholly, to take up Molière's +Amphitryon, one of his weakest productions too, and then change +it in so striking a fashion? Quite unlike the French version, Jupiter +becomes for Kleist the advocate with the wife-mother:</p> + +<div class="poem" style="width: 23.5em;"> +<div class="stanza"> +<span class="i0">“What I now feel for thee, Alcmene dearest,<br /></span> +<span class="i1">Ah, see! it soars far, far beyond the sun,<br /></span> +<span class="i1">Which even a husband owes thee.<br /></span> +<span class="i1">Depart, beloved, flee from this thy spouse,<br /></span> +<span class="i1">And choose between us, either him or me.<br /></span> +<span class="i1">I suffer with this shameful interchange,<br /></span> +<span class="i1">The thought to me is all unbearable,<br /></span> +<span class="i1">That this vain fellow's been received by thee,<br /></span> +<span class="i1">Whose cold heart thinks he holds a right o'er thee.<br /></span> +<span class="i1">Oh! might I now to thee, my sweetest light,<br /></span> +<span class="i1">A being of another sort appear,<br /></span> +<span class="i1">Thy conqueror since the art to conquer thee<br /></span> +<span class="i1">Was taught me by the mighty gods.”<br /></span> +</div> +</div> + +<p>In truth Kleist, like every other poet, chose the most of his material +in accordance with unconscious wishes, where beyond all else the +mother complex presses for poetic expression.</p> + +<p>Let us apply once more that which has been so far discovered +to the “<span lang="de" xml:lang="de">Prinz von Homburg</span>.” This is rendered yet more easy +from the fact that the electress is repeatedly designated by the hero +as “Mother.” His real mother had indeed at her death delivered +<span class="pagenum"><a name="Page_104">104</a></span>him over to the friend of her youth with the words: “Be a mother +to him when I am no longer here.” And the electress had answered +in similar strain, “He shall be mine as if my own in birth!” But +since on the other hand Natalie also addresses her repeatedly as +Mother as she does the elector as Father, so Natalie is Kleist's beloved +sister in disguise. The poet would desire the laurel wreath +thus from his own sister. Why then the father's acquiescence? If +we now appeal to our psychoanalytic experience, this teaches us +that regularly the sister incest represents a later form of the older +and more serious mother incest. The boy, who first desires the +mother, satisfies himself later with the less forbidden and more +easily accessible sister. All poets follow very significantly this +psychoanalytically established relationship, as Rank<a name="FNanchor_31_32" href="#Footnote_31_32" class="fnanchor">[31]</a> has recently +convincingly shown. The poets often represent this, that the +phantasies and wishes are displaced from the mother to the sister +or they are split up between mother and sister, which then makes +their origin especially clear.</p> + +<p>The latter is also the case with Kleist in the “<span lang="de" xml:lang="de">Prinz von Homburg</span>.” +He takes for the mother he desires, at one time the electress, +at another time Natalie, “his girl, his bride.”<a name="FNanchor_32_33" href="#Footnote_32_33" class="fnanchor">[32]</a> It agrees +strikingly also that the prince in the fear of death expects to be +saved only by the electress, that is the mother, from the punishment +with which the elector father threatens him. So a child who knows +no way out for himself, no help any more, flees to his mother. Such +an unusual, shocking fear of death on the part of a field officer +needs explanation. It is nothing else than the child's fear in face of +the stern parent. It is further overdetermined in an infantile way. +In the drama the prince for a long time does not believe in the grim +seriousness of his position. The elector father will only put him to +the test. The sudden transition to frantic fear follows first when +the friend informs him that Natalie has sent back the addresses +carried by the ambassador, because she is betrothed to the latter. +This would have so roused the elector against him. From this time +on the prince—and the poet—holds everything as possible and is +ready to <ins title="sacrifiee">sacrifice</ins> even the hand of the beloved for his life.</p> + +<p>A second determination likewise is not wanting, which is also +infantile. Freud has shown in the “Interpretation of Dreams” +<span class="pagenum"><a name="Page_105">105</a></span>that the child does not at all connect the ideas of older people with +the words “death” and “to die.” He knows neither the terror nor +the shuddering fear of the eternal nothingness. To be dead means +to him merely to be away, gone away, no longer to be disturbed in his +wishes. For his slight experience has already taught him one thing, +dead people, as perhaps the grandparents, do not come back. From +this it is only a step that the child sometimes wishes death to his +father, when the latter disturbs him. Psychoanalysis tells us that +this is not perhaps a shocking exception but a matter of everyday +occurrence. Such thoughts are touched upon in the “<span lang="de" xml:lang="de">Prinz von +Homburg</span>.” The false report has come that the elector father has +been shot and Natalie laments, “Who will protect us from this +world of foes?” Then is the prince ready on the spot to offer his +hand to the orphaned girl, also apparently to her mother. A child +wish comes to fulfilment, the setting aside of the father who interferes +with his plans for the mother. When the man believed to be +dead nevertheless returns, he pronounces, as we can understand, +the sentence of death upon his treacherous son. Only when the +latter had acknowledged the justice of the sentence—I might almost +<ins title="has">have</ins> said, after he had asked forgiveness, is he not only pardoned +but more than that recompensed, while now the father voluntarily +grants him his wish.</p> + +<p>It seems to me significant that Kleist freely introduced into his +drama the complete condemnation to death as well as night wandering +and moon walking. In the first point he had turned tradition +quite to its opposite. In the original the great Friedrich relates that +on the triumphant battle field the elector has already forgiven the +prince that he had so lightly risked the welfare of the whole state: +“If I had judged you according to the stern martial law, you would +have forfeited your life. But God forbid that I should sully the +brightness of this day by shedding the blood of a prince, who was +once the foremost instrument of my victory.” Personal reasons, +and, as we know from psychoanalysis, these are always infantile +reasons, must have been involved when Kleist incorporated this +directly into his poetry and yet in so striking a fashion. Some of +these reasons I have been able to set forth above.</p> + +<p>It is now clear that the apparently asexual desire for fame does +not lack its erotic foundation. The desire for fame is so greatly +exaggerated in Heinrich von Kleist that he will do no less than tear +the laurel from Goethe's forehead, because in his infantile attitude +he hopes through an unheard of poetic activity to supplant the father +<span class="pagenum"><a name="Page_106">106</a></span>with the mother. After the shipwreck of his masterpiece, the +Guiskard material, he longed for death because life had no more +value for him, but he finds later in the “<span lang="de" xml:lang="de">Prinz von Homburg</span>” a +happier solution. For not only does the mother herself now crown +him but does it with the father's affectionate blessing. And the old +theme of night wandering and moon walking, that is climbing into +bed with the loved one, finds its place here although in an opposite +form and under a certain sexual repression. The child does not +come to the mother but she to him and places the longed for crown +upon his head even with the concurrence of the father. Also the +fact that the prince transgresses the elector's commands as the result +of his moon walking, to which the prince is subject, must somehow, +at least by analogy, have been created from the poet's own breast. +Nothing is said about this in regard to Kleist, of whose inner life we +know so little. Yet his very great interest in noctambulism and +similar “night sides of the human soul,” as well as his exceptional +understanding of the same, show that he at least must have possessed +a disposition toward it. It should be emphasized once more +in conclusion that the moon walking in the “<span lang="de" xml:lang="de">Prinz von Homburg</span>” +does not lack the infantile sexual root, nor is the corresponding +erotic purpose wanting, which we have always found, heretofore, to +come to the loved one without being held responsible.</p> + + +<h3>“<span class="smcap" lang="de" xml:lang="de">Das Sündkind</span>,” by Ludwig Anzengruber.</h3> + +<p>“<span lang="de" xml:lang="de">Das Sündkind</span>” (“The Sin Child”) by Anzengruber (in the +first volume of his “<span lang="de" xml:lang="de">Dorfgänge</span>”) tells of an apparently non-sexually +colored wandering by moonlight. There a 45-year-old pitch +worker, the mother of twelve children, who had all died except the +narrator, and for three years a widow, had become pregnant with a +“sin child” whose father no one would acknowledge himself. She +had always been a discreet woman, and was almost equal to her son +in her work, although he at thirty years old was at the height of +his manly strength. She had always been as exemplary in love as +in her work, a combination, as we know, not rare to find. Having +matured early she was with her first child at the age of fifteen and +when she was a widow “the people could not wonder enough how +long it would be before she showed her age.” Not rarely “love” +suddenly overcame her and even toward her grown son she could +occasionally make quite “God forbidden” eyes. One might almost +draw the conclusion from the following circumstance that he also +was more deeply dependent on the mother than he might acknowledge +<span class="pagenum"><a name="Page_107">107</a></span>to himself. Left alone with her during her confinement, he +was not able to look at her but drummed on the window pane and +became more and more confused although “God knows, there was +no call for it.” Then he turned around with his face burning red +and said, “You ought to be ashamed, Mother, you ought to be +ashamed!” Soon however not only remorse seized him but <ins title="be">he</ins> +began to curse at the folk, who see in the infant not his brother but +only the “child of sin.” “Do you think for a moment that I would +bear a grudge against the little innocent worm? Curse you, anyone +who would separate the children of one mother from each other!” +After he had lost the love of his youth in earlier years, he had no +more interest in women but dwelt with his mother alone on the land +which belonged to the family. Later Martin toiled early and late +for the illegitimate child Poldl, as if he were its true father, for +whom moreover he never might make inquiry.</p> + +<p>When Poldl was perhaps sixteen years old, his mother's health +began to fail and with her anxiety at approaching death she began +to be concerned for her soul, which she, according to human custom, +expressed as care for her illegitimate child. He should dedicate +himself to the Lord, should become a clergyman, by which he would +remain spotless. Martin, with keen insight, thought thus, “That is +indeed the easiest way to get rid of one's own sin, to let some one +else atone for it” and feared it might go hard with Poldl, hot +blooded by inheritance, but he had no effect upon the mother, who +was supported by the boy's guardian. Poldl also did not permit +himself simply to be talked of by her, but applied himself ever more +deeply to his future sacred calling, especially since all the people of +the place already paid court to him as if he were even now an ordained +clergyman. “Soon he had no other thought than of his +future holy office and he might stay or go where he would, for +nothing was for him too good or too bad to remind him of it.” “He +strolled about one entire summer,” Martin tells us, “and did not +condescend to the least bit of work but when I was out with the +farm hands making hay in the meadows or reaping in the field, it +very often happened that he rushed unexpectedly out of the bushes +and began preaching to them. This seemed quite right to the lazy +folk, they would let their work lie and would stand gathered about +him and listen devoutly to him and I could not take ill their so excessive +piety. The mother thought as they did and found that his +absurd preaching there went straight to her heart.”</p> + +<p>We will stop here a moment. What drove Poldl so to the +<span class="pagenum"><a name="Page_108">108</a></span>priestly calling, what made him so intent upon it? We might mention +in passing the vanity and the high sense of importance, which +is created by the desire in the sixteen year old boy after the most +reverend calling. Yet, though I would in no way undervalue his +ambition or the satisfaction of a so pleasantly tickled vanity, yet +decisive and determining these can scarcely be. Strong motives +must govern in order to explain more completely such an impulsion. +When Poldl strode over the fields and began to preach, “At that +time the Lord Jesus spoke to the disciples …,” then he was indeed +not far from conceiving himself as the Holy One and his mother as +the Virgin Mary. Jesus had offered himself for the sins of man, as +he now for the sin of his mother. According to this it is nothing +else than his love to the mother which drives him to the sacred +office, in which it is not to be forgotten that such a love, which leads +to a thought obsession, is in the light of experience never without +the erotic.</p> + +<p>This mingling of sensuality and love to the mother, and to an +older woman who could be his mother, shows itself still more clearly +two years later, when he has a holiday from the seminary for a few +days. He finds at home a buxom picture of a woman, a relative on +a visit, almost twice as old as he, the very essence of cheeriness and +health. “The boy clung closest to her. In spite of his eighteen +years he still seemed childish enough and this he turned to account, +and ‘played the calf with her,’” to use the excellent word of the +writer.</p> + +<p>Six years later Poldl was appointed to assist an invalid vicar, +in whose home a regular vicar's cook kept house with her sixteen +year old girl, whom she had from the old vicar. In the same year +Poldl's mother was laid to rest and her son appeared at her funeral, +where the robust peasant girls and maidens pressed themselves +upon him. But he “withdrew shyly from every one of them and +gave his hand to no one, as he obligingly might have done. He has +always before this appeared like milk and blood,” thought Martin, +the anxious one, “now he has an unhealthy look, no color, sunken +cheeks, and his eyes are deep within, he stares at the ground and +cannot bear to have a stranger look at him. It does not please me.”</p> + +<p>All this is clear and transparent to the physician. In the young +man now twenty-four years old the inherited blood began to make +itself felt, and at the same time the cook and her daughter let no +stimulus be wanting. He suffered under his self restraint, grew +pale and hollow and because only his actions remained chaste but +<span class="pagenum"><a name="Page_109">109</a></span>not his thought, he could no more look freely upon a woman. When +he now preached in the pulpit, he spoke of the devil as the tempter +and of all his evil suggestions. He could declare what evil thoughts +come to a man and in closing he threatened his flock most earnestly +that the devil would carry them all away together. We know well +that no sins are more condemned than those which one holds himself +capable of committing or which one would himself most gladly +commit if only one dared.