Part 13

Now you will wish to hear something about the nature of dream-symbolism and will want some examples. I will gladly tell you what I know, but I confess that our knowledge is less full than we could wish.

The symbolic relation is essentially that of a comparison, but not any kind of comparison. We must suspect that this comparison is subject to particular conditions, although we cannot say what these conditions are. Not everything with which an object or an occurrence can be compared appears in dreams as symbolic of it, and, on the other hand, dreams do not employ symbolism for anything and everything, but only for particular elements of latent dream-thoughts; there are thus limitations in both directions. We must admit also that we cannot at present assign quite definite limits to our conception of a symbol; for it tends to merge into substitution, representation, etc., and even approaches closely to allusion. In one set of symbols the underlying comparison may be easily apparent, but there are others in which we have to look about for the common factor, the tertium comparationis contained in the supposed comparison. Further reflection may then reveal it to us, or on the other hand it may remain definitely hidden from us. Again, if the symbol is really a comparison, it is remarkable that this comparison is not exposed by the process of free association, and also that the dreamer knows nothing about it, but makes use of it unawares; nay, more, that he is actually unwilling to recognize it when it is brought to his notice. So you see that the symbolic relation is a comparison of a quite peculiar kind, the nature of which is as yet not fully clear to us. Perhaps some indication will be found later which will throw some light upon this unknown quantity.

The number of things which are represented symbolically in dreams is not great. The human body as a whole, parents, children, brothers and sisters, birth, death, nakedness—and one thing more. The only typical, that is to say, regularly occurring, representation of the human form as a whole is that of a house, as was recognized by Scherner, who even wanted to attribute to this symbol an overwhelming significance which is not really due to it. People have dreams of climbing down the front of a house, with feelings sometimes of pleasure and sometimes of dread. When the walls are quite smooth, the house means a man; when there are ledges and balconies which can be caught hold of, a woman. Parents appear in dreams as emperor and empress, king and queen or other exalted personages; in this respect the dream attitude is highly dutiful. Children and brothers and sisters are less tenderly treated, being symbolized by little animals or vermin. Birth is almost invariably represented by some reference to water: either we are falling into water or clambering out of it, saving someone from it or being saved by them, i.e. the relation between mother and child is symbolized. For dying we have setting out upon a journey or travelling by train, while the state of death is indicated by various obscure and, as it were, timid allusions; clothes and uniforms stand for nakedness. You see that here the dividing line between the symbolic and the allusive kinds of representation tends to disappear.

In comparison with the poverty of this enumeration, it cannot fail to strike us that objects and matters belonging to another range of ideas are represented by a remarkably rich symbolism. I am speaking of what pertains to the sexual life—the genitals, sexual processes and intercourse. An overwhelming majority of symbols in dreams are sexual symbols. A curious disproportion arises thus, for the matters dealt with are few in number, whereas the symbols for them are extraordinarily numerous, so that each of these few things can be expressed by many symbols practically equivalent. When they are interpreted, therefore, the result of this peculiarity gives universal offence, for, in contrast to the multifarious forms of its representation in dreams, the interpretation of the symbols is very monotonous. This is displeasing to everyone who comes to know of it: but how can we help it?

As this is the first time in the course of these lectures that I have touched upon the sexual life, I owe you some explanation of the manner in which I propose to treat this subject. Psycho-Analysis sees no occasion for concealments or indirect allusions, and does not think it necessary to be ashamed of concerning itself with material so important; it is of opinion that it is right and proper to call everything by its true name, hoping in this way the more easily to avoid disturbing suggestions. The fact that I am speaking to a mixed audience can make no difference in this. No science can be treated as an oracular mystery, or in a manner adapted to school-girls; the women present, by appearing in this lecture-room, have tacitly expressed their desire to be regarded on the same footing as the men.

The male genital organ is symbolically represented in dreams in many different ways, with most of which the common idea underlying the comparison is easily apparent. In the first place, the sacred number three is symbolic of the whole male genitalia. Its more conspicuous and, to both sexes, more interesting part, the penis, is symbolized primarily by objects which resemble it in form, being long and upstanding, such as sticks, umbrellas, poles, trees and the like; also by objects which, like the thing symbolized, have the property of penetrating, and consequently of injuring, the body,—that is to say, pointed weapons of all sorts: knives, daggers, lances, sabres; fire-arms are similarly used: guns, pistols and revolvers, these last being a very appropriate symbol on account of their shape. In the anxiety-dreams of young girls, pursuit by a man armed with a knife or rifle plays a great part. This is perhaps the most frequently occurring dream-symbol: you can now easily translate it for yourselves. The substitution of the male organ by objects from which water flows is again easily comprehensible: taps, watering-cans, or springs; and by other objects which are capable of elongation, such as pulley lamps, pencils which slide in and out of a sheath, and so on. Pencils, penholders, nail-files, hammers and other implements are undoubtedly male sexual symbols, based on an idea of the male organ which is equally easily perceived.

