Showing posts with label Jacques Lacan. Show all posts
Showing posts with label Jacques Lacan. Show all posts

Thursday, 16 October 2014

Freud - The Case of Little Hans

'A neurosis never says foolish things, any more than a dream'
- Sigmund Freud (1909)

Background
Interpreting the thoughts, feelings and dreams of a child is much more difficult than in adults - essentially, the mental processes of a child are all part of that child's internal life and therefore, intrinsically linked to their subconscious attempts to make sense of the world around them. Freud's analysis of the dream of Little Hans, reported in 1909, is a fascinating insight into how the subconscious mind of the subject was interpreted using the Psychoanalytic Theory. The case study beautifully illustrates the zeitgeist and pedagogic interests of the period in which it was published and in particular, provides an excellent example of Freud's theory of the Oedipus Complex in action. The case study was published in Freud's Analysis of a Phobia in a Five Year Old Boy (1909).

Freud was acquainted with the parents of Little Hans - his father Max Graf, belonged to Freud's Wednesday Circle and his mother was an erstwhile patient of Freud and both were supporters of Psychoanalysis as a useful therapeutic tool. Little Hans' real name was Herbert Graf (1903 - 1973) and he was an Austrian-American opera producer, born in Vienna. In the years prior to the publication of the Little Hans case study, Freud had requested that his associates assist him in collecting material relating to the sexuality of children and therefore, before Little Hans had even displayed signs of neurosis and phobia, his father had been sending Freud notes on his son's development. At the age of 5 years, Little Hans became a patient of Freud and the subject of Freud's extensive study of the Oedipus Complex and castration anxiety. 

At the age of 4 years, Hans was in a local park with the family maid when he witnesses the collapse of a horse carrying a heavy load. Hans became fearful of venturing outside the house and focused his anxiety on horses and heavily-loaded vehicles which he was afraid would fall over, causing a noise with their hooves. This fear was explained an 'equinophobia' - fear of horses and his father initially attributed the phobia to 'sexual over-excitement caused by his mother's caresses' combined with a fear of the large penises of horses. Freud did not reject this explanation, but encouraged Graf to explore further, specifically Hans' response to the birth of his younger sister and unsatisfied curiosity as to where babies come from. Freud felt that the image of the horse falling down - and Hans' fears that the fallen horse he had witnessed was actually dead, could be interpreted as a desire for the death of his father. A number of sexual and excremental fantasies were analysed during the case study, and Freud criticised the Grafs for not explaining reproduction to Hans. 

Freud's case study features Graf's notes on Hans' dreams, behaviours and answers to questions. Freud believed that the information gleaned about Hans confirmed his recent theories on child sexuality and also demonstrated the boy's anxieties over the birth of his sister, his desire to replace his father as his mother's sexual partner and emotional conflict over masturbation. The anxiety stemmed from incomplete repression and other defence mechanisms employed to combat impulses involved in his sexual development. Indeed, Hans' mental and emotional state improved after his father explained sex to him and the relationship between them strengthened. 

There are two phases to Hans' dream: (1) fear of horses and (2) fear of the boxes and containers the horses transported around Vienna. Hans was afraid that a horse would enter his room, bite him or fall over. Freud interpreted this dream as a fear of fear of his father and punishment for sexual impulses towards his mother. Because Graf was 'treating' his son and therefore acting as analyst, Freud believed that this was inhibiting and impeding Hans' treatment and thus, invited the child to meet him personally. Following his interaction with Hans, Freud was able to help Hans, who communicated his phobia and received an explanation from Freud. Following this, Hans developed a preoccupation with excrement, which Freud interpreted as being associated with child birth. Further, the omnibuses and boxes which had been part of his phobia were associated in Hans' mind with the arrival of babies, as he had originally been told that these were used by storks to deliver them to their new homes. Hans feared the arrival of yet another sibling, as this would further reduce the level of attention he received from his mother and he expressed a wish that his younger sister would die. He spoke of desires to have children of his own with his mother and his father being elevated to the status of grandfather. Freud believed the treatment of Hans to be successful when the child expressed two new fantasies: one in which he demonstrates that he has overcome his castration anxiety and another in which he acknowledges his desire to marry his mother, both of which coincided with the disappearance of his phobia. In 1922 Freud amended his case study to note that he had met with an adult Hans who was healthy and suffering no troubles or inhibitions. In Joseph Wolpe & Stanley Rachman, 'A Child Shall Lead Them' (or 'Psychoanalytic Evidence: A Critique Based on Freud's Case of Little Hans') in Rachman, Critical Essays on Psychoanalysis (1963), the authors suggest that the majority of material provided by Hans was planted in his head by the suggestions of his father and Freud.

The Dreams & Fantasies of Little Hans
In spring 1906, when Hans was less than 3 years old he became fascinated with his 'widdler' (penis) and those of other people. However, whereas 'widdler' was used to describe the body part responsible for the urination functions of both males and females, there appears to be little discussion as to the difference in form between the male and the female 'widdler'. Hans wondered if his mother had a penis and whether it was as big as a horse's, because a horse was large and so was his mother. When his mother confirmed that she did have a widdler (meaning place to urinate from) and asked Hans why he questioned this, he stated that he was 'only just thinking'. On one occasion around this age he had gone into a cow-shed and watched cows being milked, exclaiming: 'Oh look! There's milk coming out of it's widdler!'

Hans' mother was 3 months pregnant at that time (Hanna was born in October 1906), but his parents assumed Hans was unaware of the fact. Hans appeared to react calmly to the birth of his sister, stating on that day the stork would be delivering a baby because his 'mummy is coughing'. The explanation of the stork had been told to Hans by his parents in preparation for the arrival of his sister. When his mother went into labour, Hans had been moved out of the room, but could still hear the noises she was making - which he had mistaken for coughing. After witnessing basins of water and blood, Hans had remarked: 'but blood doesn't come out of my widdler'.

Shortly after Hanna's birth, Hans began to exhibit severe jealousy, which gradually began to lessen, with Hans feeling himself to be superior to her because her 'widdler is still quite small'. He also remarked that: 'when she grows up it'll get bigger alright'. On one occasion he responded to his father's question as to why he was laughing at Hanna by saying 'because her widdler's so lovely'. If someone remarked on how beautiful baby Hanna was, Hans would state scornfully 'but she's not got any teeth yet!' and whilst suffering from a fever, stated that he did not want a baby sister.

During this time, his mother had caught him with his hand on his penis and had told him 'if you do that I shall send for Dr A to cut off your widdler. And then what'll you widdle with?' Hans replied: 'with my bottom'. Hans seemed to classify all animate and inanimate objects according to whether or not they had a widdler (or penis). He associated horse penises and adult penises. Further, his parents noted that Hans appeared to be gaining some form of sexual satisfaction with urination and defecation. He expressed fantasies of having children on his own whom he would take to the toilet to make them widdle before wiping their bottoms. Freud suggested that Hans had constructed this fantasy because he had experienced a form of pleasure when himself had been taken to use the toilet by his own parents. He began to experience anxiety and shame about urinating in front of others and showed disgust at his bodily functions. Freud considered that Hans' fantasy about caring for his own children was a defence mechanism to help him cope with his repression.

Before the birth of Hanna, Hans and his parents had spent time in Gmunden (in the countryside) where Hans had formed an attachment to a girl named Mariedl. The Grafs feared that Hans would miss his happy life and many friends in Gmunden when they moved to Vienna, but he did not seem to be affected. Six months after his move (and around 3 - 4 months after the birth of Hanna), Hans recounted a dream to his parents, which they interpreted to be about him missing Gmunden:

Today, when I was asleep, I thought I was at Gmunded, quite alone with Mariedl.

Around this time, Hans was exhibiting strong attractions to all females around him, stating 'I want Mariedl to sleep with me'. Hans seemed lonely after the birth of his sister, fearing that he had lost his mother to his father as well as being unable to continue sleeping in their marital bed with them. Hans was eager to help bathing Hanna and was obsessed with the gender differences between him and her and possession of a penis. 

In the summer of 1907 (in Gmunden), Hans and Hanna were getting along fine. Max Graf informed Freud of a conversation which occurred between Hans and his mother whilst she was powdering his body and taking care not to touch his penis:

Hans: Why don't you put your finger there?
Mother: Because that'd be piggish
Hans: What's that? Piggish? Why?
Mother: Because it's not proper
Hans (laughing): But it's great fun!

Freud interpreted this incident as being an attempt by Hans at seducing his mother.