</p> + +<p>The young priest owed it to a great love which he felt for the +miller's daughter that he kept himself pure at least in body. So +much the more was the vicar's cook intent upon bringing about his +downfall through her girl. Then they could again rule at the +vicarage, since the old vicar's days were numbered, when Poldl +came into the fat living left vacant. It was at the burial of the old +priest that Poldl delivered at the grave the funeral oration for the +dead, and endeavored to lay the good example which the old man had +given upon the hearts of his flock. As he lifted his eyes once and +caught those of the miller's Marie-Liese, who was listening so devoutly, +not taking her eyes from him, he suddenly remained stuck +in the midst of his speech and could find his place in the text again +only with difficulty. Was he not able to maintain before her pure +glance the fiction of a noble priest, did it come to his consciousness +that he was wandering in the same paths on which the other had +been most severely wounded? Something of this the miller's +daughter seems to have had in mind, for as she later begged his +pardon for having confused him by staring at him, at the same time +she advised him not to have anything to do with those at the vicarage. +The vicar's daughter, who had stolen up unobserved, shook +her fist at them both, while her mother drew Poldl later into a +corner to give vent to her feelings, “You cannot have the miller's +daughter and do not for a moment believe that she would be willing +to have you.”</p> + +<p>On his death bed in the lesser parish, which he held later, he +complained to Martin, “I should never have been a priest”—with +his inherited passionate blood, in spite of his mother's urging and +his love to her. “Martin, you have no idea how hard it is to run +caught in a sack; it costs a deal of trouble to keep oneself upright. +If one does not twist about one falls into it. The cowl was +such a sack for me.… Brother, I have unwittingly fallen into +disgrace as a wild beast into a trap, and I am more ashamed of it +perhaps than the worst sinner of that which he has done deliberately +<span class="pagenum"><a name="Page_110">110</a></span>and maliciously. I would not have stayed in the trap, could everything +at first only have remained secret, so that no one would have +been afraid to extend a clean hand to me, by which I might have +found myself and might again belong to the world and everything. +But that the others knew right well and they wanted me for themselves +and therefore they have behaved without fear or shame so +that soon everything was free and open to all Rodenstein from the +forest house at one end to the mill at the other. From that time on +I have seen no friendly eye, and the blue, yes, the blue eyes (of the +miller's daughter) were always turned defiantly away from me. +And because she was unkind to me she became all at once kind to +some one whom she formerly could not bear. The folk shook their +heads and prophesied little good for her. So the time came when I +must come here to this parish. There lay upon me what can soon +crush one to the ground, for peace and honor were squandered and +those who had won them from me hung like chains upon me and +the bit of sunshine that I had had in life I had to leave behind in +Rodenstein. When however there was added to this concern for her +to whom I owed the bit of happiness, I broke under it and then they +took me and brought me here and I let myself be brought.”</p> + +<p>So had he truly become a child of sin with the feeling of lost +purity and a great consciousness of guilt upon his soul. And that +he had not merely squandered his own honor and peace but had also +dragged the beloved to harm, so that she must have doubts of her +purity, this does the rest for him and makes him the willing play +ball of the parish folk. From the first day when he took over his +new charge, he began to wander in the full moonlight up to the +ghostly hour of midnight. At the stroke of twelve he went to the +pulpit, over which a bright moonbeam lay, which also lighted up his +face as bright as day. With closed eyes he knelt in the pulpit, “his +folded hands before him on the upholstered border, the head bowed +upon it as if in quiet prayer to collect himself as usual before the +sermon. All at once he raised himself, bent forward a little as if +the pews were full of people and he wished first to look them over, +then he threw his arms to either side and stood there like one who +would say, ‘Strike me dead, if I have offended you, but I cannot +do otherwise!’ He did not say this but in a voice as of one speaking +in a dream he uttered the words, ‘I know of nothing!’ And +then once more—his hands extended toward heaven and spread +open, as if he would show everything to all within or about the +church—‘I know of nothing!’ Afterward he turned and went.”</p> + +<p><span class="pagenum"><a name="Page_111">111</a></span>In this classic picture of the brother are some features of a new +sort. Above all, sexuality appears only incidentally to play a part, +in so far as it awakens the latent tendency to moon walking. Poldl +begins to wander at midnight after the miller's daughter is lost to +him and he is tortured by anxiety for her future. Otherwise he +does what so frequently is done by the moon walker, he carries out +the apparently harmless activity of the day as he prays in the church +before an imaginary audience. At least he truly imitates the formalities +with which prayer begins, though the conclusion does not +accord with the beginning. It sounds like a justification before the +folk of Rodenstein, who have taken offence at his action, that +he stands there in Luther's place as one who cannot do otherwise +though one strike him dead. At the same time the repeated +outcry at the end, “I know of nothing, I know of nothing!” smacks +not only of a denial that he did not know perhaps why Marie had +fallen into distress, but suggests the directly infantile. Thus a child +insists, when it is reproached, that it has done nothing.</p> + +<p>Let us take up again the threads of our narrative. Poldl faded +day by day under the pressure of his heavy burden of soul. At last +there remained nothing else for him but to let them write to his +brother that he lay sick and wished to see him. As Martin entered +the sickroom Poldl stretched his lean arms toward him, breathed a +heartfelt cry and began to weep aloud like a child. “You are like +a father to me, Martin, you are like a father to me!” And from +time to time he added, “Forgive me!” Then he stroked Martin's +rough hands, “the hands which had toiled for his daily bread when +he was a boy.” And now he poured forth his confession. He +should not have become a priest, then the people of the parish +would have remained strangers to him and he perhaps would have +succeeded to the Rodenstein mill. His entire concern centered itself +about this, that he had not only lost Marie-Liese but was also to +blame for the overthrow of her happiness. He related to his brother +how the parish folk had apprehended him, so that he was covered +with shame, how they all hung about the great bell of Rodenstein +until finally the miller's daughter turned from him and to another. +After the confession was made Poldl fell asleep contentedly, yet +only to wander that very midnight. The invalid was very ill, when +Martin talked with him again the next day. And suddenly he +began to speak of the days of his childhood and it was remarkable +to the brother “how he had remembered the most trivial thing in +regard to it and it seemed to me as if he himself often wondered at +<span class="pagenum"><a name="Page_112">112</a></span>it in the midst of his speech. Bit by bit thus he took up his life and +we talked together of the time when he ran about the sitting-room +and the court in his little child's frock, until the time when he went +to school, to the seminary, to Rodenstein.… The sun had set +when with our prattle we had come to the place where we were, at +Weissenhofen. ‘That's the end,’ I said, ‘and there remains nothing +else to tell.’—‘Yes, yes,’ said my brother reflectively, ‘that's +the <ins title="end,’">end,</ins> and there remains nothing more to <ins title="tell.”">tell.’”</ins> Soon he noticed +how truly Martin had spoken in every respect, for the end had come +for him now physically. With a blessing on his lips for the newly +won brother of his heart, he laid himself down to sleep. “It had +become still as a mouse in the room. After perhaps a quarter of +an hour I heard him say, ‘Yes, yes, were we now together, only +you must not hold me so tightly to your breast.’ With this he threw +himself suddenly over to the right, drew a deep breath, and it was +over.”</p> + +<p>Let us consider once more the circumstances of the moon walking +which accompanied this. He begins with this after his removal +from Rodenstein and from his heart's beloved. There had preceded +the grief over his wasted honor and his forfeited peace, the pain at +the loss of the miller's daughter and, which is rather conclusive, the +torturing regard for her future, which completely paralyzed his will +power. The latter point is somewhat remarkable. For at bottom it +was never said that her marriage was unhappy. The people had +shaken their heads before it, only, and prophesied nothing good. +When Martin fourteen years after the death of his brother meets +Marie-Liese at his grave, she has become a handsome woman and +has been a widow for eight years but is well poised mentally and +lives for her boy. In Poldl's concern the wish must indeed have +been father of the thought. If he could not have his treasure, then +she should not be happy at the side of another man. Yet apparently +this does not refer alone to the miller's daughter. Psychoanalytic +experience teaches that where the reaction manifests itself all too +strongly this happens because it is not merely a reaction to a present, +but above all to a long past experience, which stands behind the +other and offers first the original actual tonal background. Only +apparently is the effect too strong, if we measure it merely by the +actual cause, in truth however the action corresponds to all the +causes, that is the new added to the old.</p> + +<p>We can say further, if we apply this experience to the poet's +narrative, Poldl had not merely lost the miller's daughter forever +<span class="pagenum"><a name="Page_113">113</a></span>by entangling himself with the vicar's daughter, but far more another, +the one for whom he had entered orders. The mother had +said to Martin, “There is only one way, one single way by which +my boy can be saved from ruin and I can obtain peace and forgiveness +from my sin.” This task, to atone for the mother by a holy +life, had not prevented him from a passionate love for Marie-Liese +or from an intrigue with the pastor's daughter, yet, since +he had on the latter's account lost his purity, something else was +also laid waste thereby, that which had given peace to him and +a purpose to his muddled life, the love for his mother. As he tarried +already half in the other world, his last words were, “Yes, yes, +were we now together, only you must not hold me so tightly to your +breast.” This had the mother in her tenderness done to her little +boy. We see here the regression to the infantile, to a primitive child +libido.</p> + +<p>The matter can be followed still further. The walking by +moonlight itself did not begin, in spite of every predisposing cause, +until Poldl was connected with the new parish and no longer shared +the same locality with his beloved. It is not revealed whether the +pulpit of the Weissenhofen church looked perhaps in the direction +of Rodenstein or not. It seems to me significant that the pastor's +daughter crept after Poldl all night long, not perhaps merely the +first time, as if she suspected his hidden erotic or feared even that +he might go out toward Rodenstein. He must also every midnight +establish the fact that, in spite of his sins of the flesh, he considered +himself still worthy to be a priest. For the same reason he himself +read the mass every day until near the end. Indeed he read this not +merely in the daytime but also at midnight when other priests sought +rest. And by his behavior in sleep walking it was as if he wished +each time anew to justify himself before his Rodenstein parish, and +especially before his beloved. The Luther attitude referred to the +former, “Though you slay me, I cannot do otherwise!” the outspoken +infantile expression, the only words which he actually +speaks, “I know of nothing!” is for the latter. Thus a small boy +protests his innocence when any one faces him with a misdeed. It +was as if he wanted to go back to his beloved, to Marie-Liese, as if +to his own mother.</p> + +<p>Again we find libidinous and infantile causes as the starting +point of moonlight walking and sleep walking. Only the erotic no +longer appears so openly as with the other poets but receives a certain +disguise. Yet brother Martin, the philosopher of life, recognizes +<span class="pagenum"><a name="Page_114">114</a></span>clearly the kernel of the matter: “So I had also to witness the +end with him, as with so many of my brothers and sisters. But I +still think today this need not have happened, if the mother had +permitted him his life as it would have been lived out freely by +himself. First she should not have counted it so great as sin, for +otherwise there would have been no pitch worker Poldl in the +world. Although she thought of it within herself that it was a sin, +she should have so looked upon it that she could have settled it +with the Lord God. Ah yes! he had to go about in the cowl, which +had become a greater sack than a farmer's jumper and there all the +sins of others enter, but if no one shall commit one in his own right, +how would one find shelter for all these? If I had only at +that time been obstinate about the planning of this thing, I would +have foreseen the wrong of it and have known that the mother was +an old woman, and with many conscience grows when reason is +going to sleep. Faith, honor and peace he would never have squandered, +for the farmer's position does not play with so high a stake. +Still today the little fellow runs gaily about the yard under my eyes.… +Ah, you poor sin child, how wantonly was the joy of living +destroyed for you!”</p> + + +<h3>“<span class="smcap">Macbeth</span>,” by Shakespeare.</h3> + +<p>As I now undertake the analysis of the case of Lady Macbeth, I +stand not only before the last but the most difficult portion of my +work. Here indeed everything sexual and the erotic itself seem to +be quite excluded; and my attempt appears to fail in both directions, +in the sexual as well as in the infantile, to apply to Shakespeare's +heroine what my psychoanalytically treated cases, as well as all those +others from literature have furnished. The poet has devoted no +more than one single scene to this entire sleep walking including +the grounds for it, and he has said as little of Lady Macbeth's +childhood as of her sexual erotic life. Our knowledge of Shakespeare's +life is above all so meager, if we turn from the case to the +poet himself, that the difficulties tower in our way almost mountain +high. The reader will in this case, which presents itself so unfavorably, +have to expect neither that certainty nor even that high +degree of probability of results, which the earlier examples gave +us. Here through no fault of mine all aids to interpretation are +wanting. I should consider it as something accomplished if the +reader did not say at the close, “The case of Lady Macbeth contradicts +all that has been heretofore discovered,” as it will appear at +first.</p> + +<p><span class="pagenum"><a name="Page_115">115</a></span> +We will begin with the literary source for Macbeth, Holinshed's +“History of Scotland.”<a name="FNanchor_33_34" href="#Footnote_33_34" class="fnanchor">[33]</a> Shakespeare confined himself so closely +to this that he took over accurately, even to the dialogue, whole +scenes into his tragedy. The deviations are for this reason so much +the more interesting. In the chronicle Macbeth is simply the +tyrant. At the very beginning it is said of him, “he would certainly +have been held as the most worthy of rulers, if his nature +had not had so strong a tendency to cruelty.” His cruelty is frequently +emphasized, both at the bier of the dead Macdowald and +toward the dwellers in the western isles, who “called him a bloodthirsty +tyrant and the cruel murderer of those to whom the king's +grace had granted their lives.” Finally also in the camp of the +Danes when they were overcome “he wrought such havoc upon all +sides without the least resistance that it was terrible to look upon.” +A change seems however to have taken place in his character when, +after the murder of Duncan, he had seized the kingdom for himself. +“He began to reform the laws and to root out all the irregularities +and abuses in the administration.” He freed the land for +many years from all robbers, guarded most carefully the church and +clergy, and, to put it briefly, was looked upon as the defender and +shield of everything blameless. He established also many good +laws and ruled the kingdom for ten years with the greatest wisdom +and justice.