Fantasy: Realms of Imagination @ the British Library

This is a huge, beautifully designed exhibition. It’s encyclopedic in scope, endlessly fascinating, full of visual and imaginative pleasures. It makes you realise how widespread the impulse to Fantasy has been throughout the history of literature, and is in today’s culture, having undergone explosive growth in the last 50 years. In that period Fantasy has broken beyond books into graphic novels, TV and movies, into board and card games, in what we used to call video games and innumerable online games, plus a host of live action events where fans can dress up as their favourite Fantasy characters.

The exhibition pulls together examples of Fantasy in all these media, namechecks scores and scores of authors, and builds up a dizzying sense of the multiple, limitless worlds of Fantasy. It features over 100 exhibits, including historical manuscripts, rare printed books and original manuscripts, drafts of iconic novels, scripts and maps, illustrations, clips from Fantasy TV shows and movies, film props and costumes, and much, much, much more.

‘The Battle of Helm’s Deep’, watercolour illustration by Alan Lee for ‘The Lord of the Rings’ by J.R.R. Tolkien, published by Harper Collins (1992) © Alan Lee

Structure

The curators must have had a lot of fun figuring out how to structure the exhibition. It’s divided into four main sections, but the sub-themes or genre within each topic, the themes and ideas the exhibition addresses, keep overflowing these containers, so there are sub-sections within each theme, so that it looks something like this:

  1. Fairy and Folk Tales
    • Faerie worlds
    • The dark enchanted forest
    • Endings
  2. Epics and Quests
    • Into battle
    • Journeying and seeking
  3. Weird and Uncanny
    • Architects of the strange
    • Gods and monsters
    • Peculiar affinities
  4. Portals and Worlds
    • Gateways and thresholds
    • Forging realms
    • Worlds of fandom

I’ll be candid and say I struggled to contain the overflow of ideas raised by the show within this structure, so I loosely use the big four themes/rooms to structure this review but also go off at tangents sparked by individual exhibits or wall labels.

Here’s one of Piranesi’s Carceri pictures from the mid-18th century. As well as an artist, Piranesi was an architect and archaeologist who studied the layered history of Rome. The Carceri etchings depict vast, imaginary prisons filled with stairs, shadows and machines. In the second edition the images seem to have been edited to make some of their geometries physically impossible, further shifting them into the realm of the fantastical.

‘Carceri Etchings’ by Giovanni Battista Piranesi,(1750 to 1761) © British Library Board

1. Fairy and Folk Tales

‘An ancient mappe of Fairyland newly discovered and set forth’ by Bernard Sleigh (1918) © British Library Board

Fairie

Fairie is the archaic word denoting the place where fairies live, a world of fairy folk such as witches and warlocks, goblins, elves, sprites and trolls. Stories features themes of transformation, magic spells, bewitchment. he exhibition includes the 12 ‘Coloured fairy books’ by Andrew Lang, published between 1899 and 1910 which bring together myths, legends, romances, histories, epics and fables from around the world, an encyclopedia of Fantasy as it was defined in the Edwardian era.

Origins

Fantastical elements are present in the earliest literature, gods and monsters appearing in Homer’s Iliad and Odyssey, and in the even earlier Epic of Gilgamesh, written nearly 4,000 years ago.

These are all represented by venerable old editions of these classics, the Iliad by a 14th century handwritten manuscript which is covered in notes and glosses. The great epic of our ancestors, the Anglo-Saxons, Beowulf, describes a hero battling superhuman monsters. Although the possessor of superhuman strength, the poignancy of the poem comes from the fact that in his final battle he is mortally wounded and dies.

‘Beowulf’ in the Cotton MS Vitellius A XV, f.193 r © British Library Board. Photo by the author

Stories about heroes battling gods and monsters obviously helped humanity categorise, makes sense of and manage what were, until living memory, the terrors of being alive.

Multicultural

The exhibition makes a bold effort to cast its net beyond the Anglophone tradition and so has displays about Europeans Franz Kafka and Mikhail Bulgakov, as well as about the Arabian Nights and the adventures of Sinbad, a version of the Chinese Monkey legend and the African Ananci stories – both in their original forms and as reimagined by modern writers and comic book authors.

‘Sinbadnama, the Story of Sinbad’ in an anonymous Persian version © British Library Board

Pilgrimage

The idea of pilgrimage was invented as early as the 3rd century AD, but the idea of a hero going a journey in which he faces death and learns wisdom is not only much older but appears in all human cultures. The moral seems to be universal: to learn wisdom you must leave home.

King Arthur and the knights of the Round Table

The huge, complex and rich series of legends surrounding the court of King Arthur and his knights circles around the idea of the holy quest. In England its most famous spin-off is the medieval poem ‘Gawayne and the Green Knight’ where the hero has to undergo trials of strength and fidelity which he, in the event, fails.

Original illustrated manuscript of ‘ Sir Gawain and the Green Knight’. Photo by the author

There’s a typically handsome illustration of Sir Thomas Malory’s Birth, Life and Acts of King Arthur by the fabulous Aubrey Beardsley. It’s worth pointing out that, although from another era, dealing with a completely different subject, the huge series of tales about king Arthur, like Beowulf end in failure as Lancelot’s infidelity breaks up the Round Table and Arthur is fatally wounded in the Last Battle. These are flawed heroes.

