[2]. In vol. III of Disorders of Instincts and Emotions: The Sexual Frigidity of Woman; Psychopathology of Woman’s Love Life. English translation by Dr. James S. Van Teslaar.
[3]. Nervöse Angstzustände, 2nd ed., p. 336.
[4]. Vol. V. in: Disorders of Instincts and Emotions. English version by Dr. Van Teslaar.
[5]. B. Tarnowsky, Die krankhaften Erscheinungen des Geschlechtssinnes (The Morbid Manifestations of the Sexual Instinct). Eine forensisch-psychiatrische Studie. Berlin, 1886, p. 51 ff.
[6]. Jahrbuch f. sexuelle Zwischenstufen, vol. IX, 1908, p. 504.
[7]. Fragment der Psychoanalyse eines Homosexuellen (Jahrb. f. sexuelle Zwischenstufen, vol. IX, 1908). [A typical illustration of the wrong way of carrying on a psychoanalysis, the kind of painful ordeal during which the subject calls out in distress: “But, pardon me, what must I tell you? You just torture me, nothing less!” The most important relations are overlooked, the patient is tortured to admit that he is in love with Sadger, so that after fourteen hours of this sort of torment he runs off.]
[8]. J. Sadger: Ist die konträre Sexualempfindung heilbar? Zeitschr. f. Sexualwissenschaft, 1908, p. 712.
[9]. Jahrb. f. psychoanalytische u. psychopathol. Forschungen, vol. II, 1910.
[10]. Ibsen, the great psychologist, has described in masterly fashion the transposition of sister love into boy love. In “Little Eyolf,” Almers, the writer, suddenly loses the love for his wife and turns his affection exclusively to his child. That child is called ‘little Eyolf,’ like his sister, who had once put on boy’s clothes and called herself ‘little Eyolf.’ The parents had expected a boy. Almers turns his affection for the sister, which pervades the whole drama, into the love for the boy. He has discovered for himself the law of substitution which corresponds to the changes spoken of in these pages. Little Eyolf in fact is the dramatisation of the latent homosexual fixation on the sister. Almers cannot split his personality, he cannot be both homo- and heterosexual. This inability to split his self, the root of all homosexuality, forms the background of the whole drama. Rita cannot divide her personality any more than Almers can do it; he must give his whole personality self. Almers cannot divide wife and sister. He embraces his wife and thinks of the sister (That sister, whom he calls his little and his big Eyolf. The sister in trousers, who embodied his ideal, a woman in male clothes, a bisexual being which need not be split up at all). “Love of brothers and sisters is the only relationship not subject to the law of transformation.” Rank (Das Inzestmotiv in Dichtung und Sage, 1919, p. 654) and Pfister (Anwendung der Psychoanalyse in der Pädagogik und Seelsorge, p. 72) find the incest motive easily but overlook the fact that the situation involves the outbreak of homosexuality and its psychogenesis. It represents a flight from the sister to man, a wavering homosexuality sublimated into love for the boy. The drama contains numerous other familiar points well worth careful analysis. For Almers, his wife, and his child, are the representatives of the male, female, and infantile components which we endeavor to synthetize in our character (trinity). Regression to the infantile level sets in with flight from the world (flight to the solitude of the mountain top). The solitary Ibsen, as road builder, undertakes to construct a new highway which shall lead up to solitary heights and does not observe that the road leads really straight back to the realm of his youth. Somewhere in the vast expanse of his soul the ‘dead child’ is floating around and staring with wide open eyes into infinity. A child is killed in this drama. It stands for the miscarried regression back to infantilism. Childhood is finally subdued and forgetfulness once more drowns in the soul’s vast expanse all gnawing and biting reproaches. The memories are all dead ... and the next drama has for its theme: When the dead awaken. But in little Eyolf they are already awake.... The dead, whom Ibsen carried in his breast, the corpse to which Rita refers so often.... The child in him is dead and now the man in him also threatens to die. It recalls the admission of impotence, described with such tremendous realism in the great Rita-Almers scene. The man in him dies and the woman in him persists with yearnings. A more detailed treatment of these endopsychic processes will be found in my book on Masochism (Translation by Van Teslaar, in preparation).
[11]. The following passage, from an observation by Hirschfeld, shows how early such fixation on the brother may take place, only to disappear, apparently, and to be mistaken for inborn homosexuality: “I hated boys and boyish games; my sister was my alter ego, while my brother, who was 13 years older and a very beautiful man, had powerfully charmed my childish, pure and innocent heart. I worshipped him for his physical beauty even more than on account of his sterling qualities. At the same time I grew continuously more sensitive in my overt attitude towards him. I remember clearly that during the 6th or 7th year my brother’s physical beauty caused me to shake before him with every fiber of my body in admiration as before some mystery revealed. At 10 years of age I wept through a whole night intoxicated with joy because it fell to my lot to lie down near his intoxicatingly sweet presence for rest. I had a feeling of shame such as I did not experience in the presence of my mother or sister. Clearly and deliberately, although unbeknown, of course, to him, I deified my brother from the 10th to the 15th year, and this worshipful attitude reached its highest from my 10th to the 12th year, when he married. I was disconsolately unhappy over it because that event removed him from our midst and I felt it was dreadful that he should lose his virgin beauty, as I thought.” (Hirschfeld, loc. cit., p. 46.)