</p> + +<p>“This apparent equity and zeal for all that is best was however +merely hypocrisy; he wished only to win the favor of the people. +Tyrants are always distrustful, they are always afraid that others +will rob them of their power by the same unrighteous means by +which they themselves have succeeded. As soon as Macbeth discovered +any plans against himself, he no longer concealed his intentions +but practised and permitted every kind of cruelty.” At first +the words of the three sisters of fate lay always in his thoughts. In +order to attain to what they had prophesied he was willing to have +Banquo and his son murdered. Yet the murderers hired for the +purpose killed only the former while Fleance succeeded in escaping. +“Luck seems to have deserted Macbeth after the murder of +Banquo. None of his undertakings were successful, every one +feared for his life and scarcely dared appear before the king. He +feared every one and every one feared him, so that he was always +seeking opportunity for the execution of suspected persons. His +<span class="pagenum"><a name="Page_116">116</a></span>distrust and his cruelty increased day by day, his bloodthirstiness +was not to be appeased.… He gave himself over recklessly to +his natural ferocity, oppressed his subjects even to the poorest and +permitted himself every shameful deed.” Shakespeare has represented +the rest fairly truly according to Holinshed, only that in +actuality this lasted for seven years, until Macbeth fell at the hands +of Macduff.</p> + +<p>It is also worthy of note what Holinshed has made the ground +of the murder of Duncan. There preceded in the chronicle the +promise of the three witches, further Malcolm's appointment as +prince of Cumberland and, as a result of this, succession to the +kingdom. Now Malcolm could “ascend the throne directly after +his father's death, while in the old laws it was provided that the +nearest relative would be placed upon the throne, if, at the death of +his predecessor, the prince who was called to the succession was +not yet capable of ruling.” This latter had happened to Macbeth, +Duncan's cousin. “Then began Macbeth, from whom by this arrangement +of the king all hope of the throne was taken, to consider +the means whereby he could seize the crown by force for himself. +For he believed that Duncan had done him a great wrong, when he +named his infant son as successor to his throne and had so annulled +all other claims. Moreover the words of the witches encouraged +him to his purpose. But foremost of all his wife, a proud and +haughty woman, who longed with most burning desire after the +name of queen, would not desist until she had strengthened him to +the uttermost in his intention.” This last sentence is the chronicler's +only notice of Lady Macbeth.</p> + +<p>We can now measure what Shakespeare has contributed himself +to her character as well as to that of her husband. At first the +absolute cruelty, which with Holinshed was the chief trait of his +character, is wanting in Macbeth, and therefore ambition is mentioned +first. Macbeth becomes the tyrant wading in blood first after +the murder of Duncan and then more from a necessity to defend +himself. His own wife characterizes best the earlier hero:</p> + +<div class="poem" style="width: 27em;"> +<div class="stanza"> +<span class="i16">“Yet I do fear thy nature;<br /></span> +<span class="i0">It is too full o' the milk of human kindness,<br /></span> +<span class="i0">To catch the nearest way; Thou would'st be great;<br /></span> +<span class="i0">Art not without ambition; but without<br /></span> +<span class="i0">The illness should attend it. What thou would'st highly<br /></span> +<span class="i0">That would'st thou holily, would'st not play false,<br /></span> +<span class="i0">And yet would'st wrongly win: thou'd'st have, great Glamis,<br /></span> +<span class="pagenum"><a name="Page_117">117</a></span> +<span class="i0">That which cries, <em>Thus thou must do, if thou have it</em>;<br /></span> +<span class="i0">And that which rather thou dost fear to do,<br /></span> +<span class="i0">Than wishest should be undone.”<br /></span> +</div> +</div> + +<p>Yet Macbeth at bottom dared not murder the king, he only toyed +with the thought. He must be instigated from without, if the deed +is not to be put off until the Greek calends. Lady Macbeth from +the very beginning feels it her task to strengthen her laggard and +doubting husband in his ambition. This Shakespeare had already +found in Holinshed. As the chronicle has pictured it: “Still more +did his wife urge him on to attack the king, for she was exorbitantly +ambitious and burned with an inextinguishable desire to bear the +name of queen.”<a name="FNanchor_34_35" href="#Footnote_34_35" class="fnanchor">[34]</a> While she thus incited her husband, she fulfilled +yet more the longing of her own heart:</p> + +<div class="poem" style="width: 21.5em;"> +<div class="stanza"> +<span class="i18">“Hie thee hither,<br /></span> +<span class="i0">That I may pour my spirits in thine ear;<br /></span> +<span class="i0">And chastise with the valour of my tongue<br /></span> +<span class="i0">All that impedes thee from the golden round.”<br /></span> +</div> +</div> + +<p class="no-indent">She summons herself also to the task, calls the evil spirits of the air +to her aid and will become a man, since her husband is no man:</p> + +<div class="poem" style="width: 24em;"> +<div class="stanza"> +<span class="i12">“Come, come, you spirits<br /></span> +<span class="i0">That tend on mortal thoughts, unsex me here;<br /></span> +<span class="i0">And fill me, from the crown to the toe, top-full<br /></span> +<span class="i0">Of direst cruelty! Make thick my blood,<br /></span> +<span class="i0">Stop up the access and passage to remorse;<br /></span> +<span class="i0">That no compunctious visitings of nature<br /></span> +<span class="i0">Shake my fell purpose, nor keep peace between<br /></span> +<span class="i0">The effect and it! Come to my woman's breasts,<br /></span> +<span class="i0">And take my milk for gall, you murd'ring ministers!”<br /></span> +</div> +</div> + +<p>When Macbeth announces, “Duncan comes here to-night,” she +asks sinisterly, “And when goes hence?”—Macbeth: “To-morrow—as +he purposes.”—Lady Macbeth:</p> + +<div class="poem" style="width: 21.5em;"> +<div class="stanza"> +<span class="i12">“O, never<br /></span> +<span class="i0">Shall sun that morrow see!<br /></span> +<span class="i0 spaced">. . . . . . .<br /></span> +<span class="i0"><span class="spaced">. . . . .</span> He that's coming<br /></span> +<span class="i0">Must be provided for; and you shall put<br /></span> +<span class="i0">This night's great business into my despatch;<br /></span> +<span class="i0">Which shall to all our nights and days to come<br /></span> +<span class="i0">Give solely sovereign sway and masterdom.”<br /></span> +</div> +</div> + +<p><span class="pagenum"><a name="Page_118">118</a></span>It may be seen that the really cruel one is here first Lady Macbeth +and not her husband. He on the contrary must always torture +himself with scruples and doubts. He constantly holds before himself +the outward results of his deed, brings everything together +which should protect Duncan from his dagger and can only say in +regard to the opposite course:</p> + +<div class="poem" style="width: 19.5em;"> +<div class="stanza"> +<span class="i20">“I have no spur<br /></span> +<span class="i0">To prick the sides of my intent, but only<br /></span> +<span class="i0">Vaulting ambition, which o'er-leaps itself,<br /></span> +<span class="i0">And falls on the other.”<br /></span> +</div> +</div> + +<p class="no-indent">And he explains to his wife, “We will proceed no further in this +business.” Then must Lady Macbeth rebuke him as a coward, no +longer trust his love, if he, when time and place so wait upon him, +retract from his purpose. She lays on the strongest accent, yes, uses +the “word of fury”:</p> + +<div class="poem" style="width: 23em;"> +<div class="stanza"> +<span class="i12">“I have given suck; and know<br /></span> +<span class="i0">How tender 'tis to love the babe that milks me;<br /></span> +<span class="i0">I would, while it was smiling in my face,<br /></span> +<span class="i0">Have plucked my nipple from his boneless gums,<br /></span> +<span class="i0">And dashed the brains out, had I so sworn, as you<br /></span> +<span class="i0">Have done to this.”—<br /></span> +</div> +</div> + +<p class="no-indent">and finally develops the entire plan and promises her assistance, +before she can persuade her husband to the murder.</p> + +<p>She has stupefied the two chamberlains, upon whom the guilt +shall be rolled, with spiced wine and drunk herself full of courage +for the deed, as so many criminals.</p> + +<div class="poem" style="width: 26em;"> +<div class="stanza"> +<span class="i0">“That which hath made them drunk, hath made me bold;<br /></span> +<span class="i1">What hath quenched them, hath given me fire.”<br /></span> +</div> +</div> + +<p class="no-indent">Then she hears Macbeth within at his gruesome work uttering a +terrified question, and continues:</p> + +<div class="poem" style="width: 23.5em;"> +<div class="stanza"> +<span class="i0">“Alack! I am afraid they have awaked,<br /></span> +<span class="i1">And 'tis not done:—the attempt, and not the deed,<br /></span> +<span class="i1">Confounds us;—Hark!—I laid their daggers ready,<br /></span> +<span class="i1">He could not miss them.—Had he not resembled<br /></span> +<span class="i1">My father as he slept, I had done't.”<br /></span> +</div> +</div> + +<p class="no-indent">Then her husband appears with the daggers. As he looks at his +bloody hands a cry is wrung from him, “This is a sorry sight.” +Yet the Lady repulses him harshly, “A foolish thought, to say a +sorry sight.”</p> + +<p class="no-indent">Macbeth:</p> + +<div class="poem" style="width: 23em;"> +<div class="stanza"> +<span class="pagenum"><a name="Page_119">119</a></span> +<span class="i0">“Methought, I heard a voice cry, <em>Sleep no more!</em><br /></span> +<span class="i1"><em>Macbeth doth murder sleep<span class="spaced"> . . . .</span></em><br /></span> +<span class="i1"><em class="spaced">. . . . . . . . . . .</em><br /></span> +<span class="i1"><em>And therefore … Macbeth shall sleep no more!</em>”<br /></span> +</div> +</div> + +<p class="no-indent">Lady Macbeth quiets him but he weakens his high courage by +brooding over the deed.</p> + +<div class="poem" style="width: 22.5em;"> +<div class="stanza"> +<span class="i20">“Go, get some water,<br /></span> +<span class="i0">And wash this filthy witness from your hand.—<br /></span> +<span class="i0">Why did you bring these daggers from the place?<br /></span> +<span class="i0">They must lie there. Go, carry them; and smear<br /></span> +<span class="i0">The sleepy grooms with blood.”<br /></span> +</div> +</div> + +<p>Then however as her husband refuses to look again upon his +deed Lady Macbeth herself seizes the daggers:</p> + +<div class="poem" style="width: 21em;"> +<div class="stanza"> +<span class="i18">“The sleeping and the dead<br /></span> +<span class="i0">Are but as pictures; 'tis the eye of childhood,<br /></span> +<span class="i0">That fears a painted devil. If he do bleed,<br /></span> +<span class="i0">I'll gild the faces of the grooms withal.”<br /></span> +</div> +</div> + +<p class="no-indent">Macbeth (alone):</p> + +<div class="poem" style="width: 23.5em;"> +<div class="stanza"> +<span class="i0">“Will all great Neptune's ocean wash this blood<br /></span> +<span class="i1">Clean from my hand? No; this my hand will rather<br /></span> +<span class="i1">The multitudinous seas <ins title="incarnardine">incarnadine</ins>,<br /></span> +<span class="i1">Making the green one red.”<br /></span> +</div> +</div> + +<p class="no-indent">Lady Macbeth (returning):</p> + +<div class="poem" style="width: 26.5em;"> +<div class="stanza"> +<span class="i0">“My hands are of your colour; but I shame<br /></span> +<span class="i1">To wear a heart so white<span class="spaced"> . . . . .</span><br /></span> +<span class="i1"><span class="spaced">. . . . . . . </span>retire we to our chamber:<br /></span> +<span class="i1">A little water clears us of this deed;<br /></span> +<span class="i1">How easy is it then! Your constancy<br /></span> +<span class="i1">Hath left you unattended.”<br /></span> +</div> +</div> + +<p>But the horrid deed has not brought the expected good fortune. +After Duncan's murder Macbeth finds no rest and no sleep: “To +be thus, is nothing; But to be safely thus.” So he first considers +removing Banquo and his son. But Lady Macbeth is little content:</p> + +<div class="poem" style="width: 21em;"> +<div class="stanza"> +<span class="i10">“Nought's had, all's spent,<br /></span> +<span class="i0">Where our desire is got without content;<br /></span> +<span class="i0">'Tis safer to be that which we destroy,<br /></span> +<span class="i0">Than, by destruction, dwell in doubtful joy.”<br /></span> +</div> +</div> + +<p class="no-indent">Then comes her husband. All night he has been so shaken with +terrible dreams that he would rather be in Duncan's place, “Than +<span class="pagenum"><a name="Page_120">120</a></span>on the torture of the mind to lie, In restless ecstasy.” Lady Macbeth +tries here to comfort him with the only tender impulse in the +drama:</p> + +<div class="poem" style="width: 24em;"> +<div class="stanza"> +<span class="i30">“Come on;<br /></span> +<span class="i0">Gentle my lord, sleek o'er your rugged looks;<br /></span> +<span class="i0">Be bright and jovial 'mong your guests to-night.”<a name="FNanchor_35_36" href="#Footnote_35_36" class="fnanchor">[35]</a><br /></span> +</div> +</div> + +<p class="no-indent">Macbeth promises to do as she asks and charges her to treat Banquo +especially with distinction. Nor does he conceal from her what +now tortures him most, “Dear wife, Thou knowest that Banquo, +and his Fleance, lives.” And immediately the Lady is her old self: +“But in them nature's copy's not eterne.” Though Lady Macbeth +is represented as at once prepared for a second murder, Macbeth +has now no more need of her: “Be innocent of the knowledge, +dearest chuck, Till thou applaud the deed.”</p> + +<p>Yet, although he shrinks back no longer from any sort of evil +deed, he does so before the horrible pictures of his phantasies, the +hallucinations of his unconscious. Here is where Shakespeare's +genius enters. The Macbeth of the Chronicle commits throughout +all his acts of horror apparently in cold blood. At least nothing to +the contrary is reported. With Shakespeare on the other hand +Macbeth, who is represented in the beginning as more ambitious +than cruel, is pathologically tainted. From his youth on he suffered +from frequent visions, which, for example, caused him to see +before Duncan's murder an imaginary dagger. This “strange infirmity, +which is nothing To those that know me,” comes to light +most vividly on the appearance of Banquo's ghost at the banquet. +Lady Macbeth must use all her presence of mind to save at least the +outward appearance. With friendly exhortation, yet with grim +reproof and scornful word, she attempts to bring her husband to +himself. In this last scene, when she interposes in Macbeth's behavior, +she stands completely at the height. Not until the guests +<span class="pagenum"><a name="Page_121">121</a></span>have departed does she grow slack in her replies. In truth neither +her husband's resolution to wade on in blood nor his word that +strange things haunt his brain can draw from her more than the +response, “You lack the season of all natures, sleep.” It seems as +if she had collapsed exhausted after her tremendous psychical effort.