Delusion and Dream : an Interpretation in the Light of Psychoanalysis of Gradiva. Sigmund FreudЧитать онлайн книгу.

      Delusion and Dream : an Interpretation in the Light of Psychoanalysis of Gradiva

      PREFACE

      To Dr. G. Stanley Hall, President of Clark University, who first called to my attention the charm of Gradiva, by Wilhelm Jensen, and suggested the possibility of the translation and publication combined with the translation of Freud’s commentary, I am deeply grateful for his kindly interest and effort in connection with the publication of the book, and his assistance with the technical terms of psychopathology.

      In this connection I am also indebted to Dr. Smith Ely Jelliffe, who gave many helpful suggestions as a result of his thorough reading of the manuscript of the commentary.

      I wish also to express my profound appreciation to my friend, Miss M. Evelyn Fitzsimmons, for her generous help with the original manuscript and other valuable comments offered while she was reading the entire proof.

      INTRODUCTION

      Jensen’s brilliant and unique story of Gradiva has not only literary merit of very high order, but may be said to open up a new field for romance. It is the story of a young archæologist who suffered a very characteristic mental disturbance and was gradually but effectively cured by a kind of native psychotherapeutic instinct, which probably inheres in all of us, but which in this case was found in the girl he formerly loved but had forgotten, and who restored at the same time his health and his old affection for her.

      Perhaps the most extraordinary thing about the work is that the author knew nothing of psychotherapy as such, but wrought his way through the labyrinth of mechanisms that he in a sense rediscovered and set to work, so that it needed only the application of technical terms to make this romance at the same time a pretty good key to the whole domain of psychoanalysis. In a sense it is a dream-story, but no single dream ever began to be so true to the typical nature of dreams; it is a clinical picture, but I can think of no clinical picture that had its natural human interest so enhanced by a moving romance. Gradiva might be an introduction to psychoanalysis, and is better than anything else we can think of to popularize it.

      It might be added that while this romance has been more thoroughly analysed than any other, and that by Freud himself, it is really only one of many which in the literature of the subject have been used to show forth the mysterious ways of the unconscious. It indicates that psychoanalysis has a future in literary criticism, if not that all art and artists have, from the beginning, more or less anticipated as they now illustrate it.

      The translator is thoroughly competent and has done her work with painstaking conscientiousness, and she has had the great advantage of having it revised, especially with reference to the translation of technical terms from the German, by no less an eminent expert in psychotherapy than Dr. Smith Ely Jelliffe.

      PART I

      On a visit to one of the great antique collections of Rome, Norbert Hanold had discovered a bas-relief which was exceptionally attractive to him, so he was much pleased, after his return to Germany, to be able to get a splendid plaster-cast of it. This had now been hanging for some years on one of the walls of his work-room, all the other walls of which were lined with bookcases. Here it had the advantage of a position with the right light exposure, on a wall visited, though but briefly, by the evening sun. About one-third life-size, the bas-relief represented a complete female figure in the act of walking; she was still young, but no longer in childhood and, on the other hand, apparently not a woman, but a Roman virgin about in her twentieth year. In no way did she remind one of the numerous extant bas-reliefs of a Venus, a Diana, or other Olympian goddess, and equally little of a Psyche or nymph. In her was embodied something humanly commonplace – not in a bad sense – to a degree a sense of present time, as if the artist, instead of making a pencil sketch of her on a sheet of paper, as is done in our day, had fixed her in a clay model quickly, from life, as she passed on the street, a tall, slight figure, whose soft, wavy hair a folded kerchief almost completely bound; her rather slender face was not at all dazzling; and the desire to produce such effect was obviously equally foreign to her; in the delicately formed features was expressed a nonchalant equanimity in regard to what was occurring about her; her eye, which gazed calmly ahead, bespoke absolutely unimpaired powers of vision and thoughts quietly withdrawn. So the young woman was fascinating, not at all because of plastic beauty of form, but because she possessed something rare in antique sculpture, a realistic, simple, maidenly grace which gave the impression of imparting life to the relief. This was effected chiefly by the movement represented in the picture. With her head bent forward a little, she held slightly raised in her left hand, so that her sandalled feet became visible, her garment which fell in exceedingly voluminous folds from her throat to her ankles. The left foot had advanced, and the right, about to follow, touched the ground only lightly with the tips of the toes, while the sole and heel were raised almost vertically. This movement produced a double impression of exceptional agility and of confident composure, and the flight-like poise, combined with a firm step, lent her the peculiar grace.

      Where had she walked thus and whither was she going? Doctor Norbert Hanold, docent of archæology, really found in the relief nothing noteworthy for his science. It was not a plastic production of great art of the antique times, but was essentially a Roman genre production, and he could not explain what quality in it had aroused his attention; he knew only that he had been attracted by something and this effect of the first view had remained unchanged since then. In order to bestow a name upon the piece of sculpture, he had called it to himself Gradiva, “the girl splendid in walking.” That was an epithet applied by the ancient poets solely to Mars Gradivus, the war-god going out to battle, yet to Norbert it seemed the most appropriate designation for the bearing and movement of the young girl, or, according to the expression of our day, of the young lady, for obviously she did not belong to a lower class but was the daughter of a nobleman, or at any rate was of honourable family. Perhaps – her appearance brought the idea to his mind involuntarily – she might be of the family of a patrician ædile whose office was connected with the worship of Ceres, and she was on her way to the temple of the goddess on some errand.

      Yet it was contrary to the young archæologist’s feeling to put her in the frame of great, noisy, cosmopolitan Rome. To his mind, her calm, quiet manner did not belong in this complex machine where no one heeded another, but she belonged rather in a smaller place where every one knew her, and, stopping to glance after her, said to a companion, “That is Gradiva” – her real name Norbert could not supply – “the daughter of – , she walks more beautifully than any other girl in our city.”

      As if he had heard it thus with his own ears, the idea had become firmly rooted in his mind, where another supposition had developed almost into a conviction. On his Italian journey, he had spent several weeks in Pompeii studying the ruins; and in Germany, the idea had suddenly come to him one day that the girl depicted by the relief was walking there, somewhere, on the peculiar stepping-stones which have been excavated; these had made a dry crossing possible in rainy weather, but had afforded passage for chariot-wheels. Thus he saw her putting one foot across the interstice while the other was about to follow, and as he contemplated the girl, her immediate and more remote environment rose before his imagination like an actuality. It created for him, with the aid of his knowledge of antiquity, the vista of a long street, among the houses of which were many temples and porticoes. Different kinds of business and trades, stalls, work-shops, taverns came into view; bakers had their breads on display; earthenware jugs, set into marble counters, offered everything requisite for household and kitchen; at the street corner sat a woman offering vegetables and fruit for sale from baskets; from a half-dozen large walnuts she had removed half of the shell to show the meat, fresh and sound, as a temptation for purchasers. Wherever the eye turned, it fell upon lively colours, gaily painted wall surfaces, pillars with red and yellow capitals; everything reflected the glitter and glare of the dazzling noonday sun. Farther off on a high base rose a gleaming, white statue, above which, in the distance, half veiled by the tremulous vibrations of the hot air, loomed Mount Vesuvius, not yet in its present cone shape and brown aridity, but covered