A General Introduction to Psychoanalysis

by Sigmund Freud

The fact that we meet our parents in the dream as imperial or royal persons is at first surprising. But it has its parallel in the fairy tale. Doesn't it begin to dawn upon us that the many fairy tales which begin "Once upon a time there was a king and a queen" intend nothing else than, "Once there was a father and a mother?" In our families we refer to our children as princes, the eldest as the crown-prince. The king usually calls himself the father of the country. We playfully designate little children as worms, and say, sympathetically, "poor little worm."

Let us return to the symbolism of the house. When we use the projections of the house to hold ourselves on to in the dream, are we not reminded of the familiar colloquialism about persons with well-developed breasts: "She has something to hold onto"? The folk express this in still another way when it says, "there's lots of wood in front of her house"; as though it wished to come to the aid of our interpretation that wood is a feminine, maternal symbol.

In addition to wood there are others. We might not understand how this material has come to be a substitute for the maternal, the feminine. Here our comparison of languages may be helpful. The German word Holz (wood) is said to be from the same stem as the Greek word, νλη, which means stuff, raw material. This is an example of the case, not entirely unusual, where a general word for material finally is exclusively used for some special material. There is an island in the ocean, known by the name of Madeira. The Portuguese gave it this name at the time of its discovery because it was at that time entirely covered with forests, for in the language of the Portuguese, Madeira means wood. You will recognize, however, that Madeira, is nothing else than the slightly changed Latin word materia which again has the general meaning of material Material is derived from mater, mother. The material out of which something is made, is at the same time its mother-part. In the symbolic use of wood for woman, mother, this ancient conception still lives.

Birth is regularly expressed in dreams by some connection with water; one plunges into the water, or comes out of the water, which means one gives birth to, or is born. Now let us not forget that this symbol may refer in two ways to the truths of evolutionary history. Not alone have all land-mammals, including the ancestors of man, developed out of water animals—this is the ultimate fact—but every single mammal, every human being, lived the first part of his existence in the water—namely, lived in the body of his mother as an embryo in the amniotic fluid and came out of the water at the time of his birth. I do not wish to maintain that the dreamer knows this, on the contrary I hold that he does not have to know. The dreamer very likely knows some things because of the fact that he was told about them in his childhood, and for that very reason I maintain that this knowledge has played no part in the construction of his symbols. He was told in childhood that the stork brought him—but where did it get him? Out of a lake, out of the well—again, out of the water. One of my patients to whom such information had been given, a little count, disappeared for a whole afternoon. Finally he was discovered lying at the edge of the palace lake, his little face bent above the water and earnestly peering into it to see if he could not see the little children at the bottom.

In the myths of the birth of the hero, which O. Rank submitted to comparative examination,—the oldest is that of King Sargon of Agade, about 2800 B.C.—exposure in the water and rescue from water play a predominating role. Rank has recognized that these are representations of birth, analogous to those customary in dreams. When a person in his dream rescues another from the water, the latter becomes his mother, or just plainly mother; in the myth a person who rescues a child out of the water professes herself as the real mother of the child. In a well-known joke the intelligent Jewish boy is asked who was the mother of Moses. He answered without hesitation, the Princess. But no, he is told, she only took him out of the water. "That's what she says," is his reply, and thereby he shows that he has found the correct interpretation of the myth.

Leaving on a trip represents death in the dream. Likewise it is the custom in the nursery when a child asks where someone who has died, and whom he misses, may be, to say to him that the absent one has taken a trip. Again I should like to deny the truth of the belief that the dream symbol originates in this evasion used for the benefit of children. The poet makes use of the same symbol when he speaks of the Hereafter as "that undiscovered bourne from which no traveler returns." Even in everyday speech it is customary to refer to the last journey. Every person acquainted with ancient rite knows how seriously, for example, the Egyptians considered the portrayal of a journey to the land of the dead. There still exist many copies of the "death book" which was given to the mummy for this journey as a sort of Baedeker. Since the burial places have been separated from the living quarters, the last journey of the dead person has become a reality.

In the same manner the genital symbolism is just as little peculiar to the dream alone. Every one of you has perhaps at some time or other been so unkind as to call some woman an "old casket" without perhaps being aware that he was using a genital symbol. In the New Testament one may read "Woman is a weak vessel." The Holy Scriptures of the Jews, so nearly poetic in their style, are filled with sex-symbolic expressions which have not always been correctly understood, and the true construction of which, in the Song of Songs, for example, has led to many misunderstandings. In the later Hebraic literature the representation of woman as a house, the door taking the place of the sex opening, is very widespread. The man complains, for instance, when he discovers a lack of virginity, that he has found the door open. The symbol of the table for woman is also known to this literature. The woman says of her husband, "I set the table for him, but he upset it." Lame children are supposed to result from the fact that the man has overturned the table. I take these examples from a work by L. Levy of Brünn, The Sexual Symbolism of the Bible and the Talmud.