</p> + +<p>Shakespeare has in strange fashion told us nothing of what +goes on further in her soul, though he overmotivates everything +else, even devotes whole scenes to this one purpose. We first see +her again in the last act in the famous sleep walking scene. She +begins to walk in her sleep, falls ill with it one might well say, just +on that day when Macbeth goes to war. Her lady in waiting saw +her from this day on, at night, “rise from her bed, throw her nightgown +upon her, unlock her closet, take forth paper, fold it, write +upon it, read it, afterwards seal it, and again return to bed; yet all +this while in a most fast sleep.”—“A great perturbation in nature! +to receive at once the benefit of sleep, and do the effects of watching,” +the evidently keen sighted physician thinks. He soon has the +opportunity to observe the Lady's sleep walking for himself. She +comes, in her hand a lighted candle, which at her express command +must be always burning near her bed. Her eyes are open as she +walks, but their sense is shut. Then she rubs her hands together +as if to wash them, which she does according to the statement of +the lady in waiting, often continuously for a quarter of an hour.</p> + +<p>Now they hear her speaking: “Yet here's a spot. Out damned +spot! out, I say!—One, two, why, then 'tis time to do't.—Hell is +murky!—Fie, my lord! a soldier, and afear'd? What need we fear +who knows it, when none can call our power to account?—Yet who +would have thought the old man to have had so much blood in him?—The +Thane of Fife had a wife; Where is she now?—What, will +these hands ne'er be clean?—No more o' that, my lord, no more o' +that; you mar all with this starting.—Here's the smell of the blood +still; all the perfumes of Arabia will not sweeten this little hand. +Oh! oh! oh!—Wash your hands, put on your nightgown; look not +so pale;—I tell you yet again, Banquo's buried; he cannot come out +of his grave.—To bed, to bed; there's knocking at the gate. Come, +come, come, come, give me your hand. What's done cannot be undone. +To bed, to bed, to bed.” After such appearances she always +in fact goes promptly to bed. The physician who observes +her pronounces his opinion: “This disease is beyond my practice. +Yet have I known those which have walked in their sleep, who +<span class="pagenum"><a name="Page_122">122</a></span>have died holily in their beds.” Here however there seems to be +something different:</p> + +<div class="poem" style="width: 22em;"> +<div class="stanza"> +<span class="i0">“Foul whisperings are abroad; unnatural deeds<br /></span> +<span class="i1">Do breed unnatural troubles.”<br /></span> +</div> +</div> + +<p class="no-indent">And then as if he were a psychoanalyst:</p> + +<div class="poem" style="width: 22.5em;"> +<div class="stanza"> +<span class="i30">“Infected minds<br /></span> +<span class="i0">To their deaf pillows will discharge their secrets.<br /></span> +<span class="i0">More needs she the divine, than the physician.—<br /></span> +<span class="i0">God, God forgive us all! Look after her;<br /></span> +<span class="i0">Remove from her the means of all annoyance,<br /></span> +<span class="i0">And still keep eyes upon her.”<br /></span> +</div> +</div> + +<p class="no-indent">Also he answers Macbeth, who inquires after the condition of the +patient.</p> + +<div class="poem" style="width: 21.5em;"> +<div class="stanza"> +<span class="i18">“Not so sick, my lord,<br /></span> +<span class="i0">As she is troubled with thick-coming fancies,<br /></span> +<span class="i0">That keep her from her rest.…<br /></span> +<span class="i0"><span class="spaced">. . . . . . </span>Therein the patient<br /></span> +<span class="i0">Must minister to himself.”<br /></span> +</div> +</div> + +<p class="no-indent">Yet as the king's star declines neither the doctor's foresight nor his +skill prevents Lady Macbeth, the “diabolical queen” from laying +hands upon herself.</p> + +<p>This case of sleep walking, if we consider it, seems first to correspond +entirely to the popular view, that the wanderer carries over +to the nighttime the activities of the day, or to speak more correctly, +of the most important day of the last month. We saw in the +first act how she reproaches Macbeth for his cowardice, encourages +him and controls his actions. Only in two points, very significant +ones to be sure, does it appear that she has now taken over her husband's +rôle upon herself; in the disturbance of her sleep and the +concern for the blood upon her hands. How had she rebuffed Macbeth +when he had called out in regard to his bloody hands, “This +is a sorry <ins title="sight”!">sight!”</ins> It was only a foolish thought. “Go get some +water, And wash this filthy witness from your hand.” But Macbeth +was not to be shaken, the entire ocean would not suffice. +Rather would the king's blood, which he had shed, change its green +to glowing red. Yet when Lady Macbeth completes his work for +him, she remarks lightly, “My hands are of your color; but I shame +To wear a heart so white.… A little water clears us of this deed.” +In her sleep walking itself she encourages her husband, “Wash +your hands, put on your nightgown.” She seeks however in vain +<span class="pagenum"><a name="Page_123">123</a></span>in this very sleep walking to wipe the stains from her hands, they +smell always of blood and not all the perfumes of Arabia will +sweeten her hands. Must not the inner meaning of all her sleep +walking lie exactly in these two points, in which she has so completely +turned about?</p> + +<p>It must be observed that in the tragedy as in the previously related +tale of the “Sin Child” the sleep walking does not begin in +childhood nor in puberty, but in both instances in somewhat more +mature years, and, what is significant, as an illness, more precisely +a psychic illness. The sin child fell ill because he had lost his pure +beloved one, who had taken the place of his mother, the original +love object of his earliest childhood; and Lady Macbeth, who had +herself become queen through a murder, falls ill just at that moment +when her lord must go to the battlefield to defend his life and his +crown. For not without reason the fate of Macduff's wife, who +was slain when her husband had gone from her, occurs to her also +when she, while wandering, speaks of the much blood which Duncan +had. Therefore it seems likely, and is in fact generally believed, +that Lady Macbeth becomes ill because of her anxiety for +life and kingdom. Only the facts do not strictly agree with this. +In the first place her husband's campaign is by no means unpromising. +On the contrary he has heard from the witches that his end +would be bound with apparently unfulfillable conditions, so unfulfillable +that the prophecy at once frees him from all fear.</p> + +<p>Having hidden nothing from the “partner of his greatness” he +would scarcely conceal the promise of the witches, which increased +his confidence to the uttermost. Besides it cannot be fear and +anxiety which brings on her night wandering. Another current +explanation also seems to me to have little ground. As Brandes has +recently interpreted it, “The sleep walking scene shows in the most +remarkable fashion how the pricking of an evil conscience, when it +is dulled by day, is more keen at night and robs the guilty one of +sleep and health.” Now severe pangs of conscience may well disturb +sleep, but they would hardly create sleep walking. Criminals +are hardly noctambulists. Macbeth himself is an example how far +stings of conscience and remorse can lead a sensitive man. He has +no more rest after he has murdered the king and Banquo, yet he +does not become a sleep walker. There must be another cause here +which precipitates Lady Macbeth's sleep walking.</p> + +<p>We will first examine the relation of husband and wife to one +another in order to trace out this mystery. The character of Lady +<span class="pagenum"><a name="Page_124">124</a></span>Macbeth has caused many a one in Germany to rack his brains +since the time of Tieck. Up till that time she passed simply as +Megaera, as an “arch witch,” as Goethe calls her. This opinion +prevailed not only in Germany but in the English motherland too. +But this view went against the grain with the German spirit. +Therefore Ludwig Tieck first looked upon Lady Macbeth as a +tender, loving wife. From this time on there arose critics and even +poets, who in the same way wished to wash her clean. I will cite +the two most important, Friedrich Theodor Vischer and Rudolf +Hans Bartsch. The former, of whom I explained earlier, that he +did not hesitate to make an interpolation to prove his point, sums +up his judgment in the following sentences: “It is not ambition +alone that moves her, but love which would see her lord become +great” (p. 78). And in a second place, “She loved her husband +and had sacrificed her conscience more for him than for herself” +(p. 124). R. H. Bartsch goes much further in his romance, “<span lang="de" xml:lang="de">Elisabeth +Kött</span>.” Wigram says to the heroine, “Do you not feel how +she (Lady Macbeth) before everything that she says cannot hitch +horses enough to carry her slow and immovable lord along?” In +the sleep walking scene “the utter crushing of this poor, overburdened +heart burst forth in the torture of the dream wandering.” At +the close he pronounces his opinion: “If there is a poor weak woman +upon earth, so it is this arch enchantress, who loves her husband +so much that she has in admirable fashion studied all his faults and +weaknesses that she may cover over the deficiencies with her +trembling body. Seek the wife in her rôle!”</p> + +<p>What truth is there in these viewpoints? The poet himself has +been dead for three hundred years and has left behind him not a +syllable concerning Lady Macbeth except in the text of the tragedy. +Therefore according to my opinion nothing remains but to keep to +this. At the most we can draw upon Holinshed's chronicle, which +Shakespeare so frequently followed literally. According to this +Lady Macbeth was extravagantly ambitious and when she continually +urged Macbeth to murder Duncan, this was only because +she “burned with an unquenchable desire to bear the name of +queen.” There is never a syllable of a feeling of love for her husband, +or that she desired the crown only for his sake. This objection +might be made here, that as Shakespeare has often gone beyond +his source, as in creating the sleep walking scene without a model +for it, so he might just as well have given characters to Lady Macbeth +of which the source said nothing. Certainly that would be a +<span class="pagenum"><a name="Page_125">125</a></span>priori conceivable. Only that must appear clearly from the text +of the tragedy. Yet what does this say? Carefully as I have read +its lines, I have not been able to find a single, actual uninterpolated +word of love from Lady Macbeth. That is of double significance +from the poet of “Romeo and Juliet.” He who could give such +language to love would not have completely denied it in “Macbeth,” +if Lady Macbeth was to have been a loving wife. One can +find everything in her words, warning, entreaty and adjuration, upbraidings +and threatenings, anger, yes, almost abuse, yet not one +natural note of love.</p> + +<p>This has a so much harsher effect since her husband approaches +her usually as an actual lover, or more accurately stated up to the +murder of Banquo. She is warm only where it concerns the attainment +of her goal; it is her ambition which demands satisfaction. +She is always to her husband “my dearest partner of my greatness” +as he once appropriately writes her. It is not to be considered that +Shakespeare, who always overmotivates his situations, should have +at the height of his power so obscured from recognition all the love +impulses, which would have seemed to be decisive for her whole +character. The truth is simply that Lady Macbeth is no loving wife, +but merely greedy of fame, as already represented in the Chronicle. +I suspect that the authors who all the way through see in her the +loving spouse are expressing their own complexes, their own unconscious +wishes. Such an one as Bartsch for example cannot think +otherwise of a woman than as unfolding lovingly to the man.</p> + +<p>Lady Macbeth makes upon me, in her relation toward her frequently +wooing husband as it were, the impression of a <i lang="la" xml:lang="la">natura +frigida</i>, that is a sexually cold woman. If one takes her own frightful +word for it, that she could tear the breast from her own sucking +child and dash its brains out, then the mother love seems never to +have been strong within her, but rather whatever feeling she has +possessed has been changed to passionate ambition. Now psychoanalytic +experience teaches that when a woman remains sexually +cold toward a sympathetic and potent man, this goes back to an +early sealing up of affect with a forbidden, because an incest object. +Such women have almost always from their tenderest infancy on +loved father or brother above all and never through all their lives +freed themselves from this early loved object. Though at puberty +compelled to cut them off as sexual objects, yet they have held fast +to them in the unconscious and become incapable of transferring to +another man. It is possible also in the case of Lady Macbeth to +<span class="pagenum"><a name="Page_126">126</a></span>think of such an indissoluble bond. Moreover certain features in the +sleep walking scene seem to speak directly of a repressed sexual life.</p> + +<p>Lady Macbeth wanders at night, since her husband has left her +and marital intercourse has been broken off.<a name="FNanchor_36_37" href="#Footnote_36_37" class="fnanchor">[36]</a> In her hand is +a lighted candle, which according to her express command must +burn near her bed, and only now for the first time, otherwise the +lady in waiting would not have laid such stress upon the fact. The +candle in her hand, that is a feature which up till now we have met +in none of our cases, but which, as a glance into literature teaches +me, is by no means infrequently found with sleep walkers. It +can hardly be considered a mere accident that Shakespeare discovered +just this characteristic, which is really atypical. One would +be much more inclined to suspect in it a secret, hidden meaning. +Then at once a connection forces itself. We know from the infantile +history of so many people that a tenderly solicitous parent, +the father or the mother, likes to convince himself or herself, with +a candle in the hand, that the child is asleep.<a name="FNanchor_37_38" href="#Footnote_37_38" class="fnanchor">[37]</a> Then we would +have on one side a motive for sleep walking in general, that one is +playing the part of the loving parent, as on the other hand a motive +for the lighted candle. The latter has however a symbolic sexual +sense which is quite typical and is repeatedly and regularly found. +The burning candle always stands for one thing and signifies in +dreams as in fairy tales, folklore, and sagas without exception the +same thing, an erect phallus. Now it becomes clear why Lady Macbeth, +after her husband had gone to the war, has a lighted candle +always burning near her bed, and why then she wanders around like +a ghost with it at night.</p> + +<p>The conclusion of the words she utters during her sleep walking +contains a second unmistakably sexual relationship. Here she repeats +not less than five times the demand upon her husband, “To +bed,” while in the corresponding murder scene (II, 2) it simply +reads, “Retire we to our chamber; A little water clears us of this +deed.” The further repetition, “Come, come, come, come, give me +your hand,” sounds again infantile through and through. So one +speaks to a child, scarcely to an adult. It seems as if she takes the +father or the mother by the hand and bids them go to bed. One +recognizes already in this passage that this atypical sleep walking of +Lady Macbeth also leads naturally into the sexual and the infantile.