Читать книгу The Erotic Motive in Literature - Albert Mordell - Страница 13

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Freud discovered that dreams were the royal road to the unconscious, in that they portrayed our most daring and immoral wishes as actually fulfilled. It is not necessary that we actually have those wishes in our waking life; it is sufficient if they merely intruded themselves upon us against our wills sometime in the past. The dream will express our inmost thoughts. It will use symbolical language to let us still remain in the dark about our painful desires; but the psychoanalyst can learn what these are. As a result, when we have revealed to us what unconscious emotions are at the bottom of our nervous disturbances, we may be eased of them.

Many writers on dreams, in the past, understood that they referred to events of our daily life, but the exact relation was not seen. The ancients were especially interested in the phenomena of dreams. Many ancient histories and fairy tales abound in narrations and interpretations of dreams.

Modern literary men also have paid a great deal of attention to them. There are essays on dreams by Locke, Hobbes, Thomas Browne, Addison, Leigh Hunt, Dickens, Emerson and Lafcadio Hearn.

One English writer who gave almost complete expression to the views of Freud was William Hazlitt. In his essay "On Dreams" in The Plain Speaker, he stated the theory. It may come as a surprise to Freud—probably as a greater surprise than when he learned that Schopenhauer had written about repression—to read the following passage:

"There is a sort of profundity in sleep; it may be usefully consulted as an oracle in this way. It may be said that the voluntary power is suspended, and things come upon us as unexpected revelations, which we keep out of our thoughts at other times. We may be aware of a danger that we do not choose, while we have the full command of our faculties, to acknowledge to ourselves; the impending event will then appear to us as a dream and we shall most likely find it verified afterwards. Another thing of no small consequence is, that we may sometimes discover our tacit and almost unconscious sentiments, with respect to persons or things in the same way. We are not hypocrites in our sleep. The curb is taken off from our passions and our imagination wanders at will. When awake, we check these rising thoughts, and fancy we have them not. In dreams when we are off our guard, they return securely and unbidden. We make this use of the infirmity of our sleeping metamorphoses, that we may repress any feelings of this sort that we disapprove in their incipient state, and detect, ere it be too late, an unwarrantable antipathy or fatal passions. Infants cannot disguise their thoughts from others; and in sleep we reveal the secret to ourselves." [The italics are mine.]

Freud's work may almost be called a commentary on this extraordinary passage of one of England's greatest critics.

Let us examine a few dreams, actual and artificial, in literature, and we will note that they show method in their madness, that they are ways of expressing the person's unconscious desires.

In his astonishing essay, "A Chapter on Dreams," Stevenson has shown us how dreams influence authorship. He tells us how the "Brownies," as he calls the powers that make the dreams, constructed his tales; however he often had to reject some of these stories because of their lack of morals. As we remarked above, wicked dreams are dreamt even by virtuous people, since the material is drawn from the psychic life of our infancy and primitive ancestors. Stevenson relates how his famous tale Dr. Jekyll and Mr. Hyde was suggested by a dream.

Stevenson, in his essay, relates a dream wherein unwittingly he lays bare much about some past experience in his life. He found it too immoral he says to make a tale of it. But he did immoral things in his dream; these were related to certain wishes in his waking hours. Those who are familiar with an episode in Stevenson's life, that relating to his marriage, and with Freud's theories, will find no difficulty in interpreting the dream and seeing how the dream and the events in his life which gave rise to it, tally with one another, when the Freudian method is applied. In fact the truth of Freud's views could be established alone by the interpretation applied to this dream.

Stevenson dreamed that he was the son of a rich wicked man with a most damnable temper. He (the son) lived abroad to avoid his parent, but returned to England to find his father married again. They met and later in a quarrel the son, being insulted, struck the father dead. The step-mother lived in the same house with the son, who was afraid she detected his guilt. Later he discovered her near the scene of the murder with some evidence of his guilt. Yet they returned arm in arm home and she did not accuse him. Once he searched all her possessions for that evidence she had found of his guilt. She returned and he met her and asked her why she tortured him; "she knew he was no enemy to her." She fell upon her knees and cried that she loved him. Stevenson comments that it was not his tale but that of the little peoples, the brownies. Stevenson was mistaken; it was his tale. Everything that happened in that dream had a raison d'être. Let us see why he dreamt this immoral dream and interpret it in the light of its own facts and those his biographer relates.

