Every creator of tragedy in prose or verse, in fiction, essay or lyric was first subject to repression and then ecstasy. We may say as Nietzsche did, that tragic art is the reconciliation of Apollo and Dionysius, of dreaming and emotional intoxication, and both these conditions are, in Freud's words, due to repression.
But we have travelled far beyond Aristotle in our views of tragedy. Freud has revolutionized the art of criticism and a disciple of his, F. Wittels, in the Tragische Motiv, gave us an interpretation from the psychoanalytic point of view of the nature and sufferings of tragic characters.
There is an abstract of the book by Dr. J. S. Van Teslaar in the American Journal of Psychology for April, 1912. Wittels shows that the unconscious unethical desires break into consciousness and cause tragedy. He points out that the Greeks were purified of pent up emotions in the theater, and that they identified the demons of their inner self in the actors. He also says that the Greek drama cannot any longer talk as clearly to us as of old, for with our civilization we have wandered away from the naïve Greek mind. The author emphasizes the fact that unconscious causes make the writer compose his work, as well as the fact that characters in history and literature acted from unconscious causes. Thus suppressed erotic impulses influenced the patriotism of Joan of Arc.
At all times, again, it was vaguely understood that dreams reveal the unconscious, that poetry emanates from the dream state, that in fact poems are even composed in dreams. Thus, the Bible itself is authority for the fact that all the prophets received their messages in a dream or vision. The Hebrew sages said that the dream was a fraction of prophecy, the unripe fruit of prophecy.
One of the first critics who treated at length the question whether poetry may actually be composed in dreams is the Hebrew poet and critic Moses Ibn Ezra, who lived in Spain in the early part of the twelfth century. The seventh chapter of his Conversations and Recollections[182-A] deals with the subject. He was influenced by Arabs who were absorbingly concerned with the interpretation of dreams. Ibn Ezra thought that it was just in the sleeping state that the use of thought and imagination was
greatest, for then the soul loses consciousness of things, the body and senses are at rest and only the common sense, which the critic uses really as synonymous with the unconscious, is active. He quotes a Hebrew philosopher to the effect that the soul, when detached from the body, has finer perceptions than when awake. This is in accordance with Aristotle who said that the soul can discover hidden things when detached from the senses, when it is pure. Ibn Ezra asserts that his Hebrew authority maintains that one may compose verses in sleep, and he gives examples of his own.
Ibn Ezra believed that nightmares have some idea behind them, that an interpreter of dreams whose reason is superior to that of the dreamer can discover the idea, for dream interpretation is the science of hidden things communicated by God. The poet also composes verses in dreams, often because he does this in waking life, for many people carry on in their dreams the occupations of their daily life. We all recall that we read in our dreams, especially if we are lovers of reading. We do in our dreams what we would like to do.
The Aristotelian medieval Hebrew philosophers, Isaac Israeli, Abraham Ibn Daud, Moses Maimomides, and Levi ben Gerson also developed the idea of the connection of prophecy with dreams.[183-A]
We know to-day that the poet creates a congenial surrounding for himself out of his imagination. He is repelled by the sordidness of his environment or the suffering he has had in life. He writes a poem like Epipsychidion, to build himself a home where he has ideal love, because he is not satisfied with his married life. He writes a prose poem like Dream Children where he sees himself wedded
to his lost love, with their children about him, because he is a bachelor who has neither love nor children.