And then, subverting the earnest seriousness of Gawayne or the Welsh version of the stories in The Mabinogion, is a nearby of a display about Monty Python’s movie Monty Python and The Holy Grail (1975), complete with killer rabbit and the Knights Who Say Ni. To be precise, it’s a notebook showing Michael Palin’s very early drafts for the movie screenplay.

Epic then folk then fairy

Epic came first, stories about gods and heroes, in Europe epitomised by the primal monumentality of Homer. The primary epic of Homer was copied and civilised in the great Aeneid of Virgil but it’s instructive to see how Virgil softens the hardness of the all-male Iliad, introducing the love story of Dido and Aeneas, and lending his story a strong sense of magic, specifically in Aeneas’s journey to the underworld in search of wisdom.

Folk stories are the popular versions of the literature of the elite. They are found in the ancient world and appear throughout the Middle Ages, when they were often Christianised as legends about saints and martyrs. The exhibition includes an edition of the most famous collection of European folk stories, by the Brothers Grimm.

‘Children’s and Household Tales’ by the Grimm Brothers (1819) © British Library Board

Fairy tales come a lot later and are the sanitised cousins of the folk tale, cleaned up and given a happy ending suitable for children, with an improving moral thrown in. The exhibition includes classic collections of fairy stories, including ones by Charles Perrault and Hans Christian Andersen (rare early editions of both on display here).

Gothic In the late 18th century there was a fashion for Gothic works such as ‘The Mysteries of Udolpho’ (1794) and Mary Shelley’s great masterpiece, ‘Frankenstein’, both represented here by old editions and informative labels. Critics always say that narratives like this combine elements of fantasy, horror, crime and even science fiction. What they’re really proving is that those sub-genres had not yet been divided up and crystallised.

Specialist genres The explosion of genres came at the end of 19th century when cheaper printing and publishing technology encouraged a proliferation of specialist magazines and journals which could afford to cater to niche tastes and so encouraged the creation of literary genres and sub-genres. Science fiction, detective stories, horror and fantasy were just some of the sub-genres which began to find shape and definition at the turn of the twentieth century.

Two books provide evidence for my thesis: The Story of the Glittering Plain is a fantasy novel by William Morris published in 1891 and, according to Wikipedia, perhaps the first modern fantasy writer to unite an imaginary world with the element of the supernatural, and thus the precursor of much of present-day fantasy literature. The second is George MacDonald’s novel Lilith, published in 1895 and widely seen as one of the first modern Fantasy novels. My point being that both were published in the decade which, I’m suggesting, saw the emergence of so many specialist genres and movements.

The emergence of Fantasy

Yoking together examples of Fantasy which stretch all the way back to the Iliad, via Beowulf, Paradise Lost, Gulliver’s Travels and Frankenstein into the 20th century prompts a thought: in those older works, classics of European and English literature, the Fantasy element is embedded in a larger worldview, often in a religious theology. The Iliad depicts the gods of Olympus as most ancient Greeks actually believed them to be, beliefs which continued to be held across the ancient world well into the Christina era.

Similarly, Paradise Lost is explicitly a work of Christian propaganda, its stated aim being to justify the ways of God to men i.e. defend orthodox Christian belief. In their ways two other classic works, Thomas More’s Utopia and Gulliver’s Travels, are heavily embedded in serious Christian debates about the ideal state and human morality, about the value of learning and education. The element of Fantasy is subordinate to what you could call the serious or adult aim of the work.

‘Utopia’ by Thomas More © The British Library Board

Now we can begin to see that the modern concept of Fantasy emerges and becomes clearer when it steps free of these ideological frameworks. Fantasy emerges as the fantastical elements in those previous works but shorn of their serious ideological context. It is set free. It becomes more playful because unrestricted by ‘serious’ aims, by those ‘adult’ agendas. As the 20th century progressed Fantasy was set free and has gone on to have stranger and more complex adventures.

My impression is that countless fantastical elements and works existed previously, but it was in the mid-twentieth century that Fantasy fiction was crystallised by J.R.R. Tolkien’s magisterial Lord of the Rings (published in 1954 and 1955) and has continued to grow in popularity ever since.

My impression is that the genre has undergone explosive growth since the 1990s; it was turbocharged by the advent of the internet which has allowed all kinds of fan fiction to proliferate. Alongside this has gone the huge growth in fantasy video games, many of which have led the technical, graphic and operation development of online games, to become a vast market spanning the world. And spreading from Japan, the spread of manga comics and, alongside the growing respectability of graphic novels.

The purposes of Fantasy

Arguably, Fantasy helps its consumers navigate profound difficulties we face in life.

Small

When we’re small this is panic-fear of the unpredictable giants known as grown-ups, who tell us strange fantastical stories and about whom we ourselves make up all kinds of stories. In childhood we live among networks of stories, our imaginations are formed by countless stories, many or most unfettered by the constraints of ‘reality’.

Teenagers

When we are troubled, alienated teenagers, it is simultaneously reassuring, thrilling and/or terrifying to think that there are other worlds than this one, ones where life is more exciting and dramatic and where, maybe, we or our representatives in the story can perform heroic actions. I’m thinking of the four ordinary schoolchildren who go through the back of a wardrobe and into Narnia where they play a pivotal role in the future of an entire world.