</p> + +<p><span class="pagenum"><a name="Page_127">127</a></span> +It will not be difficult to determine now toward whom the repressed, +because strongly forbidden, sexual wishes of Lady Macbeth +are directed. Who else could it be but her own father, the +original love object of every little girl; what other person of her +childhood, who later becomes an unsuitable sexual object, but yet +hinders for all the future the transference of love over to the husband? +This is the one who summons her to walk in her sleep, the +lighted candle in her hand. It is quite an everyday experience, +which holds for everyone, for the well as for every one who later +becomes ill, that in reality the first love, which bears quite clearly +features of sense pleasure, belongs to the earliest years of childhood, +and that its objects are none other than the child's own parents +and in the second place the brothers and sisters. Here the polar +attraction of the sexes holds in the relation of the elder to the +younger and vice versa, that is the attraction of the man to the +woman and the woman to the man. It is “a natural tendency,” +says Freud<a name="FNanchor_38_39" href="#Footnote_38_39" class="fnanchor">[38]</a> in the “Interpretation of Dreams,” “for the father to +indulge the little daughter, and for the mother to take the part of +the sons, while both work earnestly for the education of the little +ones when the magic of sex does not prejudice their judgment. The +child is very well aware of any partiality, and resists that member +of the parental couple who discourages it.… Thus the child obeys +its own sexual impulse, and at the same time reinforces the feeling +which proceeds from the parents, if it makes a selection among the +parents that corresponds to theirs.”</p> + +<p>We will stop here at two factors which will occupy us again later, +the being in love with the parent of the opposite sex, and then the +resistance against the one of the same sex. Corresponding to the +love, every child in the period of innocence wants to “marry” the +former. I recall what a colleague told me of a dialogue between +him and his little five year old daughter. She began, “I want to +get married.”—“To whom?”—“To you, Papa.”—“I already have +a wife.”—“Then you would have two wives.”—“That won't do.”—“Very +well, then I will choose a man who is as nice as you.” And +Freud relates (p. 219), “An eight year old girl of my acquaintance, +when her mother is called from the table, takes advantage of the opportunity +to proclaim herself her successor. ‘Now I shall be +Mamma; Charles, do you want some more vegetables? Have some, +I beg you,’ and so on. A particularly gifted and vivacious girl, +<span class="pagenum"><a name="Page_128">128</a></span>not yet four years old, … says outright: ‘Now mother can go +away; then father must marry me and I shall be his wife.’”</p> + +<p>We will add just one more little experience to give us a broader +point of view. The interpretation of dreams, fairy tales and myths +teaches us regularly that the phantasies of the child, like those of +all peoples in their period, identify father with king or emperor. +Naturally then the father's wife becomes the queen. This fact of +experience, which is always to be substantiated, can be applied to +Lady Macbeth and makes her ambition at once transparent to us. I +affirmed above that her lack of sexual feeling toward her husband +had its origin in the fact that she had loved her father too much +and could not therefore free herself from him. Her sexuality had +transformed itself into ambition and that, the ambition to be queen,<a name="FNanchor_39_40" href="#Footnote_39_40" class="fnanchor">[39]</a> +in other words, the father's wife. So could she hold fast to the +infantile ideal and realize the forbidden incest. The intensity with +which she pursues the ambition of her life is explained then by the +glowing intensity of her sexual wishes.</p> + +<p>With Shakespeare also king and father come together. A +remark of Lady Macbeth shows that when she addresses herself to +the murder of Duncan. “Had he not resembled my father as he +slept, I had done't.” This physical likeness signifies identity of individuals, +as we know from many analogous examples. The king +therefore resembles the father because he stands for her parent. +Still one more point may be well explained from her father complex. +The Chronicle speaks of the overweening ambition of Lady +Macbeth. Now we know from neuropsychology that burning ambition +in later years represents a reaction formation to infantile +bed wetting. It is the rule with such children that they are placed +upon the chamber at night by father or mother. Thus we comprehend +from another side, with the so frequent identification with +beloved persons, precisely why the lady wanders at night with a +candle in her hand. Here again appears plainly the return to the +infantile erotic.</p> + +<p>Now for the grounds of her collapse. As long as Lady Macbeth +is fighting only for the childish goal, she is an unshakeable rock +amid the storms of danger. She shrinks from no wrong and no +crime that she may be queen at her husband's side. But she must +gradually perceive that her husband will never win satisfaction, he +will never recover from the king-father murder, her hopes will +<span class="pagenum"><a name="Page_129">129</a></span>never be fulfilled and she will never live in quiet satisfaction at the +side of her father. Then her power of endurance gives way until +her very soul fails utterly. As she says on the occasion of the first +disappointment after Duncan's death:</p> + +<div class="poem" style="width: 21em;"> +<div class="stanza"> +<span class="i10">“Nought's had, all's spent,<br /></span> +<span class="i0">Where our desire is got without content;<br /></span> +<span class="i0">'Tis safer to be that which we destroy,<br /></span> +<span class="i0">Than, by destruction, dwell in doubtful joy.”<br /></span> +</div> +</div> + +<p>Now the unconscious, hitherto successfully repressed, avenges itself, +now conscience awakes and as the husband leaves her completely +alone she begins to wander, that is to seek to return to the infantile +ideal. In her wandering she herself plays the rôle of father, who +once approached her with the lighted candle and then called to her, +“Come, come, come, come, give me your <ins title="hand!’">hand!”</ins> and bade her go +to bed.</p> + +<p>Why however does not the ruthless Macbeth live down the murder +of the king as he does in the history? I believe that we must here +go still further back than to the Chronicle, even to the creator of +the tragedy himself. There is a certain important crisis in Shakespeare's +life, where according to the biography by George Brandes +“cheerfulness, the very joy of life, was extinguished in his soul. +Heavy clouds gathered over his horizon, we now do not know just +what their source. Gnawing griefs and disappointments gathered +within him. We see his melancholy grow and extend itself; we +can observe the changing effects of this melancholy without clearly +recognizing its cause. Only we feel this, that the scene of action +which he sees with the inner eye of the soul has now become as +black as the external scene of which he makes use. A veil of phantasy +has sunk down over both. He writes no more comedies but +puts a succession of dark tragedies upon the stage, which lately reëchoed +to the laughter of his Rosalinds and Beatrices.”</p> + +<p>This crisis came in the year 1601, when the earl of Essex and +Lord Southampton, Shakespeare's special patron, were condemned +to death because of treason against the life of the king. According +to Brandes the depression over their fate must have been one of the +original causes for the poet's beginning melancholy. Perhaps the +death of Shakespeare's father, which followed some months later, +made a more lasting impression with all the memories which it recalled. +The dramas which the poet published about that time, Julius +Cæsar, Hamlet and Macbeth, have a common theme, they all revolve +<span class="pagenum"><a name="Page_130">130</a></span>about a father murder. In “Julius Cæsar,” Brutus murders +his fatherly friend, his mother's beloved (“And thou too, my son +Brutus?”). Hamlet comes to shipwreck in his undertaking to +avenge upon his uncle the father's murder, because the uncle, as +Freud explains in his “Interpretation of Dreams,” had at bottom +done nothing else than Hamlet had wished in his childhood but had +not had the self confidence to carry out. And Macbeth in the last +analysis is ruined by the king and father murder, the results of +which he can never overcome. We may consider this theme of the +father murder, always presented in some new form, in the light of +its direct precipitating causes, the actual death of Shakespeare's +father and Southampton's treason against the ruling power of the +state. It is not difficult to accept that at that time the infantile +death wishes against his father were newly awakened in our poet +himself and were then projected externally in a series of powerful +dramas.</p> + +<p>Perhaps the reader, who has followed me more or less up to this +point, will stop here indignant: “How could any one maintain that +a genius like Shakespeare could have wished to murder his father, +even if only in the phantasies of <ins title="childhood?">childhood?”</ins> I can only reply to +this apparently justified indignation that the assumption I here make +concerning Shakespeare is fundamentally and universally human +and is true with every male child. We go for proof to what we +have earlier discovered, that the first inclination of every child, also +already erotically colored, belongs to the parent of the opposite sex, +the love of the girl to the father, the leaning of the boy to his +mother, while the child sets himself against the parent of the same +sex, who may be only justly concerned in his education without +over indulging him. The child would be most delighted to “marry” +the tender parent, as we heard above, and therefore feels that the +other parent stands in the way as a disturbing rival. “If the little +boy,” says Freud in the “Interpretation of Dreams,”<a name="FNanchor_40_41" href="#Footnote_40_41" class="fnanchor">[40]</a> “is allowed +to sleep at his mother's side whenever his father goes on a journey, +and if after his father's return he must go back to the nursery to a +person whom he likes far less, the wish may be easily actuated that +his father may always be absent, in order that he may keep his place +next to his dear, beautiful mamma; and the father's death is obviously +a means for the attainment of this wish; for the child's +experience has taught him that ‘dead’ folks, like grandpa, for +example, are always absent; they never return.”</p> + +<p><span class="pagenum"><a name="Page_131">131</a></span>Yet how does the child reach such a depth of depravity as to +wish his parents dead? We may answer “that the childish idea of +‘being dead’ has little else but the words in common with our own. +The child knows nothing of the horrors of decay, of shivering in the +cold grave, of the terror of the infinite Nothing.… Fear of death +is strange to the child, therefore it plays with the horrible word.… +Being dead means for the child, which has been spared the +scenes of suffering previous to dying, the same as ‘being gone,’ not +disturbing the survivors any more. The child does not distinguish +the manner and means by which this absence is brought about, +whether by traveling, estrangement or death.… If, then, the +child has motives for wishing the absence of another child, every +restraint is lacking which would prevent it from clothing this wish +in the form that the child may die.”<a name="FNanchor_41_42" href="#Footnote_41_42" class="fnanchor">[41]</a> It may be conjectured, if we +apply this to Shakespeare, that also this greatest of all dramatists +repeatedly during his childhood wished his father dead and that +this appeared in consciousness agitating him afresh at the actual +decease of the father and impelled him to those dramas which had +the father murder as their theme. Moreover the father's calling, +for he was not only a tanner but also a butcher, who stuck animals +with a knife, may have influenced the form of his death wishes as +well as of their later <ins title="reappearancess">reappearances</ins> in the great dramas.</p> + +<p>The evil thoughts against the father in the child psyche by no +means exclude the fact that at the same time there are present with +them tender impulses, feelings of warmest love. This is indeed the +rule according to all experience and can be proved also with Shakespeare. +This other side of his childish impulse leads for example +to the powerful ambition which we find as a chief characteristic of +Macbeth and Lady Macbeth, as in truth of the poet himself. We +know that when the latter was a boy his father became bankrupt. +He had not only lost everything which he himself possessed, his +wife's dowry and his position as alderman, but was also so deeply +in debt at this time that he had to guard himself against arrest. +Once more I let Brandes express it: “The object of Shakespeare's +desire was not in the first place either the calling of a poet or fame +as an actor, but wealth and that chiefly as a means for social advance. +He took very much to heart his father's decline in material +fortune and official respect. He held passionately from his youth +up to the purpose to reëstablish the name and the position of his +family.… His father had not dared to go along the streets, fearing +<span class="pagenum"><a name="Page_132">132</a></span>to be arrested for debt. He himself as a young man had been +whipped at the command of the landowner and thrown into jail. +The small town which had been the witness of these humiliations +should be witness of the restoration of his honor. Where he had +been spoken of as the actor and playwright of doubtful fame, there +would he be seen again as the honored possessor of house and land. +There and elsewhere should the people, who had counted him among +the proletariat, learn to know him as a gentleman, that is as a member +of the lesser nobility.… In the year 1596 his father, apparently +at his instigation and with his support, entered a petition +at Heralds College for the bestowal of a coat of arms. The granting +of the coat of arms signified the ceremonial entry into the gentry.” +The ambition of the small child is to become as great as the +father, and so later that of the man is to exalt the father himself, +to make him king. One sees how close and how very personal the +theme of ambition was to Shakespeare.</p> + +<p>Before I go on to analyze further what the poet has woven into +his treatment of “Macbeth” from his own purely personal experience, +we must first consider a technical factor which is common +to all dramatists. It has been discovered that Shakespeare projected +his own complexes into his tragedies, complexes which are in no +way simple, but which show, for example, close to the hatred even +as great a love as well as other contrary elements. He is fond of +separating his dramatic projection into two personalities wherever +his feeling is an ambivalent one, these two forms standing in contrast +to one another. He splits his ego into two persons, each of +which corresponds to only one single emotional impulse. That is a +discovery which of course was not made for the first time by psychoanalysis. +Minor, for instance, writes in his book on Schiller: “Only +in conjunction with Carlos does Posa represent Schiller's whole +nature, the wild passion of the one is the expression of the sensual +side, the noble exaltation of the other the stoical side of his nature.… +Schiller has not drawn this figure from external nature; it +has not come to him from without but he has taken it deep from his +inner being.” Otto Ludwig expresses himself similarly: “Goethe +often separates a man into two poetic forms, Faust-Mephisto, Clavigo-Carlos.”