In early youth Stevenson was a free-thinker and had difficulties with his father. In 1876, at the age of twenty-six, he met his future wife, Mrs. Osbourne, who was not yet divorced from her husband. The elder Stevenson was opposed to the match. Robert Louis had travelled extensively; he went to France before he took his memorable trip to California to be near the object of his love. Mrs. Osbourne obtained a divorce and married Stevenson in 1880. Thus after four years of suffering and the removal of three great obstacles, the married state of his beloved, the objection of his father and financial troubles, the novelist was happily united to the woman he loved. Mrs. Osbourne's first husband re-married and Stevenson's father died in 1887. Stevenson and his father became reconciled, and on the latter's death, Stevenson was so shocked that he had many nightmares of which in all likelihood this dream was one. The essay containing the account of this dream was published in January, 1888, in Scribner's Magazine, and is included in the volume Across the Plains issued in 1892. When the dream occurred I cannot say; it may have been between the date of his father's death on May 8, 1887, and the end of the year, by which time the essay had been written. It may have been dreamed even before the marriage in 1880, or thereafter while the elder Stevenson was alive. The interpretation is not affected. The state of mind, however, which gave birth to the dream is that in which he was before his wife was divorced and while his father was opposed to him.

Two men were in the way of Stevenson's marriage—his father and his loved one's husband, Mr. Osbourne. Stevenson wanted these men out of the way; they were the obstacles to his happiness. He wished that Mr. Osbourne were divorced and he entertained bitterness towards his father for showing such animosity to the match. Now we are not accusing Stevenson of a crime when we say that unconsciously the thought may have come to him if one or both of these men were dead his road to marriage would be easy. The dream of the murder of the father by the son is understood by all Freudians. It is not an uncommon one, especially where there is ill feeling between son and father, or where an over-attachment exists for the mother. It has its origin psychically in infancy when the father was looked upon as a rival of the infant in the affections of the mother, and the dream is given additional grounds for its entry when the relations between father and son continue or grow strained. It represents just what it portrays, the wish of the child for the father to be out of the way, or dead. When the child wishes some one dead he means he wants him absent; he has no conception of death. The dream of murdering one's own father then is evidence of hostile feeling entertained by the dreamer to his father either in infancy, where it is always entertained, or later in life. It represents a wish of the unconscious fulfilled, the removal of an obstacle to happiness. Needless to say it does not represent a conscious desire on the part of the dreamer in his waking hours to kill his father.

We know how strained Stevenson's relations with his father were. The elder Stevenson was not sympathetic to his son's liberal ideas and later he opposed him in his lovemaking. Two more serious oppositions to a young man, one to the inclinations of his intellect and the other to his love, can not be imagined. The novelist never realised what the feature of the murder of his father in his dream meant, and how it arose. If in his dream his father appeared as rich and wicked with a damnable temper, that is what Stevenson really thought his father was. In the dream the son lived abroad to avoid the father, and this Stevenson also actually did in life, and as a result, by the way, we have some of his early books of travel, and I dare say if these were closely examined evidence of his strained relations with his father would appear.

As we know, in dreams there is considerable distortion, and the person of our dream in an instant becomes another individual. This occurs in Stevenson's dream. No doubt the dreamer's father was actually made up of a combination of the elder Stevenson and Mr. Osbourne, both of whom Stevenson wished were out of the way. But a more important distortion takes place, the merging of the second wife of the dreamer's murdered father with the married woman in real life whom Stevenson loved. We recall that in the dream the dreamer lives with his father's second wife in the house after the murder, but there is a barrier between them, for the dreamer is haunted by the woman's possible knowledge of his guilt. He loves her really and they return arm in arm from the scene of the murder. He did not want her to know that he had committed the murder because he wanted to marry her. He searched her possessions for the evidence of the guilt she found and then bursts out asking why she tortures him, he is not an enemy of hers; that he really loves her, is implied. She also, it appears, had loved him and makes confession of the fact. No doubt this scene must be largely a picture of the proposal of Stevenson to his future wife. The situation depicted showing the feeling of guilt the dreamer has for his murder may be traced to his own guilty thoughts in actual life on account of his unconscious wishes for both husband and father to be out of the way. These feelings appear in the remorse of the murderer and in his suspicion of discovery by the woman he loves. We might trace the dream to much earlier material in Stevenson's life if we knew all the facts. We do know that he had an earlier love affair in youth in which he was disappointed and that he has left us poems celebrating that episode.

The dream concludes with the implication that the dreamer and the step-mother marry as they had confessed their love to one another; there are no longer any remorses or fears on one side or suspicions on the other, and the obstacles to the marriage, the objections of the dreamer's father, the legal ties of the husband to the beloved woman, have been removed. Stevenson wanted all this to happen in real life and later it incidentally did turn out that way. Both his father and the husband of Mrs. Osbourne were removed as barriers, the former by acquiescence and forgiving, the latter by divorce. The dreamer represents as fulfilled his wish to marry Mrs. Osbourne, with all opposition removed. The dreamer's father is both the elder Stevenson and Mr. Osbourne, the father and the husband respectively, made one in the dream; the second wife of the father, step-mother of the dreamer, becomes Mrs. Osbourne, Stevenson's love who became a wife a second time. Thus we have had what Freud calls condensation and displacement in the dream.

The dream sheds much light on the most important period of his life; it fits in with the facts left us by the biographer. We see what his repressed wishes were in those days and how they appeared realised in his dream.