(The exhibition includes notes C.S. Lewis made for his Narnia books, plus the original map of Narnia he drew before handing it over to the series’ illustrator Pauline Baynes to bring to life.)

Grown-up

When we ourselves are grown up, the simplest function of Fantasy is to take us away from our boring mundane lives but it also has the power to take us back into the intense emotional worlds of childhood and youth. It can be an escape into pure fantasy, or an escape back to our earlier, simpler selves.

Video games

This wish to be elsewhere doing elsewise is maybe most obvious in the final sections of the exhibition about videogames like Dark Souls and The Elder Scrolls, plus a playable mini-game by Failbetter Games designed especially for the exhibition, based on the Fallen London universe.

LARP

And in the very last section which describes the real-life world of conventions and events where fans can dress up as their favourite Fantasy characters. Apparently, this is referred to as Live Action Role Play or LARP. Right at the end there’s a stand of life-size costumes and a video of fans at a convention explaining their motivation for dressing up as elves and fairies and orcs.

Just some of the scores of thousands of costumes Fantasy fans make for themselves or hire and wear at numerous Fantasy fan events and conventions. Photo by the author

I was very struck by these vox pops of young people dressed up for a LARP event somewhere because they all said basically the same thing: which is that dressing up like this gave them a sense of identity, attending these events gave them a great sense of belonging, putting on Fantasy costumes helped them accept who they are and how they feel. And to be able to do it in a safe space among thousands of like-minded fans gave them a tremendous feeling of being accepted.

As a satirically-minded young man I would have laughed at all this, until I had children of my own and had to support them through their troubled teenage years, had to help my daughter in particular to ‘find her tribe’ – so now I am much more accepting of this kind of thing. In fact I found these artless happy vox pops rather moving and ended my visit to the exhibition feeling unaccountably emotional.

The importance of play

Psychologists know that ‘play’ is absolutely vital for the development and ongoing health of human beings. From this point of view Fantasy can be seen not as an escape from the ‘real world’ but an escape into a much more intense version of the world we inhabit. It represents all the slight irritations and small emotions of everyday life (the bus is late, my boss is nagging me) transformed back into the enormous primal emotions we experienced as children.

Is Fantasy childish?

I think the answer is a straight Yes, as long as we use at least two positive definitions of childhood: 1) as a time in our lives when we were subject to simpler, more intense emotions derived from simpler, more primal situations, and 2) when we were free to play – to dress up and be whoever we wanted to.

Board games

I’ve mentioned video games but there were also lots of examples of board games. The most famous might be Dungeons and Dragons, ‘a fantasy tabletop role-playing game originally created and designed by Gary Gygax and Dave Arneson and first published in 1974’. There’s a display of original boxes and cards.

There’s also a display of The Warlock of Firetop Mountain, the first of Steve Jackson and Ian Livingstone’s ‘Fighting Fantasy’ interactive gamebooks. And Martin Wallace’s board game A Study in Emerald based on Neil Gaiman’s story of the same name.

There’s one devoted to Magic: The Gathering a tabletop and digital collectible card game in which players use cards to take on the role of Planeswalkers, powerful wizards who can cast spells and summon spirits.

And there’s a nifty display case of Warhammer models, ‘a tabletop miniature wargame with a medieval fantasy theme created by Bryan Ansell, Richard Halliwell and Rick Priestley, and first published by the Games Workshop company in 1983’. My son went through an intense Warhammer phase and we not only bought the models but really got into painting them properly, attending a painting course at one of the many Warhammer shops.

Display of Warhammer models. Photo by the author

2. Epics and Quests

The ‘Epics and Quests’ section introduces us to iconic heroes and villains ranging from Sir Gawain and the Green Knight to Xena Warrior Princess, and explores how ancient tales have helped to shape modern Fantasy epics. On display is a version of Gilgamesh, the oldest known epic story.

It’s also a rare opportunity to see items related to The Lord of the Rings, including J.R.R Tolkien’s notes for the 1955 to 1956 BBC Radio adaption of the book. There’s a funny story about Tove Jansson the beloved author of the Moomin books. In 1960 she was thrilled to be commissioned to make illustrations for a Finnish version of The Hobbit. However, a note tells us, Tolkien didn’t like her illustrations that much and took particular exception to her depiction of Gollum as a giant troll, significantly taller than the hobbit Bilbo Baggins. Her misinterpretation of the character led Tolkien to insert the word ‘small’ into descriptions of Gollum in subsequent editions.

‘Bilbo: En Hobbit’s Aventyr’, front cover designed by Tove Jansson (1962) © Tove Jansson Estate

This section also includes Ursula K. Le Guin’s drafts and drawings for her Earthsea novels, on display in the UK for the first time, a site of pilgrimage for Le Guin’s many fans.

Some of Ursula K. Le Guin’s notebooks showing her working out the world of her classic trilogy ‘Earthsea’. Photo by the author

Sword and sorcery

There are, these days, a bewildering variety of sub-genres and categories of Fantasy. ‘Sword and Sorcery’ is the phrase used to describe the kind of Fantasy which features sword-wielding heroes engaged in exciting and violent adventures. The genre is said to originate in the early-1930s in the works of Robert E. Howard but the actual term ‘sword and sorcery’ was only coined in 1961, by Fritz Leiber in a Fantasy fanzine.

