scientific explanation of dream psychology. But I must dispute its completeness, for the psyche cannot be conceived merely from the causal aspect, but necessitates also a final view-point. Only a combination of both points of view—which has not yet been attained to the satisfaction of the scientific mind, owing to great difficulties both of a practical and theoretical nature—can give us a more complete conception of the essence of dreams.
I would like to treat briefly of some further problems of dream psychology, that border on the general discussion of dreams. Firstly, as to the classification of dreams; I do not wish to overestimate either the practical or theoretical significance of this question. I investigate yearly some 1500-2000 dreams, and this experience enables me to state that typical dreams actually do exist. But they are not very frequent, and from the view-point of finality they lose much of the importance accorded them by the fixed significance of symbols of the causal view-point. It seems to me that the typical themes of dreams are of far greater importance, for they permit of a comparison with the themes of mythology. Many of these mythological themes—in the study of which Frobenius has rendered notable service—are also found in dreams, often with precisely the same significance. Unfortunately the limited time at my disposal, does not permit me to lay detailed materials before you: this has been done elsewhere.[1] But I desire to emphasise the fact that the comparison of the typical themes of dreams with those of mythology obviously suggests the idea (already put forward by Nietzsche) that dream thought should be conceived from a phylogenetic point of view as an older form of thought. Instead of multiplying examples in explanation of my meaning, I will briefly refer you to our specimen dream. As you remember, that dream introduced the apple scene as a typical representation of erotic guilt. The gist of its purport is: “I am doing wrong in acting like this.” But
- ↑ “The Psychology of the Unconscious” (“Wandlungen und Symbole de Libido”). Moffat, Yard & Co.