</p> + +<p>It is plainly to be seen, if we apply our recognition of this fact +to Shakespeare, that he has projected his ego affect into Macbeth +as well as his wife, which gives numerous advantages. So far we +have considered Lady Macbeth merely as a complete dramatic character, +<span class="pagenum"><a name="Page_133">133</a></span>which she is first of all. Besides this nevertheless she surely +corresponds to a splitting of Shakespeare's affect, for the poet incorporates +in her his instincts for ruthless ambition. He has worked +over the character already given her by the Chronicle for his own +exculpation. It was stated previously that Macbeth in the first two +acts is by no means the bloodthirsty tyrant of Holinshed and really +stands far behind his wife in ambition. It is as if our poet, who +plainly stands behind his hero, wished thereby to say, I am not +capable of a father murder and would surely have put it off or not +have accomplished it at all, if I had not been compelled by a woman's +influence. Macbeth will go no further in the affair in spite of all +favorable outward circumstances, but it is Lady Macbeth who forces +the deed to completion. The final cause of every father hatred is +rivalry in regard to the mother and so it was she, represented by +Lady Macbeth, who in his phantasy would have urged the infantile +Shakespeare to put his father out of the way. Here branches out +another path for the sleep walking. We have so far spoken only +of the father who comes at night to the child, but now Lady Macbeth +walking in her sleep, seems also to represent Shakespeare's +mother, who with the candle in her hand convinces herself that her +darling child is sleeping soundly.<a name="FNanchor_42_43" href="#Footnote_42_43" class="fnanchor">[42]</a></p> + +<p>It need not seem strange that I give a number of interpretations +apparently so fundamentally different for one and the same <ins title="thing,">thing.</ins> +There is nothing on earth more complicated than psychic things, +among which poetic creation belongs. Psychic phenomena are according +to all experience never simply built up nor simply grounded +but always brought together in manifold form. Whoever presses +deeply into them discovers behind every psychic manifestation without +exception an abundance of relationships and overdeterminations. +We are accustomed in the natural sciences to simple motivation, on +the one side cause, on the other effect. In the psychic life it is +quite otherwise. Only a superficial psychology is satisfied with +single causes. So manifold a chain of circumstances, those that lie +near at hand and those more remotely connected, come into play in +<span class="pagenum"><a name="Page_134">134</a></span>most, yes, apparently in all cases, that one scarcely has the right to +assert that a psychic phenomenon has been completely explained. +Dream analysis at once proves this. One can almost always rightfully +take it for granted that several, indeed manifold interpretations +are correct. It is best to think of a stratified structure. In +the most superficial layer lies the most obvious explanation, in the +second a somewhat more hidden one, and in yet deeper strata broader +and more remote relationships and all have their part more or less +in the manifested phenomenon. This latter is more or less well +motivated.</p> + +<p>We now turn back to Shakespeare and observe the great depression +under which he labored just at the time when he created his +greatest tragedies. Does it seem too presumptuous to conceive that +one so shaken and dejected psychically should have slept badly and +even possibly—we know so little of his life—walked in his sleep? +The poet always hastened to repress<a name="FNanchor_43_44" href="#Footnote_43_44" class="fnanchor">[43]</a> whatever personal revelations +<span class="pagenum"><a name="Page_135">135</a></span>threatened to press through too plainly, as we know from many +proofs. The poverty of motivation quite unusual with Shakespeare, +just at the critical point of the sleep walking, seems to me to score +for such a repression. We might perhaps say that the fact that the +poet has introduced to such slight extent the wandering of Lady +Macbeth, has given it so little connection with what went before, +is due simply to this, that all sorts of most personal relationships +were too much involved to allow him to be more explicit. See +how Lady Macbeth comforted Macbeth directly after the frightful +deed, the king and father murder:</p> + +<div class="poem" style="width: 22em;"> +<div class="stanza"> +<span class="i16">“Consider it not so deeply.<br /></span> +<span class="i10 spaced">. . . . . . . . .<br /></span> +<span class="i4">These deeds must not be thought<br /></span> +<span class="i0">After these ways; so, it will make us mad.”<br /></span> +</div> +</div> + +<p>This must have referred to Shakespeare as much as to his hero. +Moreover the writing and sealing of the letter at the beginning of +the sleep walking described by the lady in waiting seems as if Lady +Macbeth had a secret, a confession to make—in the name of the poet. +I think also at the end, when the everlasting brooding over her deed +drives her to suicide, she dies as a substitute for her intellectual +creator, for his own self punishment.<a name="FNanchor_44_45" href="#Footnote_44_45" class="fnanchor">[44]</a></p> + +<p>There remain yet only one or two points to be touched upon and +explained. No discussion is needed for the fact that an outspoken +sadistic nature in Lady Macbeth leads her to walk in her sleep, +indeed, disposes her to it. We can easily understand also that this +breaks forth just at the moment when her husband sets out, that is, +translated into the infantile, when Macbeth, or in the deeper layer +her own father, dies. It is much more necessary to explain why +immediately after the deed she has no scruples in staining the chamberlains +with Duncan's blood and takes the affair so lightly, while +later she is never rid of the fear of the blood and is always striving +in vain to wash her hands clean. Here it must be again recalled that +Lady Macbeth on the one hand represents the actual wife of Macbeth, +on the other hand the poet himself and in two epochs of his +life; Shakespeare first in his unrestrained striving and then when +he is brought low, shaken in his very depths by the death of his +father. Murder phantasies toward his father came to him as a boy +and then as a youth at the beginning of puberty, and yet at neither +<span class="pagenum"><a name="Page_136">136</a></span>time was he ill. The more mature man however, borne down +more heavily by life, met by the actual death of his father, broke +down under the weight of things. This explains in the last analysis +the change in the attitude of Lady Macbeth.</p> + +<p>I do not know how far the reader is willing to follow me. Yet +one thing I believe I have proved, that also in Lady Macbeth's sleep +walking the erotic is not wanting nor the regression into the infantile.</p> + + + +<div class="new-h2"> </div> +<div><span class="pagenum"><a name="Page_137">137</a></span></div> +<h2>CONCLUSION AND RÉSUMÉ</h2> + + +<p>If now at the close of this book we bring together all our material, +we may with certainty or with the highest probability speak +of sleep walking and moon walking as follows:</p> + +<ol id="conclusion"> +<li><p>Sleep walking under or without the influence of the moon +represents a motor outbreak of the unconscious and serves, like the +dream, the fulfilment of secret, forbidden wishes, first of the present, +behind which however infantile wishes regularly hide. Both +prove themselves in all the cases analyzed more or less completely +as of a sexual erotic nature.</p></li> + +<li><p>Those wishes also which present themselves without disguise +are mostly of the same nature. The leading wish may be claimed to +be that the sleep walker, male or female, would climb into bed with +the loved object as in childhood, which both the folk and the poet +well know. The love object need not belong necessarily to the present, +it can much more likely be one of earliest childhood.</p></li> + +<li><p>Not infrequently the sleep walker identifies himself with the +beloved person, sometimes even puts on his clothes, linen or outer +garments, or imitates his manner to the life.</p></li> + +<li><p>Sleep walking can also have an infantile prototype, when the +child pretends to be asleep in order that it may be able, without fear +of punishment, to experience all sorts of forbidden things, that is of +a sexual nature, because it cannot be held accountable for that which +it does “unconsciously, in its sleep.” The same motive of not being +held accountable actuates the adult sleep walker, who will satisfy +his sexual desires, yet without incurring guilt in so doing. The +same cause works also psychically, when sleep walking occurs +mostly in the very deepest sleep, even if organic causes are likewise +responsible for it.</p></li> + +<li><p>The motor outbreak during sleep, which drives one from rest +in bed and results in sleep walking and wandering under the light +of the moon, may be referred to this, that all sleep walkers exhibit +a heightened muscular irritability and muscle erotic, the endogenous +excitement of which can compensate for the giving up of the rest +in bed. In accordance with this these phenomena are especially frequent +in the offspring of alcoholics, epileptics, sadists and hysterics +with preponderating involvement of the motor apparatus.</p></li> + +<li><p><span class="pagenum"><a name="Page_138">138</a></span> +Sleep walking and moon walking are in themselves as little +symptoms of hysteria as of epilepsy. Yet they are found frequently +in conjunction with the former.</p></li> + +<li><p>The influence of the moon in this moon affectivity is very +little known, especially in its psychic overdetermination. Yet there +is little doubt that the moon's light is reminiscent of the light in the +hand of a beloved parent, who every night came in loving solicitude +to assure himself or herself of the child's sleep. Nothing so promptly +wakes the sleep walker as the calling of his name, which accords +with his being spoken to as a child by the parent. Fixed gazing +upon the planet also has probably an erotic coloring like the staring +of the hypnotizer to secure hypnosis. Other psychic overdeterminations +appear merely to fit individual cases. It is possible finally +that there actually exists a special power of attraction in the moon, +which may expressly force the moon walker out of his bed and +entice him to longer walks, but on this point we have no scientific +hypotheses.</p></li> + +<li><p>Furthermore it seems possible that sleep walking and moon +walking may be permanently cured through Freud's psychoanalytic +method.</p></li> +</ol> + +<p>I know very well that this explanation which I give here, offers +only the first beginning of an understanding. It will be the task of +a future, which we hope is not too far distant, to comprehend fully +these puzzling phenomena.</p> + + + + +<div class="new-h2"> </div> +<div><span class="pagenum"><a name="Page_139">139</a></span></div> +<h2>INDEX</h2> + + + +<ul class="index"> +<li>“<span lang="de" xml:lang="de">Aebelö</span>,” <a href="#Page_ix">ix</a>, <a href="#Page_45">45</a></li> +<li>Alcoholics, <a href="#Page_137">137</a></li> +<li class="sub-entry">descendants of, <a href="#Page_25">25</a></li> +<li>Alcoholism, <a href="#Page_1">1</a></li> +<li>Anorexia, hysteric, <a href="#Page_76">76</a></li> +<li>Anxiety dreams, <a href="#Page_41">41</a></li> +<li>Anzengruber, Ludwig, <a href="#Page_ix">ix</a>, <a href="#Page_106">106</a></li> +<li>Audition, color, <a href="#Page_91">91</a></li> +</ul> + +<ul class="index"> +<li>Blood, <a href="#Page_3">3</a>, <a href="#Page_15">15</a>, <a href="#Page_17">17</a>, <a href="#Page_20">20</a></li> +<li>Burdach, Karl Friedrich, <a href="#Page_35">35</a></li> +<li>“<span lang="de" xml:lang="de">Buschnovelle</span>,” <a href="#Page_91">91</a></li> +<li>Buttocks, <a href="#Page_7">7</a></li> +<li class="sub-entry">moon as, <a href="#Page_19">19</a></li> +</ul> + +<ul class="index"> +<li>Cataleptic muscular rigidity, <a href="#Page_25">25</a></li> +<li>Color audition, <a href="#Page_74">74</a>, <a href="#Page_91">91</a></li> +<li>Compulsion, <a href="#Page_6">6</a></li> +<li>Compulsive neurotic, <a href="#Page_77">77</a>, <a href="#Page_91">91</a></li> +<li>Conception, <ins title="Immacuate">Immaculate</ins>, <a href="#Page_62">62</a>, <a href="#Page_73">73</a></li> +<li class="sub-entry">unconscious, <a href="#Page_62">62</a>, <a href="#Page_73">73</a></li> +<li>Concussion of the brain, <a href="#Page_2">2</a></li> +<li>Consciousness, disturbances of, <a href="#Page_32">32</a></li> +<li>Contractures, <a href="#Page_25">25</a></li> +<li>Convulsion, hysterical, <a href="#Page_85">85</a>, <a href="#Page_90">90</a></li> +<li>Convulsions, <a href="#Page_25">25</a></li> +<li class="sub-entry">muscular, <a href="#Page_90">90</a></li> +<li>Convulsive attacks, <a href="#Page_2">2</a>, <a href="#Page_7">7</a>, <a href="#Page_25">25</a></li> +<li>Cruelty, <a href="#Page_25">25</a></li> +</ul> + +<ul class="index"> +<li>Dream, Function of, <a href="#Page_x">x</a></li> +<li class="sub-entry">relationship between sleep-walking and, <a href="#Page_21">21</a></li> +<li>Dreams, anxiety, <a href="#Page_41">41</a></li> +<li class="sub-entry">frightful, <a href="#Page_7">7</a></li> +<li class="sub-entry">of Gro, <a href="#Page_61">61</a></li> +<li class="sub-entry">terrifying, <a href="#Page_25">25</a></li> +<li>Dysuria psychica, <a href="#Page_27">27</a></li> +</ul> + +<ul class="index"> +<li>Eclamptic attacks, <a href="#Page_2">2</a></li> +<li>Enuresis nocturna, <a href="#Page_2">2</a></li> +<li class="sub-entry">pleasure in, <a href="#Page_29">29</a></li> +<li>Enuretic, <a href="#Page_1">1</a></li> +<li>Epilepsy, <a href="#Page_viii"><ins title="iv">viii</ins></a>, <a href="#Page_1">1</a>, <a href="#Page_138">138</a></li> +<li>Epileptics, <a href="#Page_137">137</a></li> +<li class="sub-entry">descendants of, <a href="#Page_25">25</a></li> +<li>Eroticism, muscle, <a href="#Page_63">63</a></li> +<li class="sub-entry">urethral, <a href="#Page_2">2</a></li> +<li class="sub-entry">vaginal, <a href="#Page_3">3</a></li> +<li>Erotic, muscle, <a href="#Page_8">8</a>, <a href="#Page_25">25</a>, <a href="#Page_31">31</a>, <a href="#Page_42">42</a>, <a href="#Page_90">90</a>, <a href="#Page_137">137</a></li> +<li class="sub-entry">nature, <a href="#Page_23">23</a></li> +<li class="sub-entry">urethral, <a href="#Page_27">27</a></li> +<li>Exhibition, <a href="#Page_22">22</a></li> +<li>Exhibitionism, <a href="#Page_36">36</a></li> +<li>Exhibitionistic, <a href="#Page_70">70</a></li> +</ul> + +<ul class="index"> +<li>Folk belief, <a href="#Page_62">62</a></li> +<li class="sub-entry">interpretation, <a href="#Page_82">82</a></li> +<li class="sub-entry">mind, <a href="#Page_24">24</a></li> +<li class="sub-entry">tale, <a href="#Page_81">81</a></li> +<li>Frenssen, Gustav, <a href="#Page_ix">ix</a>, <a href="#Page_63">63</a></li> +<li>Freud, <a href="#Page_104">104</a>, <a href="#Page_127">127</a>, <a href="#Page_130">130</a>, <a href="#Page_131">131</a></li> +<li>Freud's psychoanalytic method, <a href="#Page_138">138</a></li> +</ul> + +<ul class="index"> +<li>Ganghofer, Ludwig, <a href="#Page_ix">ix</a>, <a href="#Page_40">40</a></li> +<li>Ghostly hour, <a href="#Page_27">27</a>, <a href="#Page_81">81</a></li> +<li>Ghosts, belief in, <a href="#Page_26">26</a></li> +</ul> + +<ul class="index"> +<li>Hemoptysis, <a href="#Page_3">3</a>, <a href="#Page_15">15</a>, <a href="#Page_20">20</a></li> +<li>Holinshed's “History of Scotland,” <a href="#Page_115">115</a></li> +<li>Homosexual, <a href="#Page_2">2</a></li> +<li>Homosexuality, <a href="#Page_20">20</a></li> +<li>Hypnosis, <a href="#Page_138">138</a></li> +<li>Hypnotic fixation, <a href="#Page_26">26</a></li> +<li class="sub-entry">somnambulism, <a href="#Page_viii">viii</a>, <a href="#Page_22">22</a></li> +<li>Hypnotism, love transference in, <a href="#Page_26">26</a></li> +<li>Hypnotist, <a href="#Page_23">23</a></li> +<li>Hypnotized subject, <a href="#Page_23">23</a></li> +<li>Hysteria, <a href="#Page_viii">viii</a>, <a href="#Page_33">33</a>, <a href="#Page_138">138</a></li> +<li>Hysteric, <a href="#Page_30">30</a></li> + +<li>Hysteric anorexia, <a href="#Page_76">76</a></li> +<li><span class="pagenum"><a name="Page_140">140</a></span>Hysterical cardiac distress, <a href="#Page_27">27</a></li> +<li class="sub-entry">convulsion, <a href="#Page_85">85</a>, <a href="#Page_90">90</a></li> +<li class="sub-entry">opisthotonos, <a href="#Page_86">86</a></li> +<li class="sub-entry">somnambulism, <a href="#Page_viii">viii</a></li> +<li class="sub-entry">tendency, <a href="#Page_91">91</a></li> +<li>Hysterics, <a