I was intrigued to read the carefulness of the definition which is that S&S takes place in a world before any technology, dominated by muscle-bound heroes fighting evil powers, witches and dragons etc but that, crucially, these are purely personal adventures and battles which don’t affect the world they take place in – a contrast with a lot of other Fantasy stories in which the fate of the alternative world is often at stake.

I associate them with the Conan the Barbarian, the character invented by Howard and embodied in the terrible 1982 movie starring Arnold Schwarzenegger (which was remade in 2011). The genre is characterised by a very distinctive iconography of an absurdly muscle-bound hunk wearing armour and wielding an immense sword, generally being adored by a scantily clad busty beauty sitting or kneeling in a posture of adoration. Different strokes for different folks.

3. Weird and Uncanny

This section focuses on iconic monsters, sinister landscapes filled with eerie edifices and the darkness at the heart of Fantasy.

Visitors are presented with the roots Fantasy in works like the Gothic masterpiece Frankenstein or the macabre short stories of Edgar Allan Poe. We learn how Piranesi’s atmospheric Carceri etchings, a kind of hallucinatory vision of a decaying 18th century city, inspired the design of Susanna Clarke’s novel Piranesi. There’s a displayaboutf G.K. Chesterton’s nightmarish thriller The Man Who Was Thursday and much more.

There’s also section on classic anti-heroes, starting with the (initially) charismatic figure of Satan from Paradise Lost through to the lead characters in Mervyn Peake’s classic series, Gormenghast.

4. Portals and Worlds

Having encountered monsters and weird creatures, visitors move on to explore the imagined worlds these creatures inhabit in the ‘Portals and Worlds’ section. It’s a distinctive characteristic of Fantasy that its texts involve imagining and describing entire worlds i.e. world-building. The ability to create ‘strange new worlds’ gives Fantasy writes almost unlimited scope to create wonder and amazement, at one end of the spectrum, or worlds of darkness and horror. Or to create cities, in particular, which satirise the cities we live in now, strange mashups of recognisable features.

Fantasy maps

And if you’re creating new worlds, then chances are you need a map. The curators could have gone to town on the theme of Fantasy maps along, given that so many Fantasy stories involve journeys. In the event there’s Branwell Brontë’s map of the Glass Town Federation, C.S. Lewis’s own draft map of Narnia, and a bigger, more finished map of Terry Pratchett’s Discworld.

Installation view of the fold-out ‘Discworld Mapp’ devised by Terry Pratchett and Stephen Briggs (1995) Photo by the author

Talking of Pratchett, it is, of course, possible to satirise this genre, to pastiche and caricature and play it for laughs. If Monty Python mock the Grail quest theme, Diana Wynne Jones did something similar in her Derkholm series.

Portal Fantasy

The concept of the portal or doorway to another world plays a very large part in Fantasy, as in Science Fiction. Think of all those mysterious doorways into another time and space: maybe the wardrobe in the Narnia stories is the most classic portal, although platform nine and three-quarters at King’s Cross is possibly the most famous secret doorway of our times. On a moment’s reflection you realise that both the Alice in Wonderland books contain portals which the heroine passes through, falling down the rabbit hole into Wonderland or passing through the Looking Glass in its sequel.

Authors

Huge range of authors, ancient and modern. I’ve mentioned Homer, but classics of English literature include:

  • Gulliver’s Travels (1726) demonstrates a completely different aspect of Fantasy, namely the Journey to Fantastic Lands
  • Paradise Lost (1667) because Milton’s version of Satan is an archetype of the charismatic baddie, archetype of the Dark Lord who appears in so many Fantasy and Horror stories

‘Paradise Lost’ illustrated by Gustav Doré (1888) photograph © British Library Board

Other classic authors include:

  • The Mysteries of Udolpho by Ann Radcliff (1794)
  • Percy Bysshe Shelley for his early poem, Queen Mab (1813), which uses fairy tale elements as allegory to convey Shelley’s radical political views
  • The Bronte sisters for the Fantasy world Gondal they invented and wrote stories about in the 1830s
  • Edgar Allen Poe for his stories of mystery and the imagination (1839)
  • Lewis Carroll Alice’s Adventures in Wonderland (1865)
  • Christina Rossetti for Goblin Market (1862) which combines elements of fairy tale, children’s story and Fantasy
  • William Morris for his Fantasy novel The Story of the Glittering Plain (1891)
  • Charlotte Perkins Gilman for her short story ‘The Yellow Wallpaper’ (1892)

1900s

  • Frank Baum for The Wonderful Wizard of Oz (1900)
  • J.M. Barrie for Peter Pan (1904) and his adventures among pirates and faeries in Neverland
  • G.K. Chesterton The Man Who Was Thursday (1908)
  • E. Nesbit for The Magic City (1910)
  • Edward John Moreton Drax Plunkett aka Lord Dunsany, for his 1905 book, The Gods of Pegāna and his 1924 fantasy novel, The King of Elfland’s Daughter
  • H.P. Lovecraft’s The Call of Cthulhu (1928)

‘Tales of Mystery and Imagination’ by Edgar Allen Poe illustrated by Harry Clarke © British Library Board

Modern i.e. post-war authors include:

  • Jorge Luis Borges for the fantastical stories in Labyrinths (1940s)
  • Mervyn Peake for his Gormenghast books (1946 to 1959)
  • C.S. Lewis for the ‘Chronicles of Narnia’ (1950 to 1956)
  • J.R.R. Tolkien for The Hobbit (1937) and Lord of the Rings (1954 to 1955)
  • Philippa Pearce for Tom’s Midnight Garden (1958)
  • T.H. White for the Once and Future King series (1958)
  • Mikhail Bulgakov for The Master and Margarita (1967)

Notebooks of text and sketches by Mervyn Peake for his ‘Gormenghast’ novels

Contemporary authors include:

1960s

  • Alan Garner, for children’s books like The Weirdstone of Brisingamen (1960), The Moon of Gomrath (1963), Elidor (1965) and The Owl Service (1967)
  • Susan Cooper for The Dark is Rising series (1965 to 1977)
  • Ursula K. Le Guin for her Earthsea novels (1968 to 2001)

1970s

  • Angela Carter for rewriting traditional fairy tales in The Bloody Chamber (1979)
  • M. John Harrison for his Viriconium stories (1971 to 1984)

1980s

  • Terry Pratchett for his series of comic Fantasy Discworld series (1983 to 2015)
  • Robert Holdstock for Mythago Wood (1984)
  • John Crowley, Little, Big (1981) and his Ægypt series (1987 onwards)
  • Neil Gaiman, especially for The Sandman comic book (1989 to 1996)

1990s

  • Robin Hobb for her ‘Realm of the Elderling’ novels (1995 onwards)
  • George R.R. Martin’s epic sequence A Song of Fire and Ice (1996 to the present)
  • J.K. Rowling for the cultural phenomenon which is the seven Harry Potter books (1997 to 2007) and movies and stage plays
  • Diana Wynne Jones for her Derkholm series (1998 to 2000)

2000s

  • China Miéville particularly for Perdido Street Station (2000)
  • Patricia A. McKillip for Ombria in Shadow (2002)
  • Susanna Clarke for her debut novel Jonathan Strange & Mr Norrell (2004)

2010s

  • Nnedi Okorafor for her Nsibidi Scripts series (2011 to 2022)
  • Monstress, an ongoing epic fantasy comics series written by Marjorie Liu and drawn by Sana Takeda, since November 2015
  • Naomi Novik for Uprooted (2015)
  • Aliette de Bodard for her Dominion of the Fallen series (2015 onwards)
  • Seanan McGuire for his Wayward Children series (2015 to the present)
  • Jeannette Ng for her 2017 novel Under the Pendulum Sun
  • The Deep (2019) by Rivers Solomon, with Daveed Diggs, William Hutson and Jonathan Snipes

2020s

  • N.K. Jemisin for her novel The City We Became (2020)

The exhibition is being staged by a library so most of these authors are represented by editions of their books – often old and precious early editions – but also by quite a few displays of notebooks and manuscripts. These include manuscripts and notebooks by J.R.R. Tolkien, C.S, Lewis, the Bronte sisters, Michael Palin, Ursula K. Le Guin, original sketches and outlines for Piranesi by Susanna Clarke, notes for his Fantasy epic Gormenghast by Mervyn Peake, and more.

Costumes

There are the costumes worn by Margot Fonteyn and Rudolf Nureyev in the Royal Opera House’s 1968 ballet production of The Sleeping Beauty which is, of course, based on Charles Perrault’s 1697 fairy tale. And costumes from the 2003 musical ‘Wicked’ and the 1982 movie The Dark Crystal.

Costume for Kira in ‘The Dark Crystal’ (1982) © Brian and Wendy Froud

But the best prop is probably the very staff used by actor Ian McKellen playing Gandalf in the three-movie epic version of Lord of the Rings. I know it’s valuable and all, but I think the Library missed a trick by displaying it in a glass case: it should have been free-standing and they should have encouraged children to touch it and pose with it. It might have got a bit knocked about but imagine the magic it would have brought into thousands of children’s lives!

Installation view of Gandalf’s staff, pipe and concept art from ‘The Lord of the Rings’ by Alan Lee. Photo © Justine Trickett

Transformation and metamorphosis

Generally heroes of Fantasy remain themselves but are transported to otherworlds like Narnia or the worlds visited by protagonists of Philip Pullman’s His Dark Materials series. They rarely themselves change shape or person. Slightly odd is the inclusion by the curators of Franz Kafka’s famous short story The Metamorphosis, represented here in a version illustrated by Rohan Daniel Eason.

Movies and TV

The exhibition includes excerpts from Fantasy TV series such as Buffy the Vampire Slayer (1997 to 2001), Xena the Warrior Princess (1995 to 2001), Twin Peaks (1990 to 1991), the Netflix series The Witcher (started 2019 and still ongoing).

And from Fantasy movies such as The Dark Crystal (1982), the Studio Ghibli film Princess Mononoke (1997), Lord of The Rings (2001 to 2003), Pan’s Labyrinth (2006), and more.

I was surprised at the space the curators gave to The Wizard of Oz and to learn quite what a cultural phenomenon it was in its time. The Wonderful Wizard of Oz by Frank Baum was published in 1900. It was, apparently, ‘the first Fantasy series with continuity provided by the imagined world rather than by the characters’. Baum wrote no fewer than 14 books set in Oz, but at the same time cashed in on the books’ popularity by writing a stage musical and a comic strip. He concocted an elaborate touring spectacle involving dozens of actors, a full orchestra, a slideshow and moving picture clips.