The peculiar property of this member of being able to raise itself upright in defiance of the law of gravity, part of the phenomena of erection, leads to symbolic representation by means of balloons, aeroplanes, and, just recently, Zeppelins. But dreams have another, much more impressive, way of symbolizing erection; they make the organ of sex into the essential part of the whole person, so that the dreamer himself flies. Do not be upset by hearing that dreams of flying, which we all know and which are often so beautiful, must be interpreted as dreams of general sexual excitement, dreams of erection. One psycho-analytic investigator, P. Federn, has established the truth of this interpretation beyond doubt; but, besides this, Mourly Vold, a man highly praised for his sober judgement, who carried out the experiments with artificial postures of the arms and legs, and whose theories were really widely removed from those of psycho-analysis (indeed he may have known nothing about it), was led by his own investigations to the same conclusion. Nor must you think to object to this on the ground that women can also have dreams of flying; you should rather remind yourselves that the purpose of dreams is wish-fulfilment, and that the wish to be a man is frequently met with in women, whether they are conscious of it or not. Further, no one familiar with anatomy will be misled by supposing that it is impossible for a woman to realize this wish by sensations similar to those of a man, for the woman’s sexual organs include a small one which resembles the penis, and this little organ, the clitoris, does actually play during childhood and in the years before sexual intercourse the same part as the large male organ.

Male sexual symbols less easy to understand are certain reptiles and fishes: above all, the famous symbol of the serpent. Why hats and cloaks are used in the same way is certainly difficult to divine, but their symbolic meaning is quite unquestionable. Finally, it may be asked whether the representation of the male organ by some other member, such as the hand or the foot, may be termed symbolic. I think the context in which this is wont to occur, and the female counterparts with which we meet, force this conclusion upon us.

The female genitalia are symbolically represented by all such objects as share with them the property of enclosing a space or are capable of acting as receptacles: such as pits, hollows and caves, and also jars and bottles, and boxes of all sorts and sizes, chests, coffers, pockets, and so forth. Ships too come into this category. Many symbols refer rather to the uterus than to the other genital organs: thus cupboards, stoves and, above all, rooms. Room symbolism here links up with that of houses, whilst doors and gates represent the genital opening. Moreover, material of different kinds is a symbol of woman,—wood, paper, and objects made of these, such as tables and books. From the animal world, snails and mussels at any rate must be cited as unmistakable female symbols; of the parts of the body, the mouth as a representation of the genital opening, and, amongst buildings, churches and chapels are symbols of a woman. You see that all these symbols are not equally easy to understand.

The breasts must be included amongst the organs of sex; these, as well as the larger hemispheres of the female body, are represented by apples, peaches and fruit in general. The pubic hair in both sexes is indicated in dreams by woods and thickets. The complicated topography of the female sexual organs accounts for their often being represented by a landscape with rocks, woods and water, whilst the imposing mechanism of the male sexual apparatus lends it to symbolization by all kinds of complicated and indescribable machinery.

Yet another noteworthy symbol of the female genital organ is a jewel-case, whilst “jewel” and “treasure” are used also in dreams to represent the beloved person, and sweetmeats frequently stand for sexual pleasures. Gratification derived from a person’s own genitals is indicated by any kind of play, including playing the piano. The symbolic representation of onanism by sliding or gliding and also by pulling off a branch is very typical. A particularly remarkable dream-symbol is the falling out or extraction of teeth; the primary significance of this is certainly castration as a punishment for onanism. Special representations of sexual intercourse are less frequent in dreams than we should expect after all this, but we may mention in this connection rhythmical activities such as dancing, riding and climbing, and also experiencing some violence, e.g. being run over. To these may be added certain manual occupations, and of course being threatened with weapons.

You must not imagine that these symbols are either employed or translated quite simply: on all sides we meet with what we do not expect. For instance, it seems hardly credible that there is often no sharp discrimination of the different sexes in these symbolic representations. Many symbols stand for sexual organs in general, whether male or female: for instance, a little child, or a little son or daughter. At another time a symbol which is generally a male one may be used to denote the female sexual organ, or vice versa. This is incomprehensible until we have acquired some knowledge of the development of conceptions about sexuality amongst human beings. In many cases this ambiguity of the symbols may be apparent rather than real; and moreover, the most striking amongst them, such as weapons, pockets and chests, are never used bisexually in this way.