href="#Page_25">25</a>, <a href="#Page_75">75</a>, <a href="#Page_137">137</a></li> +</ul> + +<ul class="index"> +<li>Immaculate conception, <a href="#Page_62">62</a>, <a href="#Page_73">73</a></li> +<li>Infantile causes, <a href="#Page_113">113</a></li> +<li class="sub-entry">erotic, <a href="#Page_71">71</a></li> +<li class="sub-entry">regression, <a href="#Page_136">136</a></li> +<li class="sub-entry">sexuality, <a href="#Page_21">21</a></li> +<li>“Interpretation of Dreams,” <a href="#Page_127">127</a>, <a href="#Page_130">130</a>, <a href="#Page_131">131</a></li> +</ul> + +<ul class="index"> +<li>“<span lang="de" xml:lang="de">Jörn Uhl</span>,” <a href="#Page_63">63</a></li> +</ul> + +<ul class="index"> +<li>Kleist, Heinrich von, <a href="#Page_ix">ix</a>, <a href="#Page_46">46</a>, <a href="#Page_97">97</a></li> +<li>Krafft-Ebing, <a href="#Page_viii">viii</a>, <a href="#Page_20">20</a>, <a href="#Page_25">25</a></li> +</ul> + +<ul class="index"> +<li>“<span lang="de" xml:lang="de">Lebensmagie, Wirklichkeit und Traum</span>,” <a href="#Page_92">92</a></li> +<li>Libido, <a href="#Page_23">23</a></li> +<li class="sub-entry">repressed, <a href="#Page_10">10</a></li> +<li>Ludwig, Otto, <a href="#Page_ix">ix</a>, <a href="#Page_45">45</a>, <a href="#Page_72">72</a>, <a href="#Page_91">91</a></li> +</ul> + +<ul class="index"> +<li>“Macbeth,” <a href="#Page_114">114</a></li> +<li>Macbeth, Lady, <a href="#Page_114">114</a></li> +<li>“<span lang="de" xml:lang="de">Maria</span>,” <a href="#Page_72">72</a></li> +<li>Masochistic, sadistic, <a href="#Page_7">7</a></li> +<li>Menstruation, <a href="#Page_3">3</a>, <a href="#Page_15">15</a>, <a href="#Page_17">17</a>, <a href="#Page_30">30</a>, <a href="#Page_70">70</a></li> +<li>Michaelis, Sophus, <a href="#Page_ix">ix</a>, <a href="#Page_45">45</a></li> +<li>Moonstruck, <a href="#Page_vii">vii</a></li> +<li>Motor activities, <a href="#Page_23">23</a></li> +<li class="sub-entry">impulse, <a href="#Page_70">70</a></li> +<li class="sub-entry">overexcitability, <a href="#Page_26">26</a></li> +<li class="sub-entry">phenomena of dreams, <a href="#Page_viii">viii</a>, <a href="#Page_ix">ix</a></li> +<li class="sub-entry">stimulability, <a href="#Page_25">25</a></li> +<li>Mundt, Theodor, <a href="#Page_92">92</a></li> +<li>Muscular activity, <a href="#Page_31">31</a>, <a href="#Page_70">70</a></li> +<li class="sub-entry">convulsions, <a href="#Page_90">90</a></li> +<li class="sub-entry">excitability, <a href="#Page_63">63</a>, <a href="#Page_90">90</a></li> +<li class="sub-entry">irritability, heightened, <a href="#Page_137">137</a></li> +<li class="sub-entry">rigidity, cataleptic, <a href="#Page_25">25</a></li> +<li class="sub-entry">sense, <a href="#Page_viii">viii</a></li> +<li>Muscle erotic, <a href="#Page_8">8</a>, <a href="#Page_25">25</a>, <a href="#Page_27">27</a>, <a href="#Page_31">31</a>, <a href="#Page_42">42</a>, <a href="#Page_90">90</a>, <a href="#Page_137">137</a></li> +<li class="sub-entry">eroticism, <a href="#Page_63">63</a></li> +<li>Myopia, <a href="#Page_77">77</a>, <a href="#Page_91">91</a></li> +</ul> + +<ul class="index"> +<li>Nates, <a href="#Page_26">26</a></li> +<li>Neurotic, compulsive, <a href="#Page_77">77</a></li> +<li>Neuroses, <a href="#Page_22">22</a></li> +<li>Night wandering, <a href="#Page_vii">vii</a></li> +<li>Noctambulism, <a href="#Page_vii">vii</a></li> +<li>Nosebleed, <a href="#Page_30">30</a></li> +</ul> + +<ul class="index"> +<li>Organic disposition, <a href="#Page_25">25</a></li> +<li>Orgasm, <a href="#Page_2">2</a></li> +</ul> + +<ul class="index"> +<li>Paralysis of arm, <a href="#Page_26">26</a></li> +<li>Paralyses, <a href="#Page_25">25</a></li> +<li>Pavor nocturnus, <a href="#Page_25">25</a></li> +<li>Phantasies, sexual, <a href="#Page_17">17</a>, <a href="#Page_19">19</a></li> +<li>Poets, <a href="#Page_24">24</a>, <a href="#Page_45">45</a></li> +<li>“<span lang="de" xml:lang="de">Prinz von Homburg, Der</span>,” <a href="#Page_97">97</a></li> +<li>Psychoanalysis for moon walking, <a href="#Page_ix">ix</a></li> +<li>Puberty, <a href="#Page_21">21</a>, <a href="#Page_41">41</a>, <a href="#Page_80">80</a>, <a href="#Page_82">82</a></li> +</ul> + +<ul class="index"> +<li>Rank, Otto, <a href="#Page_102">102</a>, <a href="#Page_134">134</a></li> +<li>Regression, <a href="#Page_113">113</a>, <a href="#Page_136">136</a></li> +<li>Repressed libido, <a href="#Page_10">10</a></li> +<li>Repression, <a href="#Page_60">60</a></li> +</ul> + +<ul class="index"> +<li>Sadistic, <a href="#Page_20">20</a>, <a href="#Page_25">25</a></li> +<li>Sadistic-masochistic, <a href="#Page_2">2</a>, <a href="#Page_7">7</a></li> +<li>Sadism, <a href="#Page_8">8</a></li> +<li class="sub-entry">blood, <a href="#Page_2">2</a></li> +<li>Sadists, <a href="#Page_137">137</a></li> +<li>Shakespeare, <a href="#Page_ix">ix</a>, <a href="#Page_114">114</a></li> +<li>Sleep, normal, <a href="#Page_vii">vii</a>, <a href="#Page_viii">viii</a></li> +<li>Somnambulism, <a href="#Page_vii">vii</a>, <a href="#Page_22">22</a></li> +<li class="sub-entry">hysterical and hypnotic, <a href="#Page_viii">viii</a></li> +<li>Somnambulist, <a href="#Page_23">23</a></li> +<li>Spirits, belief in, <a href="#Page_26">26</a></li> +<li>Splitting of mother complex, <a href="#Page_77">77</a></li> +<li>“<span lang="de" xml:lang="de">Sündkind, Das</span>,” <a href="#Page_106">106</a></li> +<li>Synesthesia, <a href="#Page_74">74</a>, <a href="#Page_91">91</a></li> +</ul> + +<ul class="index"> +<li>Talking in sleep, <a href="#Page_7">7</a>, <a href="#Page_33">33</a></li> +<li>Tic, <a href="#Page_90">90</a></li> +<li>Tieck, Ludwig, <a href="#Page_ix">ix</a>, <a href="#Page_42">42</a>, <a href="#Page_124">124</a></li> +<li>Transference in hypnotism, <a href="#Page_26">26</a></li> +</ul> + +<ul class="index"> +<li>Unconscious conception, <a href="#Page_62">62</a>, <a href="#Page_73">73</a></li> +<li>Urethral erotic, <a href="#Page_27">27</a></li> +<li class="sub-entry">eroticism, <a href="#Page_2">2</a></li> +</ul> + +<ul class="index"> +<li>Vaginal eroticism, <a href="#Page_3">3</a></li> +</ul> + +<ul class="index"> +<li>“Woman in white,” <a href="#Page_26">26</a></li> +</ul> + + + +<div id="psychoanalytic-review"> +<p class="center"><big>Publishers of</big></p> +<h1>The Psychoanalytic Review</h1> + +<p class="center"><b>A Journal Devoted to the Understanding of Human Conduct</b></p> + +<p class="center">Edited by<br/> +<span class="smcap">William A. White, M.D.</span>, and <span class="smcap">Smith Ely Jelliffe, M.D.</span></p> + +<p class="center">Leading Articles Which Have Appeared in Previous Volumes +</p> + +<h2>VOL. I. (Beginning November, 1913.)</h2> + + +<ul> +<li>The Theory of Psychoanalysis. C. G. Jung.</li> +<li>Psychoanalysis of Self-Mutilation. L. E. Emerson.</li> +<li>Blindness as a Wish. T. H. Ames.</li> +<li>The Technique of Psychoanalysis. S. E. Jelliffe.</li> +<li>Wishfulfillment and Symbolism in Fairy Tales. Riklin.</li> +<li>Character and the Neuroses. Trigant Burrow.</li> +<li>The Wildisbush Crucified Saint. Theodore Schroeder.</li> +<li>The Pragmatic Advantage of Freudo-Analysis. Knight Dunlap.</li> +<li>Moon Myth in Medicine. William A. White.</li> +<li>The Sadism of Oscar Wilde's “Salome.” Isador H. Coriat.</li> +<li>Psychoanalysis and Hospitals. L. E. Emerson.</li> +<li>The Dream as a Simple Wishfulfillment in the Negro. John E. Lind.</li> +</ul> + + +<h2>VOL. II. (Beginning January, 1915.)</h2> + + +<ul> +<li>The Principles of Pain-Pleasure and Reality. Paul Federn.</li> +<li>The Unconscious. William A. White.</li> +<li>A Plea for a Broader Standpoint in Psychoanalysis. Meyer Solomon.</li> +<li>Contributions to the Pathology of Everyday Life; Their Relation to Abnormal Mental Phenomena. Robert Stewart Miller.</li> +<li>The Integrative Functions of the Nervous System Applied to Some Reactions in Human Behavior and their Attending Psychic Functions. Edward J. Kempf.</li> +<li>A Manic-Depressive Upset Presenting Frank Wish-Realization Construction. Ralph Reed.</li> +<li>Psychoanalytic Parallels. William A. White.</li> +<li>Rôle of Sexual Complex in Dementia Præcox. James C. Hassall.</li> +<li>Psycho-Genetics of Androcratic Evolution. Theodore Schroeder.</li> +<li>Significance of Psychoanalysis for the Mental Sciences. Otto Rank and Hans Sachs.</li> +<li>Some Studies in the Psychopathology of Acute Dissociation of the Personality. Edward J. Kempf.</li> +<li>Psychoanalysis. Arthur H. Ring.</li> +<li>A Philosophy for Psychoanalysis. L. E. Emerson.</li> +</ul> + + +<h2>VOL. III. (Beginning January, 1916.)</h2> + + +<ul> +<li>Symbolism. William A. White.</li> +<li>The Work of Alfred Adler, Considered with Especial Reference to that of Freud. James J. Putnam.</li> +<li>Art in the Insane. L. Grimberg.</li> +<li>Retaliation Dreams. Hansell Crenshaw.</li> +<li>History of the Psychoanalytic Movement. Sigmund Freud.</li> +<li>Clinical Cases Exhibiting Unconscious Defence Reactions. Francis H. Shockley.</li> +<li>Processes of Recovery in Schizophrenics. H. Bertschinger.</li> +<li>Freud and Sociology. Ernest R. Groves.</li> +<li>The Ontogenetic Against the Phylogenetic Elements in the Psychoses of the Colored Race. Arrah B. Evarts.</li> +<li>Discomfiture and Evil Spirits. Elsie Clews Parsons.</li> +<li>Two Very Definite Wish-Fulfillment Dreams. C. B. Burr.</li> +</ul> + + +<h2>VOL. IV. (Beginning January, 1917.)</h2> + + +<ul> +<li>Individuality and Introversion. William A. White.</li> +<li>A Study of a Severe Case of Compulsion Neurosis. H. W. Frink.</li> +<li>A Summary of Material on the Topical Community of Primitive and Pathological Symbols (“Archeopathic” Symbols). F. L. Wells.</li> +<li>A Literary Forerunner of Freud. Helen Williston Brown.</li> +<li>The Technique of Dream Interpretation. Wilhelm Steckel.</li> +<li>The Social and Sexual Behavior of Infrahuman Primates with some Comparable Facts in Human Behavior. Edw. J. Kempf.</li> +<li>Pain as a Reaction of Defence. H. B. Moyle.</li> +<li>Some Statistical Results of the Psychoanalytic Treatment of Psychoneuroses. Isador H. Coriat.</li> +<li>The Rôle of Animals in the Unconscious. S. E. Jelliffe and L. Brink.</li> +<li>The Genesis and Meaning of Homosexuality. Trigant Burrow.</li> +<li>Phylogenetic Elements in the Psychoses of the Negro. John E. Lind.</li> +<li>Freudian Elements in the Animism of the Niger Delta. E. R. Groves.</li> +<li>The Mechanism of Transference. William A. White.</li> +<li>The Future of Psychoanalysis. Isador H. Coriat.</li> +<li>Hermaphroditic Dreams. Isador H. Coriat.</li> +<li>The Psychology of “The Yellow Jacket.” E. J. Kempf.</li> +<li>Heredity and Self-Conceit. Mabel Stevens.</li> +<li>The Long Handicap. Helen R. Hull.</li> +</ul> + + +<h2>VOL. V. (Beginning January, 1918.)</h2> + + +<ul> +<li>Analysis of a Case of Manic-Depressive Psychosis Showing well-marked Regressive Stages. Lucile Dooley.</li> +<li>Reactions to Personal Names. C. P. Oberndorf.</li> +<li>A Study of the Mental Life of the Child. H. von Hug-Hellmuth.</li> +<li>An Interpretation of Certain Symbolisms. J. J. Putnam.</li> +<li>Charles Darwin—The Affective Source of His Inspiration and Anxiety Neurosis. Edw. J. Kempf.</li> +<li>The Origin of the Incest-Awe. Trigant Burrow.</li> +<li>Compulsion and Freedom: The Fantasy of the Willow Tree. S. E. Jelliffe and L. Brink.</li> +<li>A Case of Childhood Conflicts with Prominent Reference to the Urinary System: with some General Considerations on Urinary Symptoms in the Psychoneuroses and Psychoses. C. Macfie Campbell.</li> +<li>The Hound of Heaven. Thomas Vernon Moore.</li> +<li>A Lace Creation Revealing an Incest Fantasy. Arrah B. Evarts.</li> +<li>Nephew and Maternal Uncle: A Motive of Early Literature in the Light of Freudian Psychology. Albert K. Weinberg.</li> +</ul> + + +<p style="width: 80%; margin: 1.5em auto;">All the leading foreign psychoanalytic journals are regularly abstracted, and +all books dealing with psychoanalysis are reviewed.</p> + +<p class="center">Issued Quarterly: $5.00 per Volume.</p> + +<p class="center">Single Copies: $1.50<span style="padding-left: 8em;"> </span>Foreign, $5.60.</p> + +<p class="center"><big><b>Nervous and Mental Disease Publishing Company</b></big></p> + +<p class="center"><b>3617 Tenth Street, N. W.<span style="padding-left: 8em;"> </span>WASHINGTON, D. C.</b></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_1" href="#FNanchor_1_1" class="label">[1]</a> <span lang="de" xml:lang="de">Über Nachtwandeln und Mondsucht. Eine <ins title="medizinish">medizinisch</ins>-literarische +Studie, von Dr. J. Sadger, Nervenarzt in Wien; Schriften zur angewandten +Seelenkunde, Herausgegeben von Prof. Dr. Sigm. Freud, <ins title="Sechzentes">Sechzehntes</ins> Heft, +Leipzig und Wien, Franz Deuticke, 1914.</span></p></div> + +<div class="footnote"><p><a name="Footnote_2_2" href="#FNanchor_2_2" class="label">[2]</a> <span lang="de" xml:lang="de">Lehrbuch der gerichtlichen Psychopathologie.</span></p></div> + +<div class="footnote"><p><a name="Footnote_3_3" href="#FNanchor_3_3" class="label">[3]</a> I introduce as the most important sources <span lang="de" xml:lang="de">Peter Jessen: “Versuch einer +wissenschaftlichen Begründung der Psychologie,” Berlin, 1855</span> (with many +examples); <span lang="de" xml:lang="de">Heinrich Spitta: “Die Schlaf- und Traumzustände der menschlichen +Seele,”</span> 2d edition, 1882 (with abundant casuistic and literature); finally +based upon these <span lang="de" xml:lang="de">L. Löwenfeld: “Somnambulismus und Spiritismus,” Grenzfragen +des Nerven- und Seelenlebens</span>, Vol. I, 1900.</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" href="#FNanchor_4_4" class="label">[4]</a> The text of Bellini's “<span lang="de" xml:lang="de">Nachtwandlerin</span>” could hardly be called literature, +nor Theodor Mundt's fabulous novel, “<span lang="de" xml:lang="de">Lebensmagie, Wirklichkeit und +Traum</span>.” The latter I will mention later in the text.</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" href="#FNanchor_5_5" class="label">[5]</a> This homosexual tendency was first directed toward her own mother in +childhood and early puberty.</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" href="#FNanchor_6_6" class="label">[6]</a> “<span lang="de" xml:lang="de">Über den sado-<ins title="masochistichen">masochistischen</ins> Komplex</span>,” <span lang="de" xml:lang="de"><ins title="Jahr.">Jahrb.</ins> f. psychoanal. Forsch.</span>, +Vol. 5, pp. 224–230.</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" href="#FNanchor_7_7" class="label">[7]</a> Cf. <a href="#Footnote_6_6">note 6</a>, p. 163.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" href="#FNanchor_8_8" class="label">[8]</a> I have here given word for word what the patient wrote down. When +I then pointed out to her the evident contradiction, that she had misplaced +something into the seventeenth year, which according to an earlier statement +must have happened in the eleventh year, she answered that here +was in fact an earlier mistake, since her <ins title="brothr">brother</ins>-in-law Emil had first taken +breakfast with her mother in her seventeenth year. The facts were these: +She had walked a great deal in her sleep from her eleventh to her seventeenth +year, for her mother had always suffered from hemoptysis, with occasional +intermissions, and on this account had a nurse at various times. She had in +fact at eleven years done everything which she has described above, only the +making of the coffee for the brother-in-law happened in the seventeenth year. +Besides, all the other actions performed in sleep are correctly given. On +being questioned, she stated that her menses occurred first between her thirteenth +and fourteenth years and at the time of menstruation particularly she +had walked a great deal. She was always very much excited sexually before +her period, slept very restlessly and had always at that time arisen in her +sleep. Blood always excited her excessively sexually, as has been already +mentioned in the text. I will add just at this place that her exact dates, +when an event appears in the very first years of her life, must be taken with +a grain of salt, because falsification of memory is always to be found there. +This, however, is not of great importance because the facts are authentically +correct and at least agree approximately with the times specified, as I have +convinced myself through questioning her relatives.