Hans was now 4 years and 3 months old. He recounted another dream to his parents:

Someone said 'who wants to come with me?' Then someone said: 'I do'. Then he had to make him widdle.

Graf interpreted the dream to Freud, saying: 'I was playing forfeits with the little girls. I asked 'who wants to come with me?' Berta or Olga replied 'I do' then she had to make me widdle.'

In January 1908 Graf informed Freud that Hans (now aged 4 years and 9 months) was suffering from a serious neurosis which Graf attributed to sexual over-excitement stemming from his mother's caresses. Shortly after the family had moved home, Hans had been given a bedroom of his own. Whilst Hans' father was away on business trips Hans would share his mother's bed. Hans had the following dream:

When I was asleep I thought you were gone and I had no mummy to coax (caress) with.

On 8 January 1908, Graf reported than Hans was unable to go out with his mother for fear that a horse would bite him - specifically a white horse. That day his mother had asked if Hans had been touching his penis, which Hans admitted and the following evening she had warned him not to do so again. Despite the threats of his mother, Hans continued to masturbate every day.

Freud believed these actions coincided with the establishment of Hans' anxieties and phobias. His affection and repressed erotic desires for his mother turned into anxiety - a pure anxiety, without fear and no object to focus on it on. 

Freud theorised extensively on the significance of the penis. At approximately 3 - 4 years old, the male infant becomes aware that the penis can be stimulated and is the source of pleasurable sensations. The developmental reasons are both psychological and neurological in nature and the boy is able to comprehend that the penis is central to sexual difference and his identification as a man. Sexual impulses and sensations are both enjoyable, but also subject to shaming and suggestion that it is a social taboo to find pleasure in touching or exposing the penis. During the phallic-narcissistic phase of the boy's development, he will often manifest great pride in his ability to urinate while standing, which increases his self-confidence, located in the penis and this is complimented by a corresponding fear that the penis will be lost or injured in some way ('castration anxiety') - perhaps by the father as punishment for desiring his mother. Freud interpreted Hans' fears of being bitten by a horse as a fear that he would be castrated by his father.

The penis holds significance for reasons other than mere sexuality and gender. The boy associates the penis with masculinity, the father and strength, and it's loss with submission, passivity and femininity - the boy will become aware that men and women are different because they have different genitals. The absence of a penis in the mother/females is associated with castration or a missing part - and therefore, inferiority. 

Oedipal anxiety - part of Freud's Oedipus Complex - is characterised by loneliness. The boy has left his infancy and cannot regain the 'dyad' relationship with his mother and father without submitting himself to some form of regressive passivity/submissiveness which contrasts with his identification as a 'man' by possession of the penis. The dyad relationship with his male and female parent bring pleasure, but cannot satisfy his aroused sexual impulses and instinctual drives. The sexual relationship between his mother and father is forbidden, hidden and secret to the boy - and when he learns that his own sexual behaviour is shameful, taboo and forbidden he associates sexuality with secrecy. The boy understands that his thoughts and feelings are hidden and internal - therefore secret - and the development of the inner mental world creates desires and fears. The boy idealises his father and strongly identifies with him as a 'man' - possessor of a penis. However, he also feels intense jealousy and hatred for his father. The mother is the provider of love and tenderness. The Oedipal male will therefore perceive the father as a rival for the affection, admiration and love of the mother. He wants to triumph over his father and 'win' his mother as his own love-object. This desire is accompanied by a fear of punishment by - and loss of - his father. Hans' fears about being bitten by a white horse were interpreted by Freud as representing retribution by his father for the attempt at usurping him. To not act on these contradictory impulses and drives renders the boy passive and actionless, caught in an impossible conflict. This Oedipal conflict dissipates over time as the boy learns to accept the special relationship between his mother and father and the fact that he is left outside of this.

Hans' had a deep fascination with the large penises of animals and this was coupled with a fear that a white horse might bite him in a special way. These horses had something black around their mouths. Hans said: 'There is a white horse at Gmunden that bites, if you hold your finger to it, it bites'. Around the time that Hans made this statement he underwent minor surgery to remove his tonsils. Freud thought that the 'white things' related to sheets and therefore, the hospital environment. Allegedly, Hans had overheard a father warning a child not to put their finger towards the 'white horse' because it would bite. Freud interpreted the finger being held to the white horse and the white horse biting as associated with the act of masturbation, but later dismissed this notion. 

Hans had a growing obsession with penises and the difference between boys and girls. On 14 March 1908 Hans' communicated to his father a 'masturbation fantasy' which was dream-like in quality:

I put my finger to my widdler, just very little. I saw Mummy, quite naked in her chemise and she let me see her widdler. I showed Grete (a playmate in Gmunden), my Grete, what Mummy was doing, and showed her my widdler. I took my hand away from my widdler quick.

One day Hans stated 'my widdler will get bigger, it's fixed in, of course'. Freud believed that Hans felt anxiety about his small, insufficient Oedipal penis. After noticing that females do not have penises, he has developed a strong castration anxiety.

On 27 - 28 March 1908, Hans recounted a dream, although he told his father: 'I didn't dream. I thought it. I thought it all. I'd woken up earlier':

In the night there was a big giraffe in the room and a crumpled one; and the big one called out, because I took the crumpled one away from it. Then it stopped calling out; and I sat down on top of the crumpled one.

Freud thought that Hans was talking about his Oedipal fantasy, where he steals the mother giraffe from the father giraffe and possesses her. A few days later, Hans tells his father of two more thoughts he has, but it is unclear whether he is describing waking fantasies or dreams:

I was with you at Schonbrunn where the sheep are; and then we crawled through, under the ropes, and then we told the policeman at the end of the garden, and he grabbed hold of us.

I went with you in the train, and we smashed a window and the policeman took us off with him.

Freud thought that boys utilise Oedipal defences. If the Oedipal situation becomes too overwhelming and shameful for the boy, then he may react with too much bravado, bombast and phallicism. Sexual and generational difference become symbols of superiority and supremacy and in the boy's subconscious, the strength of the father is associated with aggression, power and violence. The mental images of reciprocal and sexual love are replaced with force, violence and desire for superiority. In excessive circumstances, phallic pleasure becomes more important than reciprocal love and the violation of limits and use of violence seem to represent freedom and power. 

When Freud met Hans, he asked if the frightening horses had black moustaches and glasses, like Hans' father. It appeared to Freud that Hans feared his father because he desired his mother. The horse clearly represented Hans' father - the black bits (harnesses) around the mouths of white horses were associated with Graf's moustache, while the blinkers worn by horses were associated with Graf's glasses. On one occasion, following a conversation, Hans had said to his father: 'Daddy, don't trot away from me!' and also told his father 'Daddy you are so lovely. You are so white'. Graf and his son had often played horses together, with Hans riding his father, the 'horse'. Graf discussed the children's playtime which had place in Gmunden, and had involved horse games as well as a keen interest in each others' widdlers.

The fact that fear of, and love for, the same object (the father) created a conflict within Hans, and after Freud offered his interpretation, the boy's fears and anxieties seemed to resolve somewhat. However, Hans' more general fear of horses appeared to be changing. He seemed to focus his fear on horses that fall down because their load is too heavy; or horses than turn around/kick with their legs. Freud found that references to sexual thoughts and primal scene associations were clear and obvious, meanwhile Hans' parents thought that there was some association to faeces (which were known to Hans as 'lumpf'), because Hans was experiencing difficulties in defecating, a problem which was being treated using enemas and aperients.

When Hans saw his mother's yellow knickers he reacted with disgust. When asked by his father, Hans denied that he associated the colour yellow with faeces/lumpf. The colour of his mother's knickers continued to preoccupy Hans, and he told his father of a thought he had:

She took off the black drawers when she went out, when she came back she put them on again.

Freud wondered about Hans' desire to go to the toilet with his mother to see her widdler/lumpf. His disgust at his mother's knickers was accompanied by a form of spitting behaviour. Hans explained: 'I spit because the black drawers are black like a lumpf and the yellow ones like a widdle, and then I think I've got to widdle'. Graf persisted with questioning Hans further, but was only able to uncover the fact that Hans associated the noise of a horses hooves or his own stamping feet with the flushing of a toilet after defecation has taken place, and the trickling of water with his widdler.

On 11 April, Hans told his father of another dream-fantasy:

I was in the bath and the plumber came and unscrewed it. Then he took a big borer and stuck it into my stomach.

Graf interpreted the dream to Freud as 'I was in bed with Mummy. Then Daddy came and drove me away. With his big penis he pushed me out of my place with Mummy.' Freud interpreted the dream in an even more primitive sexual way: 'with your big penis you bored me, and put me in my mother's womb'.