That ships, too, represent women in dreams is a belief derived from the etymologists, who maintain "ship" was originally the name of an earthen vessel and is the same word as Schaff (to create). The Greek myth of Periander of Corinth and his wife Melissa is proof that the stove or oven is a woman, and a womb. When, according to Herodotus, the tyrant entreated the shade of his beloved wife, whom, however, he had murdered in a fit of jealousy, for some sign of its identity, the deceased identified herself by the reminder that he, Periander, had thrust his bread into a cold oven, as a disguise for an occurrence that could have been known to no other person. In the Anthropophyteia published by F. S. Krauss, an indispensable source book for everything that has to do with the sex life of nations, we read that in a certain German region it is commonly said of a woman who has just been delivered of a child, "Her oven has caved in." The making of a fire and everything connected therewith is filled through and through with sex symbolism. The flame is always the male genital, the fireplace, the hearth, is the womb of the woman.

If you have often wondered why it is that landscapes are so often used to represent the female genitals in the dream, then let the mythologist teach you the role Mother Earth has played in the symbolisms and cults of ancient times. You may be tempted to say that a room represents a woman in the dream because of the German colloquialism which uses the term Frauenzimmer instead of Frau, in other words, it substitutes for the human person the idea of that room that is set aside for her exclusive use. In like manner we speak of the Sublime Porte, and mean the Sultan and his government; furthermore, the name of the ancient Egyptian ruler, Pharaoh, means nothing other than "great court room." (In the ancient Orient the court yards between the double gates of the town were the gathering places of the people, in the same manner as the market place was in the classical world.) What I mean is, this derivation is far too superficial. It seems more probable to me that the room, as the space surrounding man, came to be the symbol of woman. We have seen that the house is used in such a representation; from mythology and poetry we may take the city, fortress, palace, citadel, as further symbols of woman. The question may easily be decided by the dreams of those persons who do not speak German and do not understand it. In the last few years my patients have been predominantly foreign-language speaking, and I think I can recall that in their dreams as well the room represents woman, even where they had no analogous usages in their languages. There are still other signs which show that the symbolization is not limited by the bounds of language, a fact that even the old dream investigator, Schubert (1862) maintained. Since none of my dreamers were totally ignorant of German I must leave this differentiation to those psychoanalysts who can gather examples in other lands where the people speak but one language.

Among the symbol-representations of the male genital there is scarcely one that does not recur in jokes or in vulgar or poetical usage, especially among the old classical poets. Not alone do those symbols commonly met with in dreams appeal here, but also new ones, e.g., the working materials of various performances, foremost of which is the incantation. Furthermore, we approach in the symbolic representation of the male a very extended and much discussed province, which we shall avoid for economic reasons. I should like to make a few remarks, however, about one of the unclassified symbols—the figure 3. Whether or not this figure derives its holiness from its symbolic meaning may remain undecided. But it appears certain that many objects which occur in nature as three-part things derive their use as coats-of-arms and emblems from such symbolic meaning, e.g., the clover, likewise the three-part French lily, (fleur-de-lys), and the extraordinary coats-of-arms of two such widely separated islands as Sicily and the Isle of Man, where the Triskeles (three partly bended knees, emerging from a central point) are merely said to be the portrayal in a different form of the male genitals. Copies of the male member were used in antiquity as the most powerful charms (Apotropaea) against evil influences, and this is connected with the fact that the lucky amulets of our own time may one and all be recognized as genital or sex-symbols. Let us study such a collection, worn in the form of little silver pendants: the four-leaf clover, a pig, a mushroom, a horse-shoe, a ladder, a chimney-sweep. The four-leaf clover, it seems, has usurped the place of the three-leaf clover, which is really more suitable as a symbol; the pig is an ancient symbol of fertility; the mushroom is an unquestionable penis symbol—there are mushrooms that derive their systematic names from their unmistakable similarity to the male member (Phallus impudicus); the horseshoe recalls the contour of the female genital opening; and the chimney sweep who carries a ladder belongs in this company because he carries on that trade with which the sex-intercourse is vulgarly compared (cf. the Anthropophyteia). We have already become acquainted with his ladder as a sex symbol in the dream; the German usage is helpful here, it shows us how the verb "to mount"[30] is made use of in an exquisite sexual sense. We use the expressions "to run after women," which literally translated would be "to climb after women," and "an old climber."[31] In French, where "step" is "la marche" we find that the analogous expression for a man about town is "un vieux marcheur." It is apparently not unknown in this connection that the sexual intercourse of many of the larger animals requires a mounting, a climbing upon the female.