Collected Papers on Analytical Psychology

by C. G. Jung

Remarks.—The undressing together now takes place in the narrow space of the dressing-room at the baths. The want of dress on the ship gives occasion to a further variant. (The old shirt torn in three.) In consequence of great uncertainty the getting up on the teacher is not mentioned. Instead, the two girls get up on two fat men. As "fat" becomes so prominent it should be noted that the teacher is more than a little plump. The setting is thoroughly typical; each one has a teacher. The duplication or multiplication of the persons is an expression of their significance, i.e. of the stored-up libido.[163] (Compare the duplication of the attribute in dementia præcox in my "Psychology of Dementia Præcox.") In cults and mythologies the significance of this duplication is very striking. (Cp. the Trinity and the two mystical formulas of confession: "Isis una quæ es omnia. Hermes omnia solus et ter unus.") Proverbially we say he eats, drinks, or sleeps "for two." The multiplication of the personality expresses also an analogy or comparison—my friend has the same "ætiological value" (Freud) as myself. In dementia præcox, or schizophrenia, to use Bleuler's wider and better term, the multiplication of the personality is mainly the expression of the stored-up libido, for it is invariably the person to whom the patient has transference who is subjected to this multiplication. ("There are two professors N." "Oh, you are also Dr. J.; this morning another came to see me who called himself Dr. J.") It seems that, corresponding to the general tendency in schizophrenia, this splitting is an analytic degradation whose motive is to prevent the arousing of too violent impressions. A final significance of the multiplication of personality which, however, does not come exactly under this concept is the raising of some attribute of the person to a living figure. A simple instance is Dionysos and his companion Phales, wherein Phales is the equivalent of Phallos, the personification of the penis of Dionysos. The so-called attendants of Dionysos (Satyri, Sileni, Mænades, Mimallones, etc.) consist of the personification of the attributes of Dionysos.

The scene in Andermatt is portrayed with a nice wit, or more properly speaking, dreamt further: "The teacher steals chestnuts," that is equivalent to saying he does what is prohibited. By chestnuts is meant roasted chestnuts, which on account of the incision are known as a female sexual symbol. Thus the remark of the teacher, that he was especially glad to travel with his pupils, following directly upon the theft of the chestnuts, becomes intelligible. This theft of the chestnuts is certainly a personal interpolation, for it does not occur in any of the other accounts. It shows how intensive was the inner participation of the school companions of Marie X. in the dream, resting upon similar ætiological requirements.

This is the last of the aural witnesses. The story of the veil, the pain in the feet, are items which we may perhaps suspect to have been suggested in the original narrative. Other interpolations are, however, absolutely personal, and are due to independent inner participation in the meaning of the dream.

Hearsay Evidence.

(I.) The whole school had to go bathing with the teacher. M. X. had no place in the bath in which to undress. Then the teacher said: "You can come into my room and undress with me." She must have felt very uncomfortable. When both were undressed they went into the lake. The teacher took a long rope and wound it round M. Then they both swam far out. But M. got tired, and then the teacher took her upon his back. Then M. saw Lina P.; she called out to her, Come along with me, and Lina came. Then they all swam out still farther. They met a ship. Then the teacher asked, "May we get in? these girls are tired." The boat stopped, and they could all get up. I do not know exactly how they came ashore again at K. Then the teacher got an old night-shirt. He put it on. Then he met an old friend who was celebrating his wedding. The teacher, M. and L. were invited. The wedding was celebrated at the Crown in K. They wanted to play the polonaise. The teacher said he would not accompany them. Then the others said he might as well. He did it with M. The teacher said: "I shall not go home again to my wife and children. I love you best, M." She was greatly pleased. After the wedding there was the honeymoon journey. The teacher, M. and L. had to accompany the others also. The journey was to Milan. Afterwards they went to Andermatt, where they could find no place to sleep. They went to a barn, where they could stop the night all together. I must not say any more because it becomes highly improper.

Remarks.—The undressing in the swimming-bath is properly detailed. The union in the water receives a further simplification for which the story of the rope led the way; the teacher fastens himself to Marie. Lina P. is not mentioned at all; she only comes later when Marie is already sitting upon the teacher. The dress is here a jacket. The wedding ceremony contains a very direct meaning. "The teacher will not go home any more to wife and child." Marie is the darling. In the barn they all found a place together, and then it becomes highly improper.

(II.) It was said that she had gone with the school to the swimming-baths to bathe. But as the baths were over-full the teacher had called her to come to him. We swam out to the lake, and L. P. followed us. Then the teacher took a string and bound us to one another. I do not know now exactly how they again got separated. But after a long time they suddenly arrived at Z. There a scene is said to have taken place which I would rather not tell, for if it were true it would be too disgraceful; also now I don't know exactly how it is said to have been, for I was very tired, only I also heard that M. X. is said to have told how she was always to remain with our teacher, and he again and again caressed her as his favourite pupil. If I knew exactly I would also say the other thing, but my sister only said something about a little child which was born there, and of which the teacher was said to have been the godfather.

Remarks.—Note that in this story the improper scene is inserted in the place of the wedding ceremony, where it is as apposite as at the end, for the attentive reader will certainly have already observed that the improper scene could have taken place in the swimming-bath dressing-room. The procedure has been adopted which is so frequent in dreams as a whole; the final thoughts of a long series of dream images contain exactly what the first image of the series was trying to represent. The censor pushes the complex away as long as possible through ever-renewed disguises, displacements, innocent renderings, etc. It does not take place in the bathing-room, in the water the "getting up" does not occur, on landing it is not on the teacher's back that the girls are sitting, it is another pair who are married in the barn, another girl has the child, and the teacher is only—godfather. All these images and situations are, however, directed to pick out the complex, the desire for coitus. Nevertheless the action still occurs at the back of all these metamorphoses, and the result is the birth placed at the end of the scene.

(III.) Marie said: the teacher had a wedding with his wife, and they went to the "Crown" and danced with one another. M. said a lot of wild things which I cannot repeat or write about, for it is too embarrassing.

Remarks.—Here everything is too improper to be told. Note that the marriage takes place with the wife.