[12] Verlag J. F. Bergmann, Wiesbaden, 1913. Vid. note above.
[13] Cf. Dichtung und Neurose, J. F. Bergmann. Authorized English version by James S. Van Teslaar.
[14] Nervöse Angstzustaende. Die psychische Behandlung der Epilepsie, 2nd edition, p. 336.
[15] Hirschfeld relates several instances illustrating how heterosexual potence may be increased by the fires of homosexual passion: A merchant relates: “I am able to carry out sexual intercourse with women, only if I keep thinking of the man who possessed the woman before me.” A young workingman from Berlin relates: “When I was 17 years of age and I saw young men of my age pick out sweethearts for themselves I did the same. Later, as man, it seemed natural to me to get a woman, although my own inclination had little to do with it. The physical excitation necessary for the carrying out of the sexual act I could rouse in myself only by thinking of some male person. This sort of thing exhausted me and after a time I decided to give it up. I felt myself strongly attracted to a relative at that time. He was younger and as I had greater influence over women I helped him by putting him in touch with some and so we often carried out coitus together. Seeing him [go at it so hotly] excited me tremendously and then I carried out coitus without any difficulty.” The proprietor of a German hotel also relates that, before intercourse with his wife, he was in the habit of rousing his passion by kissing his head waiter. This furnished him the requisite sexual preparedness and as quickly as possible he hurried to his wife, whose bed was in the next room. Hirschfeld writes further: “These sketches from life I want to conclude with the account of a patient who consulted me for sexual hyperesthesia which in his case was so keen that seeing the statuettes of naked children ornamenting the Berlin castle bridge while crossing it was enough to cause erection. He was a merchant, 42 years of age. In order to obtain potentia coeundi it was necessary for him not only to think, but also to speak aloud of some pleasing man, in some such manner: “Did you notice that servant of the Count’s, who called for a bundle this forenoon, how did you like him? A neat boy, what? His livery seemed quite new! Didn’t you think it fitted him a bit too tightly? How old should you say he was?” Only by carrying on such talk with his wife, and he had to exercise the greatest ingenuity in order to cover his object while doing so, was he able to achieve ejaculation, and to beget children,—he was the father of three.”
[16] Die Transvestiten. Eine Untersuchung ueber den Erotischen Verkleidungstrieb. Alfred Pulvermacher. Berlin, 1910.
[17] (Cf. Angstzustaende, p. 417. An English translation of this work is now in course of preparation and will appear shortly.)
[18] English translation by James S. Van Teslaar.
[19] Faust finds this temporarily in his Graetchen. But it is only an episode and presently he is again restlessly searching until he finds Helena, the most beautiful of all women. The Flying Dutchman is released by a woman who remains true to the last in her love of him. That is the projection of a subjective feeling upon the woman. He wishes he could find a woman for whom he would feel a love so dear that it would relieve him. In Ahasuerus the same problem is glossed over with religious terms as the problem seen in the Don Juan story as the requital of the all-highest father. All four must be faithless, they cannot remain true to one woman.
[20] Once I treated a man who had separated from his wife, wanted to marry another woman with whom he had fallen in love and to divorce his wife. In the course of our interviews during that time this man said repeatedly: “I would not introduce you to my first wife; you would fall in love with her if I did; no man can help that.” At once I recognized that the man’s neurotic disorder reached back to a suppressed love for his wife. In his mind there rumbled continually sounds which he could not reproduce. He recalled scraps of melodies which he could not place at all. But once I was able to get at one such melody. It was a song of which he did not know the words. When the matter was ferreted out it was found that the words bore distinctly a reference to his first wife. The vague melodies permitted his mind to dwell on her and at the same time to cover from his consciousness the fact that he could not keep her out of his mind. Here is a characteristic passage from Eichendorff’s poem:
Ich kam von Walde hernieder,