The bath dream filled Hans with a fear of falling into the bathtub and Graf perceived this to be a desire that Hanna might have an accident whilst in the bath and die. He asked Hans: 'when you were watching Mummy giving Hanna a bath perhaps you wished she would let go of her so that Hanna should fall in?' to which Hans replied: 'yes'. Freud interpreted this as meaning Hans had a death-wish towards both his father and his sister - if they were permanently gone then he would be the sole object of his mother's affections and he could have her to himself. Hans' difficulty in accepting Hanna's birth had been compensated for over-affection and actively helping to bathe her. Hans had verbalised his wish that she might die so that he could have his mother all to himself. Hanna's birth had preoccupied Hans and he had fantasised about her being in a box even before she was born. Freud thought that Hans had understood that his mother was pregnant and that the story about storks bringing babies in boxes was nothing more than a fairytale - indeed, Hans had told his father that he doubted the story of the stork. Hans' fears of a horse falling down were associated with anxiety about childbirth and fear of his father's death. According to Freud's theories on early sexual intuition in children, childbirth, babies and faeces are often linked in the child's subconscious, and thus, Hans' anxieties were centred around the birth of Hanna. 

Freud interpreted Hans' fear of the bath as being anxiety that he would be punished for his thoughts. Hans associated Hanna with faeces and birth with defecation. All furniture, buses and carts were associated with pregnancy and the cart falling over, symbolised childbirth. Hans' fears of falling horses were linked to thoughts of his father's death and his mother in childbirth. While Graf was discussing the idea of the death of the father with Hans, the boy knocked over a toy horse, further cementing the interpretation which Graf had constructed and discussed with Freud. Freud later reinterpreted  Hans' phobia as being a fear of castration which was seen by the ego as dangerous, therefore releasing 'signal anxiety' which activates ego defences and repression of the desire to kill his father. Instead, the subconscious makes a series of associations, through which his thoughts re-emerge in the form of a wholly irrational, but more acceptable, fear of being bitten by a horse. A horse can be avoided more easily than his father can. Hans is also able to master his anxiety by inhibition: his refusal to leave the house means that his ego no longer needs to produce signal anxiety and he is able to free himself from the love/hate conflict he experiences towards his father.

Hans experienced another dream about the plumber:

The plumber came and first he took away my behind with a pair of pincers, and then he gave me another, and then the same with my widdler. He said: 'let me see your behind!' and I had to turn around and he took it away; and then he said 'let me see your widdler'.

Graff interpreted this as Hans longing to be like his father and questioned whether Hans wanted a bigger widdler and a bigger 'behind'. Hans answered that he did and added: 'I would like to have a moustache like yours and hair like yours'.

I did ask the coachman at Gmunden if I could take the horse and whip it and shout at it.

Hans told Graf that this story was not what he truly wanted - he wanted to whip his mother instead. Hans was conflicted as to whom was angry or jealous towards whom - his mother or his father. He said: 'the horses are so proud that I am afraid they'll fall down'. Graf was able to draw from Hans the fact that 'father' was proud and angry at Hans and so the beating/whipping of the mother was directed at the father as well. Hans still had hostile thoughts that he associated with sexuality:

A street-boy was riding on a truck and the guard came and undressed the boy quite naked and made him stand there till next morning, and in the morning the boy gave the guard 50000 florins so that he could go on riding on the truck.

The same day, Hans was playing in his room...

...with an India-rubber doll which he called Grete. He had pushed a small penknife in through the opening  to which the little tin squeaker had originally been attached, and then he had torn the doll's legs apart, so as to let the knife drop out. He said to the nursemaid, pointing between the doll's legs: 'Look, there's it's widdler'.

Hans' game was interpreted as being due to his curiosity about childbirth and told Hans about chickens laying eggs and how chicks emerge from them. Hans told his father that in Gmunden, he had witnessed his father laying an egg, which his father expressed doubts about. Hans then expressed that it was he who had laid the egg, out of which had come a tiny Hans. Freud suggested that Hans had some understanding of sexual intercourse and birth, but his parents' use of lies so as to avoid explaining the truth of sex and reproduction had confused the boy. Soon thereafter, Graf explained reproduction to Hans and noted that Hans appeared to want to have babies of his own and was disappointed that he was biologically unable to give birth. He seemed to become obsessed by loading and unloading boxes (acting out the process of childbirth) and also hypothesised that childbirth must be like defecation, thereby constructing an idea of fecal birth. 

Graf had the following conversation with Hans:

Father: You are a little vexed with Daddy because Mummy is fond of him and you'd like to be Daddy yourself. When you got into bed with Mummy at Gmunden did you think to yourself that you were Daddy and then you felt afraid of Daddy? You thought then that if only Daddy were to die, you'd be Daddy.
Hans: You know everything.
Father: You'd like to be Daddy and married to Mummy, you'd like to be as big as me and have a moustache and you'd like Mummy to have a baby.

When Graf asked Hans about his imaginary children and whether they were still alive, he reminded him 'You know quite well that a boy can't have any children' to which Hans responded: 'I know. I was their Mummy before, now I am their Daddy'. He stated that his mother was now their mummy and 'You're their Grand-daddy...then my Lainz Grand-mummy (Graf's mother) will be their Granny!'

Hans appears to cope with his conflict over his father by making Graf a grandfather character and marrying him to his own mother. 

Under Freudian theory, the child's transference from the dyadic to triadic relationship creates problems as the child becomes aware that his parents share a different kind of relationship from that which he experiences. The birth of a sibling creates a further conflict within the child's ego because he is forced to confront the issue that he was not enough for his parents and their attention has been divided. The child has an implicit memory of the pleasurable intimacy he once shared with his mother when he was an infant, and this creates a sensual impulse as well as a fear of loss. The child wonders who is responsible (guilty) for the birth of a younger sibling - whether it was an accident or the joint will and desire of both parents - solving the mystery of childbirth would solve the mystery of guilt. At first, the child blames the father for the birth of the baby, and implicitly the sexual power the father possesses. When the child discovers that his mother has sexual desires of his own, the Oedipal conflict reaches a climax. Sexuality will remain a mystery to the child until puberty and usually, the child will transfer into a latency period. Hans' complex fantasy about his imaginary children had demonstrated his mastering of the Oedipus Complex - instead of needing to kill his father, he had simply married his father to his grandmother.

Melanie Klein reconsidered the case of Little Hans in The Psychoanalysis of Children (1932), supporting Freud's view that childhood conflicts might indeed have their roots in the phallic stage of psycho-sexual development, although she also theorised that children may experience subconscious desires and anxiety long before they commence the phallic stage, although she was unable to offer any concrete evidence. Klein reads the case of Little Hans as an example of how the ego reacts to confrontation with danger and the fear of violent objects, both external and introjected. Her focus is on aggression which must be projected and introjected in the correct amounts. At the root of an animal-based phobia such as that experienced by Hans, is an internal danger - a fear of the individual's own destructive forces and his introjected parents. Anxieties are an attempt to resolve the terrifying conflict between the anally retentive super-ego and the sadistic id - first by ejecting them into the external environment and then displacing them onto an animal - usually in a modified form. Hans' anxieties were primitive and stemmed from the early mother-child relationship - hence her re-reading of Little Hans is consistent with her 'Maternal-Oedipus' theory.

In John Bowlby, Attachment and Loss (1973), the author turns his attention to Freud's case of Little Hans, suggesting that Freud's interpretation of childhood phobia was wrong: the child does not fear the presence of a situation so much as the absence of a secure base and therefore, the phobia can be interpreted as a reaction to separation anxiety. Psychoanalytic theory stated that separation anxiety is likely to vary in individuals as a result of them possessing different constitutions (greater libidinal need or stronger death instincts), but Bowlby disagreed, stating that children with separation anxiety tend to deal with greater parental hostility and threats or actual experience of rejection/loss of love. There was evidence that Hans was experiencing a form of anxious attachment and feared that he would be relegated to a subordinate position or overlooked when his baby sister arrived. 

Jacques Lacan (1957) also revised the Little Hans case, interpreting the early mother-child relationship (a 'mirror-relationship') as 'pre-Oedipal' and dual in nature. However, the mother and child never really have a dual, pre-Oedipal relationship because the relationship has always been triangular in structure - although the third point is not the father, but instead the 'imaginary phallus' which the mother desires - a role the infant fulfils. Lacan suggests that two crises befell Hans - he discovered that the penis was real and the birth of his sister. When his mother scolds him for masturbating, Hans perceives this as her rejection of his penis and of him. In On Narcissism (1914) Freud had already theorised that the mother's lost narcissism finds completion in the baby-as-penis. The female is deprived because she lacks a penis. 