A movie version was made in 1910, silent and in black and white and running for just 13 minutes. Most of us are more familiar with the 1939 version starring a young Judy Garland, directed by Victor Fleming.

In the past 124 years there have been scores of spin-offs, but the most successful of recent times is probably Gregory Maguire’s 1995 reworking of the story in ‘Wicked: The Life and Times of the Wicked Witch of the West’, which was adapted into a popular Broadway musical in 2003.

Exhibition design

The design of the exhibition allows visitors to journey through different Fantasy landscapes, from a dark enchanted forest, through epic mountains and a sinister fallen city to sunrise on a new world.

Installation view of the ‘Fairy and Folk Tales’ section of ‘Fantasy: Realms of the Imagination’ at the British Library. Photo © Justine Trickett

Anniversaries

Interestingly, a little fleet of Fantasy anniversaries are coming up. Last year marked the 40th anniversary of the publication of The Colour of Magic, the first novel in Terry Pratchett’s immensely successful comedy fantasy Discworld series. It also marked the 50th anniversary of Susan Cooper’s best-selling novel, The Dark is Rising. This year marks the 50th anniversary of Dungeons and Dragons.

Events

These anniversaries, the achievements of numerous Fantasy authors, as well as themes and topics (Queer Fantasy, Black Fantasy) are explored in a comprehensive series of events:

Reading list

On one level the entire exhibition is like an animated reading list. When you emerge from the exhibition into the British Library shop the temptation is to buy every book in sight – Lewis, Tolkien, Le Guin, Melville, Garner, and scores of others – take them home in a suitcase, lock yourself in your bedroom and not come out for a year. Why not? It’s not as if the so-called ‘real world’ is anything to celebrate right now.


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The Interpretation of Dreams by Sigmund Freud (1900)

Note: to avoid misunderstanding, I believe Freud is a figure of huge cultural and historical importance, and I sympathise with his project of trying to devise a completely secular psychology building on Darwinian premises. Many of his ideas about sexuality as a central motive force, about the role of the unconscious in every aspect of mental life, how repressing instinctual drives can lie behind certain types of mental illness, his development of the talking cure, these and numerous other ideas have become part of the culture and underlie the way many people live and think about themselves today. However, I strongly disapprove of Freud’s gender stereotyping of men and women, his systematic sexism, his occasional slurs against gays, lesbian or bisexuals and so on. Despite the revolutionary impact of his thought, Freud carried a lot of Victorian assumptions into his theory. He left a huge and complicated legacy which needs to be examined and picked through with care. My aim in these reviews is not to endorse his opinions but to summarise his writings, adding my own thoughts and comments as they arise.

***

‘Tell me some of your dreams and I will tell you about your inner self.’
(E. R. Pfaff, quoted on page 134 of The Interpretation of Dreams)

Long

The Interpretation of Dreams may be an epoch-making book but it is far too long, running to 871 pages in the Pelican Freud Library (783 of actual text, 86 of appendix, bibliographies, index of dreams, and general index).

The first quarter or so is a vast review of the many, many theories of dreams held by people throughout Western history (seers and prophets and oneiromancers, historical philosophers and writers, right up to present-day psychologists such as Havelock Ellis), with Freud’s own commentary designed to itemise and categorise all aspects of dreams (their confused illogical nature, how we forget them soon after waking and so on).

Only about page 200 does there come the decisive insight delivered via his own dream about a patient he names Irma, namely that every dream has meaning because every dream is a wish-fulfilment. This is followed from page 200 onwards by an equally extensive series of actual dreams derived from his patients, described in great detail each with a painstaking decipherment.

The literary focus

It isn’t till page 363 that Freud takes the further step of asserting that almost all the dreams of most of his patients ultimately derive from fantasies about their parents. Here he stop for three pages to describe the legend of Oedipus and then to assert that something like Oedipal feelings occur in all his patients.

No sooner has he finished making the shocking claim that all of us, to some extent or other, go through a phase of loving the parent of the opposite sex and hating the parent of the same sex, than he moves on to a similar version of the same story, retold thousands of years later, and culturally rearranged and overlaid, to become Hamlet, then going on to mention other Shakespeare plays, Goethe, German literary critics and so on. (Goethe and Shakespeare are both mentioned about 20 times in the text, along with writers as diverse as Schiller, Heine and Zola, Jonathan Swift and Rider Haggard, the Bible, poetry in general, the music of Wagner 3 times, Mozart 4 times, Offenbach and so on.)

In other words, right from the start Freud’s conceptions of the mind were heavily conditioned and shaped by literature and by cultural forms (myths, legends, religion, folk tales) as much as, or more than, by ‘science’.

It is entirely characteristic of Freud’s focus on culture as source and subject to be investigated that, in the preface to the Third Edition, he speculates that new material for the book will not be generated by, for example, widening the types of patients he treats or the fast-expanding number of analyses being carried out by his followers i.e. scientific evidence based on patient data. No, he says the next edition will have to:

afford a closer contact with the copious material presented in imaginative writing, in myths, in linguistic usage and in folklore.