I will now give a brief account, beginning with the symbols themselves instead of with the objects symbolized, to show you from what spheres the sexual symbols have for the most part been derived, and I will add a few remarks relating particularly to those in which the attribute in common with the thing symbolized is hard to detect. An instance of an obscure symbol of this kind is the hat, or perhaps head-coverings in general; this usually has a masculine significance, though occasionally a feminine one. In the same way a cloak betokens a man, though perhaps sometimes without special reference to the organs of sex. It is open to you to ask why this should be so. A tie, being an object which hangs down and is not worn by women, is clearly a male symbol, whilst underlinen and linen in general stands for the female. Clothes and uniforms, as we have heard, represent nakedness or the human form; shoes and slippers symbolize the female genital organs. Tables and wood we have mentioned as being puzzling, but nevertheless certain, female symbols; the act of mounting ladders, steep places or stairs is indubitably symbolic of sexual intercourse. On closer reflection we shall notice that the rhythmic character of this climbing is the point in common between the two, and perhaps also the accompanying increase in excitation—the shortening of the breath as the climber ascends.

We have already recognized that landscapes represent the female sexual organs; mountains and rocks are symbols of the male organ; gardens, a frequently occurring symbol of the female genitalia. Fruit stands for the breasts, not for a child. Wild animals denote human beings whose senses are excited, and, hence, evil impulses or passions. Blossoms and flowers represent the female sexual organs, more particularly, in virginity. In this connection you will recollect that the blossoms are really the sexual organs of plants.

We already know how rooms are used symbolically. This representation may be extended, so that windows and doors (entrances and exits from rooms) come to mean the openings of the body; the fact of rooms being open or closed also accords with this symbolism: the key, which opens them, is certainly a male symbol.

This is some material for a study of dream-symbolism. It is not complete, and could be both extended and made deeper. However, I think it will seem to you more than enough; perhaps you may dislike it. You will ask: “Do I then really live in the midst of sexual symbols? Are all the objects round me, all the clothes I wear, all the things I handle, always sexual symbols and nothing else?” There really is good reason for surprised questions, and the first of these would be: How do we profess to arrive at the meaning of these dream-symbols, about which the dreamer himself can give us little or no information?

My answer is that we derive our knowledge from widely different sources: from fairy tales and myths, jokes and witticisms, from folk-lore, i.e. from what we know of the manners and customs, sayings and songs, of different peoples, and from poetic and colloquial usage of language. Everywhere in these various fields the same symbolism occurs, and in many of them we can understand it without being taught anything about it. If we consider these various sources individually, we shall find so many parallels to dream-symbolism that we are bound to be convinced of the correctness of our interpretations.

The human body is, we said, according to Scherner frequently symbolized in dreams by a house; by an extension of this symbolism, windows, doors and gates stand for the entrances to cavities in the body, and the façades may either be smooth or may have balconies and ledges to hold on to. The same symbolism is met with in colloquialisms; for instance, we speak of “a thatch of hair,” or a “tile hat,” or say of someone that he is not right “in the upper storey.” In anatomy, too, we speak of the openings of the body as its “portals.”

We may at first find it surprising that parents appear in our dreams as kings and emperors and their consorts, but we have a parallel to this in fairy tales. Does it not begin to dawn upon us that the many fairy tales which begin with the words “Once upon a time there were a king and queen” simply mean: “Once upon a time there were a father and mother?” In family life the children are sometimes spoken of jestingly as princes, and the eldest son as the crown prince. The king himself is called the father of his people. Again, in some parts, little children are often playfully spoken of as little animals, e.g. in Cornwall, as “little toad,” or in Germany as “little worm,” and, in sympathizing with a child, Germans say “poor little worm.”

Now let us return to the house symbolism. When in our dreams we make use of the projections of houses as supports, does that not suggest a well-known, popular German saying, with reference to a woman with a markedly developed bust: “She has something for one to hold on to” (Die hat etwas zum Anhalten), whilst another colloquialism in the same connection is: “She has plenty of wood in front of her house” (Die hat viel Holz vor dem Hause), as though our interpretation were to be borne out by this when we say that wood is a female maternal symbol.