The disruption of the mirror-relationship the infant shares with his mother is caused by the child realising that his mother does not have a penis and that he cannot satisfy her desire. His fear therefore, is not directed at his father, but instead his mother - Hans is striving to break out of the symbiotic relationship he shares with her and requires a symbolic father figure to intervene. Her lack of penis - symbolised by a 'gaping hole' causes anxiety as he is 'dislocated' on the cusp of his entry to the complete Oedipus Complex. The intervention by the father - who holds a true claim to possession of the phallus desired by the mother - is interpreted as a symbolic castration of the child. The conflict of the child being the phallus for the mother and identifying with the father on a symbolic level, while becoming a desiring subject means that the transition does not always occur smoothly. Discussing the 'paternal metaphor', Lacan suggests that the intervention by the father may be unsettling, but the child may be equally unbalanced  by the absence of a real father and therefore a substitution of something else is required, creating a neuroses. 

In failing to step in between Hans and his mother and unsatisfactorily explaining the role of the father in making babies, Graf unsuccessfully performed the role of mediator of the mother's desire, leaving Hans anxious and conflicted. It is not the threat of the father which causes Hans such anxiety, but rather his desire for his mother, which is unsatisfied and not limited by laws laid down by his father. Thus, Hans' anxiety forms terrifying imaginary figurations which appear to be dominated by oral cannibalism - the devouring mother, which is associated with his fear of being bitten by a horse. The horse is therefore not a symbol of the father, but actually a substitute for the father. Phobias are a way of binding anxiety - a defensive mechanism which enables the individual to transfer uncontained anxiety by focusing it upon a specific object. Hans' anxieties are a form of existential angst - a nameless dread which occurs because he is poised precariously between the imaginary Oedipal triangle of mother-child-phallus relations and the symbolic Oedipal quadrangle of mother-child-phallus-symbolic father. In his intervention with Hans (largely because he felt that Graf's 'analysis' of his son was hindering his treatment and therefore failing), Freud enables the full installation of paternal law which enables him to overcome his phobia.

Thursday, 5 January 2012

Jacques Marie Émile Lacan’s psychoanalytic re-interpretation of Freud's "Irma's Injection" dream

Lacan was a French philosopher, psychiatrist and psychoanalyst who described his approach as ‘Freudian’, with his own paradigm sharing many features particular to Freud’s own theory – such as castration complex; the ego; identification; language as a subjective perception etc. Between the years 1954 – 1955 he gave a series of lectures on Freudian psychoanalysis, and specifically, re-interpreted Freud’s “Irma’s Injection” dream (see earlier post for the dream text and Freud's own interpretation.
Jacques Marie Émile Lacan (1901-1981)
Lacan too grants the “Irma’s Injection” dream special importance, calling it “the dream of dreams”, but he begins his re-interpretation by making the point that he wants to distinguish his approach from that taken by his contemporary Heinz Hartmann, in not trying to make the dream synchronise Freud’s thought at this stage of his work – 1899 – with  that of his later work. Lacan’s attacks on ego psychology - a theoretical elaboration of psychoanalysis most associated with Hartmann and ascending to dominance in the IPA at the time Lacan delivered his lecture, were sustained and robust. The specific critique Lacan makes is simply propose that we examine Freud’s dream as a response to research questions that occupied him all throughout his life, so that whether he is ‘right’ or ‘wrong’ from our perspective is neither here nor there. What matters is the question Freud is asking, and how we find this same question reframed later on.

Lacan’s most immediate critique however is of the developmental psychologist, also a contemporary, Erik Erikson. The latter contributed a paper for the Journal of the American Psychoanalytic Association entitled The Dream Specimen of Psychoanalysis, which revisited the dream of “Irma’s Injection”, in the year before Lacan delivered his own lecture. Whilst Erikson’s paper is very illuminating of the many suggestive ambiguities present in the German terms Freud chooses in his narration of the dream (many of which are lost in the translation to the English in the Standard Edition), Lacan is dismissive of this ‘culturalist’ reading as a method by which to approach the dream. Erikson is trying, he claims, to mine all the cultural undertones of the individual dream elements as Freud narrates them in order to map the development of Freud’s ego through general stages that Erikson was famous for having plotted. But Lacan believed that if we are going to revisit this dream it should not be so that we can learn something about the development of the ego, or by extension, Freud’s psychology. As he puts it, “This [Erikson's] culturalism converges quite singularly with a psychologism which consists in understanding the entire analytic text as a function of the various stages in the development of the ego”. In other words, reading the cultural specificity of the dream as giving an indication of the dreamer’s psychology is the wrong approach. As Lacan repeatedly argues in Censorship is not resistance, psychoanalysis - in practice and in theory - cannot be reduced to a psychology, as its object is not an individual’s psyche. On the contrary, for Lacan the essence of the Freudian discovery is “the decentring of the subject in relation to the ego”. He asserts that the dream is extra-psychological: 

“You must start from the text, start by treating it, as Freud does and as he recommends, as Holy Writ. The author, the scribe, is only a pen-pusher, and he comes second.”

Lacan is only able to relay the same information about the real-life ‘Irma’ as was offered by Freud in his own analysis. There is a general consensus nowadays amongst Freudian scholars that ‘Irma’ was Anna Lichtheim (nee Hammerschlag), the daughter of Freud’s Hebrew teacher and family friend. Whilst Freud’s letter to Abraham about the dream in 1909 does indeed mention an ‘Anna’ as one of the characters in the dream, Freud tells us in his analysis of the dream that the patient’s family name, not first name, bears a resemblance to an association he has to the word ‘Ananas’. This may have been a device used by Freud to provide ‘Anna’ with a veil of anonymity. Lacan notes that the difficulty Freud encounters in her treatment is the result of a counter-transference at the origin of which is Freud’s frustration to get Irma to accept his explanations for her suffering. At this stage in his work, Freud assumed that all that was necessary for the cure to be effected was for the patient to accept his explanation, which we can guess from this point in the development of his thought (July 1895) centred around the theory of seduction at the origin of the neuroses, a theory which he did not abandon until two years later in 1897. The persistence of Irma’s suffering in the form of vomiting attacks are therefore her own fault - a signal of her failure to accept what he tells her. At the time of the dream he has therefore broken off the treatment, but on the day of the dream itself his friend Otto visits and gives him an update on Irma’s condition that implies that she is well, but could be better. Despite this detected rebuke, Freud is characteristically sure of the solution he has provided to Irma. Lacan tells us that the signifier here, Lösung (‘solution’) has the same ambiguity in German as it does in French and English – it can be taken as the solution to a conflict as much as a solution that is injected. However, Lacan believes that Otto’s words are the catalyst that precipitates the dream, and although we know from Freud’s account that he spends the evening of the same day writing up an account of the treatment for a fellow doctor in his circle which he hopes will exonerate him, perhaps the dream indicates something not quite resolved from this exercise. The lingering effects of Otto’s words are picked up on by Lacan, and he refers to a passage in a letter to his then fiancĂ©e dated 30th June 1882 in which Freud remarks that it is not so much the events of the day themselves that form dreams, but those that have been cut off, prematurely abandoned or abridged. Lacan appears to believe the origin of the dream, in the form it takes, lies in the fact that something was left unsaid in this exchange with Otto. As we know, Lacan uses this effect of interrupted speech – known as the ‘Zeigarnik effect’ – to great effect in his practice of the variable-length psychoanalytic session (the time of each session would be deterimined by Lacan - sometimes a session would last the entire 50 minutes' others just several minutes or even seconds, taking place as a partical exchange in the waiting-room. Lacan's controversial techniques were a stark alternative to psychoanalysis' traditional '50-minute hour' as preferred by Freud and his successors.

Lacan states that Freud’s interpretation of his own dream was “to be relieved of his responsibility for the failure of Irma’s treatment”. However, Lacan is interested in another question:

“But the question in my view is rather more like this – how is it that Freud, who later on will develop the function of unconscious desire, is here content, for the first step in his demonstration, to present a dream which is entirely explained by the satisfaction of a desire which one cannot but call preconscious, and even entirely conscious?” 