Autobiographical

Also, it is astonishingly autobiographical. Freud shares with the reader a surprising number of the most important experiences from his life, starting with the place and date of his birth followed by quite a few poignant memories from his childhood and youth. More than that he shares, and analyses at length, upwards of 30 of his own dreams, many of which show him in a less than flattering light, many of which are embarrassingly candid about his ambitions, his delusions of grandeur, his sense of failure, and so on and so on. As Paul Roazen puts it:

The Interpretation of Dreams is one of the great autobiographical studies in the history of mankind; in it Freud drew freely on his inner life in an effort to construct a psychological system relevant for all of us.’ (Freud and His Followers by Paul Roazen, page 35)

For Roazen this over-sharing was a heroic achievement and sacrifice the great man made on our behalves. But many critics have pointed out the weakness of a theory which relies so very heavily on just one person’s life and experiences and feelings, and on his own interpretation of them, and the fragile basis of the claim to extrapolate them into universal principles underpinning all of human nature.

Introduction of key concepts

The book is important because it represents Freud’s first full-length description of the unconscious and the vast role it plays in the mental life of human beings. His theories about the unconscious would be elaborated and developed right up to his death 40 years later, but this is the first, primal statement of its central role.

Freud wrote to his colleague and confidant Wilhelm Fliess, who played a vital role as sounding board for his developing ideas in the 1890s, that the Interpretation of Dreams was substantially finished by 1896. It was published in 1899 but Freud was careful to ensure that it had ‘1900’ on the title page; he was very aware of his image and reputation and that the arrival of a new century heralded the dawn of a new age. All these considerations were in the mind of this very ambitious man.

And yet, after all this careful planning, only 351 copies were sold in the first six years.

Freud began writing this immense book while on holiday in the summer of 1985 at the Schloss BelleVue near Grinzing in Austria. Later he jokingly wrote to Fliess suggesting that a plaque be put on the wall of this castle reading: ‘In this house on July 24 1895 the secret of dreams was revealed to Dr Sigmund Freud’. (Mentioned in a note by the editors on page 199.)

Early days

Personally, I find Freud’s theory of dreams, his confidence that every dream represents a wish and that virtually all dreams can be decoded into various kinds of libidinal fantasy, optimistic and implausible. There feels to be a lot of pseudo-science in it. It feels very dated. For Freud, though, his ‘discovery’ that dreams have meaning, that they were suppressed and distorted wishes, was his big intellectual breakthrough, and the existence of the unconscious was always tied up for him with the breakthrough of dream interpretation.

When I came to Freud it was through the later metapsychological works and the second theory initiated by Beyond the Pleasure Principle (1920). By comparison with the sophistication of the second theory, with the greater role it assigns to the Death Drive, the Nirvana Principle, the greater account taken of violence and aggression (prompted by the catastrophe of the First World War), the sociological theorisation of the psychology of groups and crowds – compared with all this, going back to his early dream theory seems a little embarrassing, almost childish.

Nonetheless, the final 50 or 60 pages of the Interpretation take us deep, deep into what is in effect a new theory of human nature and existence, which is visionary and strange. But the hundreds and hundreds of pages of sometimes clunky dream interpretation which precede them are often cringe-inducing. Specially when he makes his stock sexist comments about women and their innate inferiority to men…

Executive summary

The Interpretation is important because it introduces several central ideas of Freud’s theory, namely the unconscious as a reservoir of instinctual wishes and desires which have been repressed from the conscious mind by censorship. These repressed urges try to re-enter the mind when the censorship is relaxed during sleep, but even then can only do so in garbled and distorted form.

So all dreams have two layers or levels which Freud defines as manifest content and latent content (p.381).

The manifest content is the narrative or series of images which we remember on waking, maybe write down or recount to a therapist. The latent content refers to the underlying ‘meaning’ of the dream.

The work of psychotherapy is to dig below the surface or manifest content to try and establish the meaning of the latent content i.e. to discover the wish lying behind the dream.

Freud then categorises the ways in which the ‘censorship’ garbles the latent content of the dream. It does this through distinct processes which he labels as:

  • Condensation – can happen in many ways, for example many ideas or wishes may be represented in one dream, or two or more people or ideas may be combined in one representation
  • Displacement – the fundamental notion that latent content, the expression of the wish underlying all dreams, is distorted and ‘displaced’
  • Representation – a great variety of ways in which images, words, sounds, word and phrases can represent the dream-wish
  • Secondary revision – not part of the process of censorship, this is what happens as the mind returns to consciousness and, half-asleep, tries to ‘make sense’ of the half-remembered dream by rearranging its elements into something closer to a coherent narrative

The comprehensive nature of this rewriting of the repressed wish explains why people can often make no sense at all of their dreams, so completely censored and disguised have they been.

Using the talking cure, free association and dream interpretation, the therapist can analyse a patient’s dreams, uncovering the secret wish which lies behind them and find a way into the reservoir of all our drives and urges and the words and images and behaviours which have become attached to them. Hence Freud’s famous declaration:

The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind.

THE INTERPRETATION OF DREAMS

The text is immensely schematic, divided and sub-divided and sub-sub-divided into numbered parts, sections, sub-sections, sub-sub-sections, as if to conceal the relative simplicity of what Freud was proposing under a mountain of academic apparatus. He recognised the work’s unmanageable length and published a much shorter version On Dreams in 1901, revised and expanded in 1911. The fact that the abbreviation is a mere slip of a thing at 53 pages in the English translation strongly hints at the redundancy of most of the material in the longer work. It’s there to bludgeon the reader into submission with the sheer quantity of ‘evidence’.