There is still something to be said on the subject of wood. It is not easy to see why wood should have come to represent a woman or mother, but here a comparison of different languages may be useful to us. The German word Holz (wood) is said to be derived from the same root as the Greek ὔλη, which means stuff, raw material. This would be an instance of a process which is by no means rare, in that a general name for material has come finally to be applied to a particular material only. Now, in the Atlantic Ocean, there is an island named Madeira, and this name was given to it by the Portuguese when they discovered it, because at that time it was covered with dense forests; for in Portuguese the word for wood is madeira. But you cannot fail to notice that this madeira is merely a modified form of the Latin materia, which again signifies material in general. Now materia is derived from mater = mother, and the material out of which anything is made may be conceived of as giving birth to it. So, in the symbolic use of wood to represent woman or mother, we have a survival of this old idea.

Birth is regularly expressed by some connection with water: we are plunging into or emerging from water, that is to say, we give birth or are being born. Now let us not forget that this symbol has a twofold reference to the actual facts of evolution. Not only are all land mammals, from which the human race itself has sprung, descended from creatures inhabiting the water—this is the more remote of the two considerations—but also every single mammal, every human being, has passed the first phase of existence in water—that is to say, as an embryo in the amniotic fluid of the mother’s womb—and thus, at birth, emerged from water. I do not maintain that the dreamer knows this; on the other hand, I contend that there is no need for him to know it. He probably knows something else from having been told it as a child, but even this, I will maintain, has contributed nothing to symbol-formation. The child is told in the nursery that the stork brings the babies, but then where does it get them? Out of a pond or a well—again, out of the water. One of my patients who had been told this as a child (a little count, as he was then) afterwards disappeared for a whole afternoon, and was at last found lying at the edge of the castle lake, with his little face bent over the clear water, eagerly gazing to see whether he could catch sight of the babies at the bottom of the water.

In the myths of the births of heroes, a comparative study of which has been made by O. Rank—the earliest is that of King Sargon of Akkad, about 2800 B.C.—exposure in water and rescue from it play a major part. Rank perceived that this symbolizes birth in a manner analogous to that employed in dreams. When anyone in his dream rescues somebody from the water, he makes that person into his mother, or at any rate a mother; and in mythology, whoever rescues a child from water confesses herself to be its real mother. There is a well-known joke in which an intelligent Jewish boy, when asked who was the mother of Moses, answers immediately: “The Princess.” He is told: “No, she only took him out of the water.” “That’s what she said,” he replies, showing that he had hit upon the right interpretation of the myth.

Going away on a journey stands in dreams for dying; similarly, it is the custom in the nursery, when a child asks questions as to the whereabouts of someone who has died and whom he misses, to tell him that that person has “gone away.” Here again, I deprecate the idea that the dream-symbol has its origin in this evasive reply to the child. The poet uses the same symbol when he speaks of the other side as “the undiscovered country from whose bourne no traveller returns.” Again, in everyday speech it is quite usual to speak of the “last journey,” and everyone who is acquainted with ancient rites knows how seriously the idea of a journey into the land of the dead was taken, for instance, in ancient Egyptian belief. In many cases the “Book of the Dead” survives, which was given to the mummy, like a Baedeker, to take with him on the last journey. Since burial-grounds have been placed at a distance from the houses of the living, the last journey of the dead has indeed become a reality.

Nor does sexual symbolism belong only to dreams. You will all know the expression “a baggage” as applied contemptuously to a woman, but perhaps people do not know that they are using a genital symbol. In the New Testament we read: “The woman is the weaker vessel.” The sacred writings of the Jews, the style of which so closely approaches that of poetry, are full of expressions symbolic of sex, which have not always been correctly interpreted and the exegesis of which, e.g. in the Song of Solomon, has led to many misunderstandings. In later Hebrew literature the woman is very frequently represented by a house, the door standing for the genital opening; thus a man complains, when he finds a woman no longer a virgin, that “he has found the door open.” The symbol “table” for a woman also occurs in this literature; the woman says of her husband “I spread the table for him, but he overturned it.” Lame children are said to owe their infirmity to the fact that the man “overturned the table.” I quote here from a treatise by L. Levy in Brünn: Sexual Symbolism in the Bible and the Talmud.