Given that the desire expressed in the dream (as it is interpreted by Freud), requires no more special conception of desire than the one we use in popular understanding, why does Freud choose this dream to open his book on dreams? It is surely not a very good demonstration of the central theory. This is an oddity that has been noted by other analysts that have examined the “Irma’s Injection” dream, and others published in the Interpretation of Dreams – if the dream expresses an unconscious wish that is usually sexual, where is it? Most prominently, the psychologist Hans Eysenck has written of this in his attack on Freudianism, The Decline and Fall of the Freudian Empire (1985):

“The wish involved in the dream is a perfectly conscious and present one, and this goes completely contrary to Freud’s hypothesis. Thus we have the odd but often repeated situation that facts are offered us as proof of the correctness of Freudian theories when in fact they serve to disprove them...One of the oddities of The Interpretation of Dreams is… the fact that all the dreams quoted by Freud in his book as illustrating and proving his theories, in fact do the opposite; none of them is based on wishes arising from infantile repression, and hence his chosen examples serve to disprove his own theory.” 

Whilst Lacan evidently does not disagree with this criticism as such - “since in the end it is only a preconscious desire which emerges”– his point about bearing in mind the difference between the ego and the subject in looking at the dream should make us wary of expecting the dream to tell us something about the desires and intentions that we might try and attribute to Freud’s ego. Desire, for Lacan, is not located at the level of the ego but at the level of the Other, so for him we cannot take the dream as an indication of what Freud is ‘really thinking’. Lacan does not want to just re-analyse the dream, which he says is a futile task because Freud’s associations end despite his admission that there is more to say. Rather, Lacan says he wants to “take this dream and the interpretation which Freud gives of it as a whole, and see what it signifies in the symbolic and imaginary orders”. The dream, and the interpretation of the dream, are bound up together, a binding which he says he can conceptualised through his categories of the imaginary and the symbolic:
  • iS – imagining the symbol, putting the symbolic discourse into a figurative form, namely the dream.
  • sI – symbolising the image, making a dream interpretation.
So the dream itself is a ciphering of the discourse of the Other into the manifest content of the dream (iS), whilst the interpretation of the dream is a putting into words or signifiers of the manifest content of the dream. This does not aim at sense-making, however. The interpretation does not simply retrace the signifiers or impressions of the previous day that have been ciphered into the dream; it dredges them back up and re-orders them, to make a sense different from the latent thoughts, one that does not necessarily refer to the day-residues. Lacan is using these categories of the imaginary and the symbolic to demonstrate how to avoid one of the impasses in Freud’s thought, namely, how Freud conceives of the hallucinated satisfaction in dreams as a regression to perception (the left end of the schema of the psychical apparatus).

Lacan argues that “if he [Freud] already could have used the term imaginary, then it would have removed a large number of the contradictions” in the hypothesis of regression that Freud employs to explain what goes on in the dream.

Returning to the dream itself, Lacan notes the fact that Freud’s associations centre on the resistance displayed by Irma. We assume that Lacan is referring to the resistance put up by Irma in the dream, against Freud’s conducting an examination by looking down her throat – as opposed to her resistance to Freud’s treatment – although the former is described as “recalcitrance” by Freud. In connection with this scene in the dream, Lacan also draws our attention to associations Freud makes to two other women besides Irma, whom he describes as “despite being symmetrical, are nonetheless problematic”. The first is his wife, who does not feature in the dream but is associated with its scene – the hall in the Bellevue pension – because this is where they plan to host the celebrations for her birthday, to which Irma amongst others is invited. The second is someone Freud describes as Irma’s “intimate woman friend of whom I had a very high opinion”. He suspects her of being a hysteric, like Irma, says that she suffers from hysterical choking, also like Irma, and that whilst he would like to have her as a patient she is very “recalcitrant”, the same word he uses to describe Irma’s attitude in the dream. So we see that  three women now feature in the dream’s latent thoughts – Irma, her friend, and Freud’s wife. Lacan believes that:

“If Freud analysed his behaviour, his responses, his emotions, his transference at every moment in the dialogue with Irma, he would see just as easily that behind Irma is his wife, her intimate friend, and just as easily the seductive young woman who is just a few steps away and who would make a far better patient than Irma”.

We then come upon what we might consider the first of two highpoints of the dream – the point at which Freud gets Irma to open her mouth so he can examine inside. Both Lacan and Freud note the obvious association to speaking and revealing things, which Freud does not get from Irma but believes he could get from her female friend. “Her friend would have been wiser”, says Freud, “that is to say she would have yielded sooner. She would then have opened her mouth properly, and have told me more than Irma”. Lacan believes that this point in the dream is rich with associations - “Everything blends in and becomes associated in this image, from the mouth to the female sexual organ by way of the nose” – and indeed Freud himself admits in a footnote that he could take the associations further along the line of the three women but does not want to. He does however note that the white scabs he sees in Irma’s mouth remind him of the turbinal bones of the nose, and expresses the fear that he might be damaging his own through frequent use of cocaine.

However, it is probably best to be careful about attributing too many associations to what Freud sees inside Irma’s mouth. Lacan recognises in it associations to the mouth and what does or does not come out of it, the nose, the sexual organs, but in Freud’s text the only associations Freud notes are to himself and another patient regarding their use of cocaine, and to his daughter’s diphtheria. Although we can assume that the nose had a sexual significance for Freud – given the importance attached to it as a sexual organ by his then close friend and colleague Fliess – it is interesting that Freud does not elaborate upon this point. Moreover, the associations that Freud does make to it suggest that it is wrong to perceive the experience of looking into the mouth as a manifestation of the Lacanian ‘Real’. Even if he does later describe it as a “horrific image” can this really be taken as a manifestation of the Real, given that Freud never says that he finds what he sees disturbing? There are too many associations attached to the scene to label it as being an experience of the Real – the Real being the domain where words fail – and, as Lacan credits Erikson for noting, it is important to remember that rather than waking up in horror Freud carries on dreaming.

However, Lacan takes the opportunity to elaborate his critique of Erikson’s handling of the dream at this point. Erikson’s research had tried to analyse the dream as representing a particular stage in Freud’s ego’s development, which he there labels “a reflection of the individual ego’s peculiar time-space” and later says that “the Irma Dream and its associations clearly reflect a crisis in the life of a creative man of middle age. As the psychosocial criterion of a successful ego synthesis at that age I have named a Sense of Generativity”. Lacan calls these “psychological diversions”, and we can note again Lacan’s eagerness to distinguish his conception of analysis from anything that might be considered the psychological. He says the different ego-stages that Erikson maps out in his paper – and for which he is famous (the ‘Eight Stages of Man’) - “goes against the very spirit of Freudian theory. On the contrary, Lacan - who claims fidelity to Freud on this point - defines the ego as “the sum of the identifications of the subject, with all that that implies as to its radical contingency. If you allow me to give an image of it, the ego is like the superimposition of various coats borrowed from what I would call the bric-a-brac of its props department”. In other words, contrary to Erikson’s conception, the ego does not evolve.

As if to underline this point, in the following scene of the dream Lacan says that Freud’s ego disappears completely - “from this point on, it’s no longer a question of Freud”. The appearances of the three doctors – Dr M, Leopold and Otto – represent “the site of an identification whereby the ego is formed”. Their differing explanations as to Irma’s suffering, whilst contradictory together, taken in their singularity function to absolve Freud of blame for the failure of her treatment. Like Freud, Lacan pays close attention to the figures of the three doctors in the dream. Freud’s associations to Dr M are of his senior position in Freud’s professional circle and in relation to Freud himself. Freud recalls an incident in which he was culpable of malpractice and called on the assistance of Dr M, just as calls for his immediate assistance in the dream. Dr M.’s physical appearance in the dream also reminds Freud of his older half-brother, Philippe. Lacan makes much of this connection to Freud’s own family and its senior male members in relation to the three doctors in the dream. Freud’s two older brother, Emmanuel and Philippe, were “already old enough for each of them to have been the father of the little Freud, Sigmund, who was born to a mother exactly the same age as Emmanuel”. Thus, Freud’s two older brothers from his father’s first marriage incarnate the problem of paternity, and more precisely, of whose woman the mother is. According to Lacan, in their pseudo-paternal position they dilute the function of the father, sharing it with the actual father, Jakob Freud, with the effect that “the symbolic father remains intact thanks to this division of functions”.  This strange family constellation into which Freud was born is given accorded capital importance by Lacan, who tells us that “If Freud’s induction into the Oedipus complex was decisive for the history of humanity, it is obviously because he had a father who already had two sons from a first marriage”. With respect to the other two doctors, Leopold and Otto, Freud associates their rivalry, the two being related and both practising as physicians in the same field. Of the three characters, Lacan summarises their relationship to Freud thus:

"Dr M. represents the ideal character constituted by the paternal pseudo-image, the imaginary father. Otto corresponds to the character who played a perennial role in Freud’s life, the intimate, close friend who is both friend and enemy, who from one hour to the next changes from being a friend to being an enemy. And Leopold plays the role of the character who is always useful to counter the character of the friend-enemy, of the beloved enemy”.

