The dream and the poetry

Nicholas Kegevic H.

Article based on the book " the Interpretation of the Dreams " of S.Freud, pertaining to Publishing Alliance

The intuitive judgments of the genius men have always attributed to the dream a meaning, in many texts it express the conviction that the onírica life locks up the key of the knowledge of the human core, like for example Nietzche, which in this sector is due to recognize to him like direct precursor of the psychoanalysis, that discovers analogous relations between the dream and the wide-awake life.

But the poets do not limit themselves to recognize the meaning of the onírica life for the knowledge of the men, but that knows to expose, on the essence of the dreams, things that have agreed with the results of the psychoanalytic investigation, antiquisima norm of the oníricos and " the keys of the dreams " to adapt the interpretation to the office of the subject, appear alluded in the poetic creations and commented with the indication of which the ideas of the day continue being developed in the dream, the opinion of which each individual dreams according to its interests and inclinations is expressed in form very approximated to the one of the principle of the accomplishment of desires. Nonsingle the continuation of the diurnal ideas in the dream and the sense wished by the subject, but also important second source of the dreams, the infantile life, has been guessed by the poets, like Lenau that describes the return of the so6nador to the infantile life, praising it as a consolador power and producer of desires of the dream,

Although the observation of the relations with the diurnal dreams and the discovery of the rest of the childhood a description of the manifest content is single, exist, however, subtle observations on the performance of latent oníricos factors and on corresponding instinctive dynamics to them, like for example in Goethe (12 of March of 1828)  : " There have been in my life times in which it still slept to me with tears in the eyes  ; but in my dreams they arrived to console to me and to make me the most amiable figures happy, and to the following morning it raised contentment to me and fortified ", in these words we found the transformation of the mood by investment of the affection, builds of the onírica processing.

The realizadora tendency of desires of the dream appears expressed in the work of Lenau, Savonarola, where the protagonist dreams about the delights of the paradise after undergoing in her prison the torture of the colt. The expressed conviction of the existence of a onírico sense opposed the manifest content does not back down before the extreme consequence of its application to the anguish dream, that it is related to repressed eróticos impulses, the dream of oppression, so compatible to the one of anguish, has been referred by Shakespeare, in the passage of Romeo and Julieta, the sexual act, " Is this one the witch who presses the chest of the girls who sleep mouth above and she teaches to support the weight to them of the men when they get to be women. The indicated dynamic conception in the theory of the anguish, according to which insatisfecho and the repressed thing of the psychic life tries to be made in the dream has found a poetic expression in Schiller or Grillparzer. Hebbel writes in dream of one night wild  : " dream helps to elements repressed of nature human to obtain his right..., and if it does not adapt to the law that prevails to us in the watch, breaks our customary weights and measures and solves all our forms of perfection and assimilation, is because it by itself constitutes the expression of a higher law ".

But the highest anticipation of the psychoanalytic theories on the dream is given again by Nietzsche in a passage of Aurora , titleholder " to live and to imagine ", in whom it is recognized the dream like an average one for the hallucinatory satisfaction of the instincts  : " perhaps this cruelty of the chance would imagine to us with alive colors still but if all the instincts could as fundamentally be satisfied as the hunger, that it is not contented with dreamed foods  ; but the considerable part but of the instincts, that is to say, which we called moral, is satisfied with it, if he is allowed to suppose that our dreams have the value and the sense of a compensation, until certain degree, on the accidental lack of so   ' fed during the day... These imaginations that provide to our instincts... a battle area and unloading, are interpretations of our nervous excitations during the rest. If this text, that, in general, usually is same the one night that another one, so receives varied commentaries and if the creative reason imagines today, for identical nervous excitations, causes different from those from yesterday, it must that the pointer of that reason to be different that the one from yesterday  ; another instinct that today was in his more alive high water and wanted to satisfy itself, to be used, to exercise itself and to unload ".

All these opinions on the essence of the dreams, that altogether form a theory of the onírico phenomenon very similar to the psychoanalytic one, are accidental products of the knowledge intuitive of the cores, to which the poet gives artistic form in his work.

For the psychoanalytic ones is specially attractive the fact that the dreams imagined by the poets and including in their works appear constructed under the empirically discovered laws and they are offered to the psychological observation like dreams really dreamed. Thus talking about to the French popular poetry, Mentz says  : " the dreams dreamed by a person in a same night always have been interlaced with others and represent an all unitary one ".