That ships in dreams signify women is a belief in which we are supported by the etymologists, who assert that “ship” (Schiff) was originally the name of an earthen vessel and is the same word as Schaff (schaffen = to make or produce). That an oven stands for a woman or the mother’s womb is an interpretation confirmed by the Greek story of Periander of Corinth and his wife Melissa. According to the version of Herodotus, the tyrant adjured the shade of his wife, whom he had loved passionately but had murdered out of jealousy, to tell him something about herself, whereupon the dead woman identified herself by reminding him that he, Periander, “had put his bread into a cold oven,” thus expressing in a disguised form a circumstance of which everyone else was ignorant. In the Anthropophyteia, edited by F. S. Kraus, a work which is an indispensable text-book on everything concerning the sexual life of different peoples, we read that in a certain part of Germany people say of a woman who is delivered of a child that “her oven has fallen to pieces.” The kindling of fire and everything connected with this is permeated through and through with sexual symbolism, the flame always standing for the male organ, and the fireplace or the hearth for the womb of the woman.

If you have chanced to wonder at the frequency with which landscapes are used in dreams to symbolize the female sexual organs, you may learn from mythologists how large a part has been played in the ideas and cults of ancient times by “Mother Earth” and how the whole conception of agriculture was determined by this symbolism. The fact that in dreams a room represents a woman you may be inclined to trace to the German colloquialism by which Frauenzimmer (lit. “woman’s room”) is used for Frau, that is to say, the human person is represented by the place assigned for her occupation. Similarly we speak of the Porte, meaning thereby the Sultan and his government, and the name of the ancient Egyptian ruler, Pharaoh, merely means “great court.” (In the ancient Orient the courts between the double gates of the city were places of assembly, like the market-place in classical times.) But I think this derivation is too superficial, and it strikes me as more probable that the room came to symbolize woman on account of its property of enclosing within it the human being. We have already met with the house in this sense; from mythology and poetry we may take towns, citadels, castles and fortresses to be further symbols for women. It would be easy to decide the point by reference to the dreams of people who neither speak nor understand German. Of late years I have mainly treated foreign patients, and I think I recollect that in their dreams rooms stand in the same way for women, even though there is no word analogous to our Frauenzimmer in their language. There are other indications that symbolism may transcend the boundaries of language, a fact already maintained by the old dream-investigator, Schubert, in 1862. Nevertheless, none of my patients were wholly ignorant of German, so that I must leave this question to be decided by those analysts who can collect instances in other countries from persons who speak only one language.

Amongst the symbols for the male sexual organ, there is scarcely one which does not appear in jests, or in vulgar or poetic phrases, especially in the old classical poets. Here, however, we meet not only with such symbols as occur in dreams but also with new ones, e.g. the implements employed in various kinds of work, first and foremost, the plough. Moreover, when we come to male symbols, we trench on very extensive and much-contested ground, which, in order not to waste time, we will avoid. I should just like to devote a few remarks to the one symbol which stands, as it were, by itself; I refer to the number three. Whether this number does not in all probability owe its sacred character to its symbolic significance is a question which we must leave undecided, but it seems certain that many tripartite natural objects, e.g. the clover-leaf, are used in coats-of-arms and as emblems on account of their symbolism. The so-called “French” lily with its three parts and, again, the “trisceles,” that curious coat-of-arms of two such widely separated islands as Sicily and the Isle of Man (a figure consisting of three bent legs projecting from a central point), are supposed to be merely disguised forms of the male sexual organ, images of which were believed in ancient times to be the most powerful means of warding off evil influences (apotropaea); connected with this is the fact that the lucky “charms” of our own time may all be easily recognized as genital or sexual symbols. Let us consider a collection of such charms in the form of tiny silver pendants: a four-leaved clover, a pig, a mushroom, a horseshoe, a ladder and a chimney-sweep. The four-leaved clover has taken the place of that with three leaves, which was really more appropriate for the purposes of symbolism; the pig is an ancient symbol of fruitfulness; the mushroom undoubtedly symbolizes the penis, there are mushrooms which derive their name from their unmistakable resemblance to that organ (Phallus impudicus); the horseshoe reproduces the contour of the female genital opening; while the chimney-sweep with his ladder belongs to this company because his occupation is one which is vulgarly compared with sexual intercourse. (Cf. Anthropophyteia.) We have learnt to recognize his ladder in dreams as a sexual symbol: expressions in language show what a completely sexual significance the word steigen, to mount, has, as in the phrases: Den Frauen nachsteigen (to run after women) and ein alter Steiger (an old roué). So, in French, where the word for “step” is la marche, we find the quite analogous expression for an old rake: un vieux marcheur. Probably the fact that with many of the larger animals sexual intercourse necessitates a mounting or “climbing upon” the female has something to do with this association of ideas.