We can therefore represent the male characters from the dream; the male characters from Freud’s life; and also, the female characters referred to above into a tripartite model. Lacan calls this the “mystic trio” and asserts that the presence of these three characters hints at death. He draws our attention to Freud’s association to a patient he inadvertently poisoned, and whom had the same name – Mathilde (Matilda) – as Freud’s own daughter. For Freud the fact that each of these three characters are connected by similar situations means that the three characters are interchangeable. As he puts it, “The identity of these situations had evidently enabled me to substitute the three figures for one another in the dream”. He also draws our attention to Freud’s paper The Theme of the Three Caskets (1913). The suitors of Portia in Shakespeare’s The Merchant of Venice must choose between three caskets in order to marry her. Freud refers to three women in this context, one of whom is mute, which he claims symbolises death.

Lacan locates the second highpoint of the dream as coming with the emergence of the chemical formula for trimethylamine, which Freud sees printed in heavy type before him. In the text of his dream, this is the substance that Otto has injected Irma with, and which at the end of the dream Freud isolates as showing that Otto is to blame for Irma’s illness: “Irma’s pains had been caused by Otto giving her an incautious injection of an unsuitable drug – a thing I should never have done”. Thus, Freud is exonerated, and the desire of the dream is just that. On the signifier itself though, Freud associates the aspect of sexuality, both from Fliess, who believes this substance to be a product of the sexual metabolism, and also to the person of Fliess himself, a trusted friend who is receptive to Freud’s views on the sexual aetiology of the neuroses at a time when few others are. As an ear, nose and throat specialist, he also connects to the examination of Irma in the dream, in which Freud stares into her mouth but encounters the turbinal structures found instead in the nose. For Lacan, “This explains everything trimethylamine”. He compares its sudden and autonomous appearance to the Meme, Tekel, Upharsin from the Book of Daniel - the writing on the wall which appears mysteriously on a temple foretelling the fall of the Babylonian Empire. Again, there is evidence of  a pattern of three elements, as with the three doctors and the three women. Lacan follows up on the sexual associations Freud makes to trimethylamine, saying “Indeed – I’ve made inquiries – trimethylamine is a decomposition product of sperm, and it gives it its ammoniacal smell when it’s left to decompose in the air”. Trimethylamine is also responsible for the odour given off by some infections, and the smell of bad breath, which perhaps you might smell if you looked into someone’s mouth. What does trimethylamine mean, then? Aside from the above states associations Freud makes to Fliess’s theories, a few years later, in a letter to his colleague Karl Abraham, he offers an alternative interpretation. Abraham asks Freud whether there is not a suggestion of syphilitic infection in the dream. Freud responds thus: 

“In the paradigm dream there is no mentioning of syphilis. Sexual megalomania is hidden behind it, the three women, Mathilde, Sophie and Anna, are the three godmothers of my daughters, and I have them all!”
(Freud’s letter to Abraham, dated 9th January 1908)
 
For his part, perhaps surprisingly, Lacan says that “the formula gives no reply whatsoever to anything” . Lacan appears to treat it as independent of what precedes it in the dream, although he does focus on “the structure of this word, which here makes its appearance in an eminently symbolic form”, picking up on the significance of the structure of the formula – the two sets of threes – that so easily remind us of the two sets of threes that Freud associates to the other dream elements (the three doctors and the three women).

Returning to the categories of the imaginary and symbolic that Lacan utilises at the start of the chapter, we can perhaps say that if iS represents the imagining of the symbolic (the ciphering by the dream work of signifiers into manifest dream elements); and if sI represents the work of interpretation; because the formula for trimethylamine is not an imagining of the symbol but the symbol itself we can call it an sS – a symbolisation of the symbol. That is not to say that the formula represents some pure, unciphered element that emerges with clarity in a raw form, but rather that it has not undergone transformation into what Lacan calls an imagining of the symbolic, an iS. Lacan states again that, contrary to the argument of Erikson, the dream does not show us the developmental passage of Freud’s ego, but on the contrary that Freud’s ego is so difficult to identify in the dream:

“The structure of the dream shows us clearly enough that the unconscious is not the ego of the dreamer, that it isn’t Freud in the guise of Freud pursuing his conversation with Irma…. His ego was identified with the whole in its most unconstituted form. Quite literally, he escaped, he called upon, as he himself wrote, the congress of all those who know [the three doctors]. He fainted, was reabsorbed, was abolished behind them. And finally another voice is heard [the appearance of the formula for trimethylamine].”

But Lacan also does not accept Freud’s own resolution to the dream given in The Interpretation of Dreams. It is not Freud’s professional pride that is at stake, nor his medical conscientiousness with his patients. Lacan is very clear that “what is at stake in the function of the dream is beyond the ego, what in the subject is of the subject and not of the subject, that is the unconscious”. He also makes a remark which seems to contradict Freud’s assertion that the dream represents the infantile, usually sexual wishes of the dreamer. As with Erikson, it is easy to see how such a theory might require support from the notion of regression. But Lacan is not interested in the psychology of the dreamer himself. He says:

“What gives this dream its veritable unconscious value, whatever its primordial and infantile echoes, is the quest for the word, the direct confrontation with the secret reality of the dream, the quest for signification as such”.

However, this does not absolve us of the need to analyse the formula for its particular significance in the light of Freud’s associations. We still need to ask the question: why does this element appear and not some other. This is something that Lacan does not go into, perhaps because of his stated wariness of being seen to re-analyse the dream after Freud. We will look at how much further we can take the analysis of trimethylamine in our discussion of the next chapter, the conclusion of Lacan’s commentary on this dream. Here however Lacan says very little about its significance, rather stating that “symbols only ever have the value of symbols”. This might make us wonder however what sense it makes to speak of the meaning of a dream? Is it the case that we cannot positively identify a meaning in the dream, and that the only thing that dreams demonstrate is the mechanism of the unconscious, the dream-work itself? Lacan does however say a bit more about how the trimethylamine formula is produced. “The important thing” he says, “and this dream shows us it, is that analytic symptoms are produced in the flow of a word which tries to get through”. Just as he found that the hysteric suffers from a word literally caught in the body, and just like censorship conceals a word that cannot be said but is expressed elsewhere, in a ciphered and clandestine form, so the dream element is produced in the same way. The word is caught between the resistances of the ego of the subject and its image, he claims, and the force of these two resistances resolves itself into the dream element:

“It always encounters the double resistance of what we will call just for today, because it is late, the ego of the subject and its image. So long as these two interpositions offer a sufficient resistance, they clarify each other, if I may put it like that, within this flow, they are phosphorescent, they flash”.

Lacan asserted that where the patient expresses doubt about an element of the dream, that doubt is not to be taken as a weakness of his account of the dream, but of an emphasis, a “soulingage” or ‘underlining’ of that element.

Lacan was able to conclude that the proper object of psychoanalysis, is not the ego of the individual, or his particularly psychology, but the signifier, the extra-psychological aspect. Lacan privileges the transmission of the signifier – here the formula for trimethylamine – rather than Freud’s wish to absolve himself of professional misconduct or even the sexual connotations Erikson notes in his article. The appearance of the three doctors, and the sudden, mysterious manifestation of the formula produce the dissolution of the ego of the dreamer, and so to analyse the dream by reference to what it can tell us about the dreamer’s ego is misguided. Instead, Lacan refers to “the inmixing [immixtion] of subjects” that the dream produces. He describes this as “an unconscious phenomenon which takes place on the symbolic level, as such decentred in relation to the ego, always takes place between two subjects”. What can we make of this? Perhaps one possible reading is from the angle of Lacan’s famous maxim that the signifier represents the subject for another signifier. The ego is out of play here; the unconscious is of the order of the symbolic, the signifier, and whilst prior to the subject, its place can be located between two subjects. Lacan goes on, “As soon as true speech emerges, mediating, it turns them into two very different subjects from what they were prior to speech. This means that they only start being constituted as subjects of speech once speech exists, and there is no before”. This ‘true speech’ is therefore something that splits him from his ego and divides the subject, splits him between signifiers. Whilst we might read this as another way of phrasing symbolic castration, Lacan says there is “no before”, indicating that the subject will be divided or barred by the signifier – which we can represent as $ - even if it is not your own speech that is in question.