To undertaken a joint investigation on the dreams used in the poetic representation, single isolated studies one are not existed of which he is the one of Ottakar Fischer, the material chosen for this first investigation was the dreams of the work of Gottfried Keller, titled Enrique the Green one , who contains all a series of confirmations of the psychoanalytic theory of the dreams. There am a fragment of this investigation here  : " The dream reveals to the so6nador a great unconscious and unsuspected part of its heap of ideas, and with her, the true content of its hidden and shameful desires. It is in the dream where Enrique begins to long for his mother country, because in the watch he has not had time to give itself to his feelings. Everything what in the day remains neglected by the subject, happens to the first one I finish in the dream. It can say that all the dreams described in Enrique are nostalgia dreams. The novel is based on the mother relations - son, in the center of the dreams of Enrique we always found the memory of the mother and its desire to return next to her, but also the shame that produces to him to confess these thoughts ".

In Analysis of the dream of Egmont Alfred Robitsek it demonstrates that the dream attributed by the poet to its protagonist presents/displays before the analysis all the characteristics of a dream really dreamed. Dividing it in his elements one was able to discover his connections with ideas of the watch and diurnal rest, to interpret his symbolism, to find the hidden latent content behind the manifesto and to thus reveal his character of producer of desires.

Formerly one thought that the mortals to those who the Gods made object of their predilection received from them in the dream the poetic gifts, therefore she was believed of Homero and Hesiod. This idea continued until him time of Wagner when it wrote  : " to observe and to interpret our own dreams are poet work. Creedme  : the truest delirium of a man is the one that their dreams show to them ". Other times instead of appearing a substitute relation between the dream and the poetry we found a stimulating relation and until an identity, cases are included here in which arisen verses or rimas in the dream have demonstrated to have a great poetic value.

Around emphasis in the importance of the dream for the understanding of the artistic work was put, and it has seen that this he is average but the favorable one to understand the true essence of the artistic creation. This attempt to apply the psychology of the dream to the explanation of the aesthetic phenomenon has been undertaken by Artur Drews in its study the aesthetic relation and the dream, where it indicates that the symbolic activity, that is the nodule of the aesthetic conduct, is not but the activity of the conscience of the dream, that consists of creating symbols, having with objective form its subjective states and to transform them into images, figures and events. Thus also it postulates that the onírica conscience shows a diminution of intelligence until the infantile thing, rudimentary and the ingenuous thing, thus can consider the aesthetic conduct like a temporary return to the conceptions of the childhood of the humanity, for which all object appears equipped with life.

The dream is an involuntary poetic art .

2. The dream and the myth  :

During long time one has thought about the importance of the dream for the formulation of myths and fables. Rank has verified the exactitude of the analytical interpretation of myths in the question of the symbolism, the investigation of the myth of the birth of the hero demonstrated that the abandonment in a box or on waters represented the birth process symbolically. This way one became possible to refer to the psychology of the towns many apparently individual oníricos symbols, and to apply, on the other hand, the meanings deduced of the investigation of the dreams to the elucidation of mythical traditions. These diverse relations of the symbolism with the dream, the myth and the history of the civilization are to us clearly in the following example  : if today we found used the fire in the dream like love symbol, the study of the history of the civilization shows to us that this image had a meaning importantisima for the development of the humanity, and to ignite fire represented the sexual act sometimes. The sexual meaning extends little by little to everything what it enters in relation to the primitive sexual symbol, the chimney by where the stork drops to the boy transforms into a feminine symbol, and chimney-sweeper in a fálico symbol. Examples  :

A symbol of special importance to understand the myths, fables and dreams, is the representation of the parents by the people of the king or the queen, or of other people of high rank, thus it is as the myth of the hero uses as this means of representation to provide a free satisfaction of all reproach to the directed environmental impulses towards the parents. Example  :.... The conflict with the father by the possession of the mother constitutes the base of this fable group, thus this dreams would be symbolic expressions of the impulses of the Oedipus Complex.

In the individual psychic life usually they become towards the brother the jealous feelings, primarily oriented towards the father, we also found this in the calls brotherly fables, where a substitution of the father by the brother exists.

The detailed analysis of the traditions nonsample that all the myths do not expose their real meaning so openly as the fable of Oedipus, on the contrary are many in which the censurables optative tendencies that serves to them as base appear deformed and hidden under symbolic disguises, like in most of our dreams. In the formation of myths we return to find those mechanisms that the study of the dreams has revealed to us, osea, the condensation, the displacement of the affection, the personification of psychic impulses and its dissosciation and multiplication, and finally the stratification. If based on these knowledge we undo all the disguises and deformations, we will encounter the psychic reality of the unconscious fantasies that last in the dreams of the men. Thus the myths are coinciben like the deformed remainders of optative fantasies of whole nations.