</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" href="#FNanchor_9_9" class="label">[9]</a> <i>E. g.</i>, “A monk of a melancholy disposition and known to be a sleep +walker, betook himself one evening to the room of his prior, who, as it happened, +had not yet gone to bed, but sat at his work table. The monk had a +knife in his hand, his eyes were open and without swerving he made straight +at the bed of the prior without looking at him or the light burning in the +room. He felt in the bed for the body, stuck it three times with the knife +and turned with a satisfied countenance back to his cell, the door of which +he closed. In the morning he told the horrified prior that he had dreamed +that the latter had murdered his mother, and that her bloody shadow had +appeared to him to summon him to avenge her. He had hastened to arise +and had stabbed the prior. Immediately he had awakened in his bed, bathed +in perspiration, and had thanked God that it had been only a frightful dream. +The monk was horrified when the prior told him what had taken place.” The +following cases besides: “A shoemaker's apprentice, tortured for a long time +with jealousy, climbed in his sleep over the roof to his beloved, stabbed her +and went back to bed.” Another, “A sleep walker in Naples stabbed his wife +because of an idea in a dream that she was untrue to him!” We may conclude, +on the ground of our analytical experiences, that the untrue maiden +always represents the mother of the sleep walker, who has been faithless to +him with the father. The hatred thoughts toward this rival lead in the first +dream to the reverse Hamlet motive, the mother has demanded that the son +take revenge upon the father. Finally Krafft-Ebing gives still other cases: +“A pastor, who would have been removed from his post on account of the +pregnancy of a girl, was acquitted because he proved that he was a sleep +walker and made it appear that in this condition (?) the forbidden relationship +had taken place.” Also, “The case of a girl who was sexually mishandled +in the somnambulistic condition. Only in the attacks had she consciousness +of having submitted to sexual relations, but not in the free +intervals.”</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" href="#FNanchor_10_10" class="label">[10]</a> One thinks of the halo in religious pictures, which indeed is nothing +else than the shining of the light about the head.</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" href="#FNanchor_11_11" class="label">[11]</a> Cf. with this Krafft-Ebing, <i><a href="#Footnote_2_2">l. c.</a></i> “Slight convulsions or cataleptic muscular +rigidity sometimes precede the attacks.”</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" href="#FNanchor_12_12" class="label">[12]</a> Cf. <a href="#Footnote_6_6">note 6</a>, p. 163.</p></div> + +<div class="footnote"><p><a name="Footnote_13_13" href="#FNanchor_13_13" class="label">[13]</a> In Rumania the folk belief prevails that children readily wet themselves +in full moonlight. (Told by a patient.)</p></div> + +<div class="footnote"><p><a name="Footnote_14_14" href="#FNanchor_14_14" class="label">[14]</a> They are both passionately devoted to sports, thus also endowed with a +heightened muscle erotic.</p></div> + +<div class="footnote"><p><a name="Footnote_15_15" href="#FNanchor_15_15" class="label">[15]</a> Phantasy of the mother's body? The moon's disk = the woman's body?</p></div> + +<div class="footnote"><p><a name="Footnote_16_16" href="#FNanchor_16_16" class="label">[16]</a> A clear coitus phantasy.</p></div> + +<div class="footnote"><p><a name="Footnote_16A_17" href="#FNanchor_16A_17" class="label">[16a]</a> Cf. Barrie: “Dear Brutus,” Act. II. for the dream daughter, who bears +the name of the author's mother. See also “Margaret Ogilvy.” The dream +daughter's apostrophe to the moon is also interesting in connection with the +present study. Tr.</p></div> + +<div class="footnote"><p><a name="Footnote_17_18" href="#FNanchor_17_18" class="label">[17]</a> One may also think of the fear of castration, associated with the threats +of parents so very frequently made when children practice masturbation.</p></div> + +<div class="footnote"><p><a name="Footnote_18_19" href="#FNanchor_18_19" class="label">[18]</a> Literally, “Moonsick.” [Tr.]</p></div> + +<div class="footnote"><p><a name="Footnote_19_20" href="#FNanchor_19_20" class="label">[19]</a> Has not the bringing in of these animals and of the word mooncalves +a hidden closeness of meaning? The repetition twice of the same motive, the +analogy with the case at the beginning which I analyzed, and at last the fact +that Lena, when she looked at the stars, wanted to see a farmhouse where +some one was just driving out the calves, all this gives food for thought.</p></div> + +<div class="footnote"><p><a name="Footnote_20_21" href="#FNanchor_20_21" class="label">[20]</a> According to my psychoanalytic experience children who cling so to +inanimate things see in them either sexual symbols or those things were once +objects of their secret sexual enjoyment. It may happen, for example, that +such a child falls in love with the furniture, the walls of the room, yes, even +a closet, stays there by the hour, kisses the walls, tells them its joys and sorrows +and hangs them with all sorts of pictures. One very often sees children +talking with inanimate things. They are embarrassed and break off at once +if surprised by their elders. If there were not something forbidden behind +this, there would be no ground for denying what they are doing, the more +so since in fairy tales beasts, plants and also inanimate things speak with mankind +and with one another without the child taking offense at it. The latter +first becomes confused by the same action when he is pilfering from the tree +of knowledge and has something sexual to hide. Hug-Hellmuth has convincingly +demonstrated the erotic connection of the child's enthusiasm for +plants as well as the different synesthesias. (See her study, “<span lang="de" xml:lang="de">Über Farbenhören</span>,” +Imago, Vol. I, pp. 218 ff. Abstracted in Psa. Rev., Vol. II, No. 1, +January, 1915.)</p></div> + +<div class="footnote"><p><a name="Footnote_21_22" href="#FNanchor_21_22" class="label">[21]</a> One thinks of Eisener's panegyric: “Before her clear look confusion +cannot exist, the coarse word of insolence sinks back unspoken into the shame +filled breast. The brightness of a lost paradise shines from her eyes upon +the fallen bringing pain and warning, the consolation of eternal pity smiles +upon the penitent.”</p></div> + +<div class="footnote"><p><a name="Footnote_22_23" href="#FNanchor_22_23" class="label">[22]</a> Like Otto Ludwig himself.</p></div> + +<div class="footnote"><p><a name="Footnote_23_24" href="#FNanchor_23_24" class="label">[23]</a> The well-known psychic overcompensation in congenital organic inferiority.</p></div> + +<div class="footnote"><p><a name="Footnote_24_25" href="#FNanchor_24_25" class="label">[24]</a> Cf. with this also the interesting passage … “the passionate self accusations, +in torturing himself with which he found comfort a short time +before.”</p></div> + +<div class="footnote"><p><a name="Footnote_25_26" href="#FNanchor_25_26" class="label">[25]</a> Cf. with this especially <ins title="Ernest">Ernst</ins> Jentsch, “<span lang="de" xml:lang="de">Das Pathologische bei Otto +Ludwig</span>,” “<span lang="de" xml:lang="de">Grenzfragen des Nerven- und Seelenlebens</span>,” published by L. +Löwenfeld, No. 90.</p></div> + +<div class="footnote"><p><a name="Footnote_26_27" href="#FNanchor_26_27" class="label">[26]</a> Cf. here the poet's words: “It is strange that nature is personified for +me, that I not only live in her, but as one human being with another, exchanging, +not merely receiving, thoughts and feelings, and even so, that +different places become as individual to me, distinct from others and, as it +were, transformed in consciousness, so that I not only feel that they effect +an influence upon me but it seems to me as if I work upon them, and the +forms, as they appear to me, show the traces of this influence.” Further: +“I … who stood even in a wonderful mutual understanding with mountain +and flora, because the kingdom of love was not to be restrained.…”</p></div> + +<div class="footnote"><p><a name="Footnote_27_28" href="#FNanchor_27_28" class="label">[27]</a> <ins title="Rhapsodies">“Rhapsodies</ins> over the Employment of the Psychical Method of Treatment +for Mental Disturbances.” See Critical Historical Review by W. A. +White, Journ. Nerv. and Ment. Dis., Vol. 43, No. 1. [Tr.]</p></div> + +<div class="footnote"><p><a name="Footnote_28_29" href="#FNanchor_28_29" class="label">[28]</a> It is significant to compare here the Consul Brutus, who permitted the +execution of his sons.</p></div> + +<div class="footnote"><p><a name="Footnote_29_30" href="#FNanchor_29_30" class="label">[29]</a> <span lang="de" xml:lang="de">Otto Rank, “Das Inzest-Motiv in Dichtung und Sage,” 1912, Franz +Deuticke.</span></p></div> + +<div class="footnote"><p><a name="Footnote_30_31" href="#FNanchor_30_31" class="label">[30]</a> <span lang="de" xml:lang="de">“Heinrich von Kleist. Eine pathographisch-psychologische Studie,” +1910, J. F. Bergmann.</span></p></div> + +<div class="footnote"><p><a name="Footnote_31_32" href="#FNanchor_31_32" class="label">[31]</a> <i><a href="#Footnote_29_30">L. c.</a></i></p></div> + +<div class="footnote"><p><a name="Footnote_32_33" href="#FNanchor_32_33" class="label">[32]</a> It is now plainly understood that the prince can name among the dear +ones who appear to him the elector and the electress, that is his mother, but +not the third, who is merely a split-off from the latter, at bottom identical +with her.</p></div> + +<div class="footnote"><p><a name="Footnote_33_34" href="#FNanchor_33_34" class="label">[33]</a> I cite this according to “<span lang="de" xml:lang="de">Die Quellen des Shakespeare</span>,” by Karl Simrock, +2d edition, 1870.</p></div> + +<div class="footnote"><p><a name="Footnote_34_35" href="#FNanchor_34_35" class="label">[34]</a> The words of Holinshed's chronicle.</p></div> + +<div class="footnote"><p><a name="Footnote_35_36" href="#FNanchor_35_36" class="label">[35]</a> One notes the emptiness of this passage. She could scarcely have said +much less, if she wished to comfort him. And yet this passage is always +quoted by those authors who accept love on the part of Lady Macbeth for +her husband as the driving motive for her action. Indeed, Friedrich Theodor +Vischer himself does not shrink from an interpolation and translates the passage: +Lady Macbeth (“caressingly”)—“Come, come, my noble lord, remove +thy wrinkles, smooth thy gloomy brow, be jovial this evening, well-disposed +toward thy guests.” And although the original English text contains no word +for “caressingly,” yet Vischer gives this commentary: “His wife's answer +to him must be spoken on the stage with an altogether tender accent. She +embraces him and strokes his forehead.” (<span lang="de" xml:lang="de">Shakespeare-Vorträge</span>, Vol. 2, +pp. 36, 102.)</p></div> + +<div class="footnote"><p><a name="Footnote_36_37" href="#FNanchor_36_37" class="label">[36]</a> This is not without significance as a direct precipitating cause, although +naturally not the true source of her night wandering.</p></div> + +<div class="footnote"><p><a name="Footnote_37_38" href="#FNanchor_37_38" class="label">[37]</a> A second still more important motivation for the nightly visit I will +discuss later.</p></div> + +<div class="footnote"><p><a name="Footnote_38_39" href="#FNanchor_38_39" class="label">[38]</a> Freud: The Interpretation of Dreams, translated by A. A. Brill. The +Macmillan Company, London, New York, 4th edition, p. 218.</p></div> + +<div class="footnote"><p><a name="Footnote_39_40" href="#FNanchor_39_40" class="label">[39]</a> Holinshed's chronicle lays emphasis upon this: “She … burned with +an inextinguishable desire to bear the name of queen.”</p></div> + +<div class="footnote"><p><a name="Footnote_40_41" href="#FNanchor_40_41" class="label">[40]</a> Freud, <i><a href="#Footnote_38_39">l. c.</a></i>, p. 219.</p></div> + +<div class="footnote"><p><a name="Footnote_41_42" href="#FNanchor_41_42" class="label">[41]</a> Freud, <i><a href="#Footnote_38_39">l. c.</a></i>, pp. 215, 216.</p></div> + +<div class="footnote"><p><a name="Footnote_42_43" href="#FNanchor_42_43" class="label">[42]</a> Going back into Shakespeare's own life gives further illumination and +foundation for Lady Macbeth's behavior in the sleep walking scene. The +reader may already have secretly thought that those little tendernesses on the +part of ordinary parents hardly enter into consideration in the case of a +thane's daughter. It may be said in answer to this that Shakespeare often, +as in the presentation of ancient scenes, put without scruple the environment +of his own time in place of the historical setting. And according to the above +he would be quite likely to utilize with Lady Macbeth recollections from the +Stratford childhood.</p></div> + +<div class="footnote"><p><a name="Footnote_43_44" href="#FNanchor_43_44" class="label">[43]</a> Otto Rank in his book, “<span lang="de" xml:lang="de">Das Inzest-Motiv in Dichtung und Sage</span>,” +furnishes a beautiful and convincing example of such repression: It comes +from a second drama based on a king's murder, “Julius Cæsar.” I quote +from the author's words: “A heightened significance and at the same time an +incontrovertible conclusiveness is given to our whole conception and interpretation +of the son relationship of Brutus to Cæsar by the circumstance that in +the historical source, which Shakespeare evidently used and which he followed +almost word for word, namely in Plutarch, it is shown that Cæsar considered +Brutus his illegitimate son. In this sense Cæsar's outcry, which has become +a catch-word, may be understood, which he may have uttered again and again +when he saw Brutus pressing upon his body with drawn sword, ‘And you +too my son Brutus?’ With Shakespeare the wounded Cæsar merely calls +out, <ins title="“Et">‘<span lang="la" xml:lang="la">Et</span></ins><span lang="la" xml:lang="la"> tu Brute!</span> Then fall, <ins title="Cæsar!”">Cæsar!’</ins> Shakespeare has set aside this son +relationship of Brutus to Cæsar, though doubtless known to the poet, in his +working out of the traditional sources. Not only is there deep psychic +ground for the modifications to which the poet subjects the historical and +traditional circumstances and characters or the conceptions of his predecessor, +but also for the omissions from the sources. These originate from the repressive +tendency toward the exposure of impulses which work painfully and +which are restrained as a result of the repression, and this was doubtless the +case with Shakespeare in regard to his strongly affective father complex.” +Rank has in the same work demonstrated that this father complex runs +through all of Shakespeare's dramatic work, from his first work, “Titus +Andronicus,” down to his very last tragedy. I cannot go into detail on this +important point for my task here is merely to explain Lady Macbeth's sleep +walking, but any one who is interested may find overwhelming abundance of +evidence in Rank's book on incest (Chapter 6). It is not only that I have +introduced Shakespeare's strong father complex here to make comprehensible +Lady Macbeth's sleep walking, but his own chief complex stood affectively in +the foreground, and was worked out, at the same time, as Macbeth.</p></div> + +<div class="footnote"><p><a name="Footnote_44_45" href="#FNanchor_44_45" class="label">[44]</a> I also recall that it is in fact she who expresses Duncan's character as +father, “Had he not so resembled my father.…”</p></div> +</div> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Sleep Walking and Moon Walking, by +Isidor Isaak Sadger + +*** END OF THIS PROJECT GUTENBERG EBOOK SLEEP WALKING AND MOON WALKING *** + +***** This file should be named 30556-h.htm or 30556-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/0/5/5/30556/ + +Produced by Bryan Ness, Jana Srna and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/Canadian Libraries) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> |