Lacan’s re-interpretation of Freud’s “Irma’s Injection” dream  hinges on the dreams importance in enabling Freud to take the decisive theoretical step towards the unconscious, at a time, 1895, when he is still two years away from abandoning the seduction theory. Lacan believes that the very meaning of the dream is entwined with this discovery – “The dream Freud had is, as a dream, integrated in the progress of his discovery”  – but he also suggests that despite its status as the paradigmatic dream in the history of psychoanalysis, Freud was not able to provide us with an adequate enough analysis of the dream itself. Although placing it at the start of his major work – a work that was to inaugurate psychoanalysis with a theory of dreams as its keystone – Freud could not have given us the reason for the importance of this dream at a time when his theoretical orientation was towards the effects of seduction in childhood as determinative for the different forms of neurosis in adulthood. Lacan states:

“The value Freud accords it went far beyond what Freud himself is at this point in time capable of analysing for us in what he writes. What he weighs up, the balance-sheet he draws up of the significance of the dream is far surpassed by the de facto historical value he grants it by placing it in this position in his Traumdeutung (The Interpretation of Dreams). That is essential to the understanding of this dream.”

It is not therefore the interpretation of the dream, its meaning, that Lacan feels accords it importance; rather it is because the dream is illustrative of the point which Freud had reached in his thought, and in particular for Lacan, the way that it throws light on the question of regression. As Lacan points out, we have to be careful to distinguish a topographical regression from a temporal regression. Whilst the latter is the stuff of psycho-sexual development, libidinal phases and so on, this is not the regression Freud is referring to here. In its topographical sense, we are once again instead referring to Freud’s schema of the psychical apparatus found in chapter VII of The Interpretation of Dreams.

On this model, excitation usually follows in a progredient direction from perception to motor discharge, but because in sleep the body is paralysed and so the excitation cannot proceed to motility, it regresses instead towards perception (Pcpt.), presented as the semi-hallucinatory images we experience when we dream. As Lacan summarises it:

“On the level of topographical regression, the hallucinatory nature of the dream led Freud, in accordance with his schema, to articulate it with a regredient process, to the extent that it would bring back certain psychic requirements to their most primitive mode of expression, which would be situated at the level of perception”.

However, Lacan adds that the images we see in dreams are not simply perceptions, as if we were going backwards in the schema above. The images themselves have too much symbolic or associative value, as Freud’s analysis of the dream of Irma’s injection shows clearly. Lacan argues, “These images are further and further away from the qualitative level on which perception occurs, more and more denuded, they take on a more and more associative character”. What Lacan finds interesting is that the associations that are made to the mnemonic dream elements – Freud’s Mnem., Mnem., Mnem.”- lead to a point of perception. He asks: “[d]o we have to consider that what happens at the associative levels… brings us back more closely to the primitive point of entry of perception?” When we become conscious of processes that were unconscious, consciousness would surely be at the end of the model, between pre-consciousness and motor discharge; but by placing it at the opposite end of his model Freud is clearly showing that consciousness and perception cannot be equated.

Lacan returns to what he sees as the two crucial moments in the phenomenology of the dream, the first being the point at which Freud looks into Irma’s mouth, and the second being the emergence of the formula for trimethylamine. His comments about the first scene might strike us as a bit melodramatic. Looking into Irma’s mouth is what he calls:

“An anxiety-provoking apparition of an image which summarises what we can call the revelation of that which is least penetrable in the real, of the real lacking any possible mediation, of the ultimate real… something faced with which all words cease and all categories fail, the object of anxiety par excellence”.

However, as we noted last time, nowhere in Freud’s account of the dream in The Interpretation of Dreams does he give us the impression that there is something horrifying about the image. Moreover, the multitude of associations connected to it, and the fact that Freud goes on dreaming and producing signifiers – the doctors’ diagnoses, trimethylamine – seem out of step with the impression that this is of the order of the Real, if we understand it according to Lacan’s assertion that the in the Real “all words cease and all categories fail”.

He does also say, however, that this moment of looking into Irma’s mouth heralds what he labels “the fundamental destructuation” of Freud’s ego in the dream. When the doctors enter the scene to confirm Freud’s diagnosis or offer their own, “there’s no Freud any longer, there is no longer anyone who can say I”, as Freud appeals to his colleagues’ professional opinions. Freud’s ego dissolves into the imagos, or semblables, out of which it has been constructed. Can we call this the ‘regression’ of the ego, asks Lacan. If there is a regression of the ego it has to regress to something, and that would seem to imply a development of the ego, possibly through developmental or libidinal stages, a trajectory which could easy be taken as normative.

Lacan is adamant that this would be a false step. Referring to Anna Freud’s The Ego and the Mechanisms of Defence (1936), he argues that “we can in no way introduce the notion of a typical, stylised development of the ego”. Lacan does not believe that a defence mechanism corresponding to a particular developmental stage of the ego can be identified, to which in turn would correspond a symptom, such that you could trace an entire neurosis back from its symptom to the corresponding point at which the development of the ego stalled. Neither can this be used to fashion a developmental theory of the instincts. On the contrary, what the dream of Irma’s injection shows us about the ego is that in the dream “We’re not dealing with an antecedent state of the ego, but, literally, with a spectral decomposition of the function of the ego”. The ego is not something that flowers from a tiny bud; it is nothing more than the sum total of identifications formed at any particular point in a subject’s life. The ego therefore does not regress; it dissolves because it is constructed from images radically alien to the subject, but as Lacan says in the last chapter, “borrowed from what I would call the bric-a-brac of its props department”. As the ego falls apart, the images on which it was founded come into sharper relief, which is why Lacan says that “This spectral decomposition is evidently an imaginary decomposition”.

This is a refrain familiar to us from Lacan’s work on the mirror stage and Lacan utilises that theory again here to make the point that what happens in perception itself is modelled on the construction of the ego. The way the ego is constructed is a prototype for all relations to the external world. And man’s desire, insofar as it is never truly his own, never simply something he knows he wants, is only accessed via the mediation of the image. Although “The image of his body is the principle of every unity he perceives in objects…. he only perceives the unity of this specific image from the outside”. This seems a bit paradoxical, perhaps even contradictory. If everything I perceive has its unity thanks to being based on the image of my own unity, but this unity itself is anticipated from identifications made with objects from the outside, how do I have any sense of the unity of my own image in the first place? This is one of the difficulties in the theory of identification, and it is probably no accident that when Lacan devotes a year-long seminar to the topic of identification between1961- 1962, he makes extensive use of topological models such as the Möbius band, the defining feature of which is the impossibility to distinguish one side from another.

Lacan seems to cling to this paradox, making it constitutive of subjectivity. The subject oscillates between recognising the identity of his perceptions, attributing an identity to objects, and on the other hand grasping his own unity. This is a zero-sum game: he wins his own unity at the cost of that of his objects, and vice versa, despite the fact that for desire to be experienced as such it needs to be hinged to objects:

“If the object perceived from without has its own identity, the latter places the man who sees it in a state of tension, because he perceives himself as desire, and as unsatisfied desire. Inversely, when he grasps his unity, on the contrary it is the world which for him becomes decomposed, loses its meaning, and takes on an alienated and discordant aspect. It is this imaginary oscillation which gives to all human perception the dramatic subjacency experienced by a subject, in so far as his interest is truly aroused”.

Where the image is broken, where the imaginary fixing comes apart, both the ego and the object face obliteration, as it is impossible to separate them from each other, to find them a place on one side or the other of the Möbius band:

“It is in the nature of desire to be radically torn. The very image of man brings in here a mediation which is always imaginary, always problematic, and which is therefore never completely fulfilled. It is maintained by a succession of momentary experiences and this experience either alienates man from himself, or else ends in a destruction, a negation of the object”.

Apropos of the question of regression, Lacan’s central argument therefore is that if we want to know why dreams take an imaginary form, with quasi-hallucinatory representations stacked upon each other, we do not need to reach for the concept of regression, as Freud had done when he constructed the model of the psychical apparatus that he presents in seventh chapter of The Interpretation of Dreams. The scene in which Freud looks down Irma’s mouth precipitates the appearance in which the three fellow doctors appear, which demonstrates only an “imaginary decomposition which is only the revelation of the normal component parts of perception”. Perception has this imaginary character which is exactly the same as the construction of the ego, and is fragile and liable to break down. “So we do not have to look to regression for the reason why it is imaginary apparitions [surgissements] which are characteristic of the dream”. We only have an identity of perception because our relationship to the world is fundamentally narcissistic. This anchors us in the external world; our own image helps reconcile us to it. As Lacan puts it:

“If the picture of the relation to the world is not made unreal by the subject, it is because it contains elements representing the diversified images of his ego, and these are so many points of anchorage, of stabilisation, or inertia. That is exactly how I teach you to interpret dreams in supervisions – the main thing is to recognise where the ego of the subject is.”

Lacan says he finds Freud’s ego represented right throughout The Interpretation of Dreams, but in the dream of Irma’s injection in particular he says it crystallises around the rupture caused by the intrusion of the real, the moment at which “something at its most unfathomable”  appears. Nevertheless, this does not seem to be a prerequisite, as Lacan’s examples earlier in this seminar show. He tells us about two dreams: in the first, the subject dreams of a helpless infant lying on its back, flapping its arms and legs about; in the second, the subject is swimming in a sea of numbers which relate to his date of birth and age. Both, he says, represent the subject, and whilst he is not talking here simply about the ego, but about the subject’s “symbolic assumption of his destiny”, it is clear that Lacan is alert to the plasticity with which representations of the subject and his ego are presented in dreams. Indeed, the subject is non-reducible to the ego of the individual’s psychology. What Lacan sees in the dream is “the imaginary plurality of the subject, of the fanning out, the blossoming of the different identifications of the ego” into the persons of the three doctors. Lacan says that this subject-without-an ego, a headless or acephalic subject, is an apt representation of the Freudian unconscious – a subject that speaks without hearing the meaning of his own words, a subject supposed of a knowledge of which he himself is unaware. If the scene in which Freud looks into Irma’s mouth is, as Lacan insists, an experience of the real, and if the appearance of the three doctors represents the dissolution of Freud’s own ego into the identifications by which it is constituted, then the mysterious appearance of the formula for trimethylamine can be seen as “The coming into operation of the symbolic function in its most radical, absolute, usage”, such that it “ends up abolishing the action of the individual so completely that by the same token it eliminates his tragic relation to the world”. Taking into account Freud’s suggestion that the dream fulfils the wish of removing culpability for the failure of Irma’s treatment which he believes his friend Otto tacitly blames him for, this can be read as the most extreme solution to Freud’s predicament – a total abolition of the individual, an “ataraxia in which any individual is justified”, as Lacan calls it. But we can still ask why the formula for trimethylamine appears and not something else? If the symbolic function manifests itself so starkly, surely this does not take an arbitrary form?

Lacan however turns to explore the junction between the imaginary and symbolic. Recalling his slightly absurd analogy, he imagines an automaton that depends for its continued movement on the perception of another machine having reached that stage, he claims we come across the same thing in humans. The imaginary relation is hinges on a single opposition – same or different, you or me – which is a zero-sum game. This entails that: “On the imaginary level, the objects only ever appear to man within relations which fade. He recognises his unity in them, but uniquely from without. And in as much as he recognises his unity in an object, he feels himself to be in disarray in relation to the latter”. The unity of the image of oneself therefore comes at the expense of a fundamental discordance, a “lack of adaptation… characteristic of the instinctual life of man”.

Freud had remarked in his essay The Uncanny (1919) upon the fundamental ambivalence to the image. In discussing Otto Rank’s article on Der Doppelgänger, Imago (1914), he says that the ‘double’ was “originally an insurance against the destruction of the ego”, and is perhaps the reason why the Ancient Egyptians made images of the deceased from such durable materials. But he also notes that “when this stage has been surmounted, the ‘double’ reverses its aspect. From having been an assurance of immortality, it becomes the uncanny harbinger of death”. We still find this idea in folklore – that the encounter with one’s double is a sign of impending death.

So perhaps we can assert that the terrifying “point of entering the order of anxiety… [the] drawing nigh of the ultimate real” is not quite so separate from the imaginary order as we might expect, given that it is necessary to distinguish these three orders from each other in Lacanian jargon. What causes anxiety is not an experience of the real, understood as that which is unnameable or unsymbolisable; rather, it is more precisely an encounter with your own image, but divorced from your perception of it as your image, an exact likeness, but unrecognisable all the same. This is an idea represented in the 1950s horror classic Invasion of the Body Snatchers. The heroine begins to realise that whilst her loved ones and those around her are physically the same, something that she cannot put her finger on is different about them. They become uncanny, ‘unhomely’ or unheimlich, to use the German Freud reaches for in the title of this article. Clinical psychiatry even grants this the status of a disorder – the Capgras delusion – in which the subject believes their loved one has been replaced by an identical-looking impostor.

For Lacan, it is in the face of this terrifying ambivalence to the proximity of the image that the symbolic relation asserts itself. “This is where the symbolic relation comes in”, he tells us. “The power of naming objects structures the perception itself. The percipi of man can only be sustained within a zone of nomination. It is through nomination that man makes objects subsist with a certain consistence”. The symbolic can provide a designation to the image which offers it a meaning, just as the way that the function of the ego ideal – I(A) in Lacan’s algebra – is to give an image a symbolic sanction, investment or guarantee that enables us to assume it as our own image. Why does the symbolic have this special ability that distinguishes it from the imaginary, and provides a supplement to the imaginary that reconciles us to our image? Lacan argues that “[t]he word doesn’t answer to the spacial distinctiveness of the object, which is always ready to be dissolved in an identification with the subject, but to its temporal dimension”. The symbolic gives a space between the images, it differentiates them from one another and prevents them from collapsing into one another, or being super-imposed on one another in the way that we find in Freud’s dream, in which a single person in the dream is a composite of a number of representations of other people – Otto has Freud’s brother’s limp, Irma is reticent to open her mouth like the other female patient, etc. So this is the point at which we see the joint, “the emergence of the dimension of the symbolic in relation to the imaginary”.

Lacan says that in the dream of Irma’s injection, “it is just when the world of the dreamer is plunged into the greatest imaginary chaos that discourse enters into play” but he only says that this is “discourse as suchindependently of its meaning”. So does Lacan mean by this that the formula for trimethylamine has no associative connections, that there is no significance in the choice of signifier? Surely we still need to ask why it is that this element appears to Freud in the dream and not another? Lacan appears quite adamant, however: “This word means nothing except that it is a word”. Here he seems to be presenting a treatment of the trimethylamine formula as a pure, reified symbolic element, a symbolic of the symbolic, perhaps. It does not matter for Lacan so much what it is as what it does. At its conclusion the subject of the dream is simply overtaken by the signifier. When the unity of the image fails, the signifier emerges as a pure signifier, such that the dream element presented – the formula – escapes a psychology.

We need to challenge Lacan on this however, but from a point which surpasses his own knowledge of the case. In the first instance, it is not a simple word that Freud sees but a formula, and whilst it functions as a signifier in the sense that it is unhinged from any referent, Lacan nevertheless picks up on the associative connections which must have been familiar to Freud at the time – that trimethylamine is a decomposition product of sperm, for instance. In summing up his own analysis of the dream Lacan does not deviate far from that of Freud’s (though perhaps he was unaware of the alternative interpretation Freud provided for his dream in the 1908 letter to Abraham, cited in our comments on the first of these two chapters). Lacan’s reading is that Freud displaces his desire as a psychoanalyst onto the figures of the three doctors, who offer what becomes their interpretations of the cause of Irma’s suffering from within the dream itself.

But returning to the enigmatic formula for trimethylamine, we can connect it not only to the sexual associations Freud himself notes – the ideas that Fliess “confided… to me on the subject of the chemistry of the sexual processes… [that]… one of the products of sexual metabolism was trimethylamine” – but also to the recurring sets of three that emerge in the dream (the three doctors, the three women, and the three sons of Jakob Freud). In 1968, the Freud researcher Joseph Sajner made what might be considered a very significant discovery whilst searching through the records in Freud’s birthplace of Frieberg. There he found evidence that Freud’s father had not two wives as previously thought, but three (Sajner, 1968). Whilst the evidence for this is only indicative, it is nonetheless extremely tantalising in respect to this dream. Could this be what the series of threes in the dream refer to? Was Freud himself even aware of his father’s first wife, or is this yet another example of trans-generational phenomena asserting themselves unconsciously through the displacement of the signifier? And, if so, did he not wish to acknowledge this, or did he just prefer an alternative explanation? And if so, which explanation – the one provided in The Interpretation of Dreams, or the one given to Abraham in the 1908 letter? Lacan’s interventions on this dream provide us with some very provocative insights, but the dream’s apogee - its enigmatic centrepiece - surely deserves further investigation.