Part 1. The scientific literature dealing with the problems of dreams

The ancients had two theories: dreams as helpful messages from the supernatural or diabolical fantasy. These were said to emanate from gates of horn and of ivory, respectively.

A) The relation of dreams to waking life

Dreams seem at the same time totally removed from waking life yet continue many of the concerns of waking life.

B) The material of dreams: memory in dreams

Dreams often preserve memories much more clearly than waking life and yet what is remembered is often trivial.

C) The stimuli and sources of dreams

1. External sensory stimuli

For example, alarm clock prompts dreams of church bells etc. But why do the same external source prompts different dream-imagery?

2. Internal (subjective) sensory excitations

3. Internal organic somatic stimuli

News from internal organs, often warning of disease. But how are these messages conveyed?

4. Psychical sources of stimulation

Present definitions of psychical stimulation do not suffice.

D) Why dreams are forgotten after waking

It is natural that the intensity of daytime experiences blots out dreams. More importantly, everyone proceeds to reconstruct partially remembered dreams, stringing together half-memories in usually very misleading ways.

E) The distinguishing psychological characteristics of dreams

Dreams perceived as immediate experience. Lack of critical self-consciousness. In dreams we don’t think, we experience.

Crazy chains of association. Logic and causation which we (mostly) demand in conscious life are conspicuous by their absence.

Regression to earlier impulses. The tremendous virtuoso intensity of dream experiences. Freud reviews a wide range of views about dreams, from total disparagement to hymns to dreams’ poetic intensity.

F) The moral sense in dreams

Some say people lose all moral sense in dreams and behave with shocking amorality; others say you act in dreams according to your character. Dreams often show us insight into our deeper feelings, unknown to our conscious selves. Dreams reveal illicit desires, as in saints’ confessions of being miserable sinners. In dreams our instinctual life is exposed. We acquiesce in desires we spend our waking lives controlling and resisting.

G) Theories of dreaming and its function

The ancients thought dreams are sent from the gods as a guidance to action. More recently three schools have emerged:

  1. Rational. The dream-mind works just like the conscious mind but deprived of the sense-data of consciousness
  2. Mechanistic. Sleep relaxes the conscious control and dreams are responses of different parts of the mind to the passing sensory stimulants of the night. Or dreams are the excrescence of all the semi-cogitated impressions and thoughts of the day.
  3. Dreams are a holiday for the mind. Rest and recuperation.

H) The relations between dreams and mental diseases

Patients sometimes cured during the day continue their pathological behaviour in dreams or while asleep. ‘The madman is a waking dreamer’ etc. Dreams and psychoses are both fulfilment of wishes.

2. The method of interpreting dreams: analysis of a specimen dream

The aim which I have set before myself is to show that dreams are capable of being interpreted. (p.167)

Lay interpretation confined to symbolic reading (for example, pharaoh’s seven fat and seven lean kine; also mentioned p.448) and decoding (treating dream-language as a code).

Outline of the technique of free association.

An extended analysis of Freud’s own dream, the ‘dream of Irma’s injection’ interpreted to show how it conflates evidence to justify Freud’s treatment of her, i.e. a wish to be impregnated (pages 180 to 199).

3. A dream is a fulfilment of a wish

Elaboration of Freud’s fundamental insight, that every dream is the symbolic fulfilment of an unconscious wish. Examples of children’s dreams. The point is dreams may express wishes, but so comprehensibly distorted and garbled as to usually be unrecognisable to the dreamer.

4. Distortions in dreams

If all dreams are wish-fulfilments, why do some present as the opposite – wishing the death of a loved-one, anxiety dreams etc?

Because the wish is distorted. There are thus at least two aspects to a dream, the manifest content (the coherent narrative we make from the dream imagery) and the latent content (the real concern), and there is always an element of repression or censorship. This is the dream-work, which translates latent content into the manifest content we experience and remember.

The similarity of distortion in dreams and the hallucinations or obsessions of neurotics.

5. The material and sources of dreams

A) Recent and indifferent material in dreams

Frequent occurrence of material from the day before, the ‘dream-day’; but radically disguised or itself masking other meanings. Thus the concept of displacement.

B) Infantile material as a source of dreams

The deeper one carries the analysis of a dream, the more often one comes upon the track of experiences from childhood which have played a part among the sources of that dream’s latent content.

C) The somatic sources of dreams

All dreams are in a sense dreams of convenience. They serve the purpose of managing the processing of unconscious content in such a way as to preserve sleep. Dreams are the guardians of sleep.

If dreams are prompted by internal somatic stimulation, why do we not dream continuously of flying (the working of the lungs) etc? Because somatic stimulation is brought into the formation of a dream only when it fits with the ideational content derived from the dream’s psychic sources; only when it’s needed.

D) Typical dreams

He reviews:

1. Embarrassing dreams of being naked

2. Dreams of the death of persons whom the dreamer likes (childhood rivalries)

It is in this section that Freud describes the fierce emotions and rivalries attributable to children, which can spill over into hostility against their parents:

Being in love with the one parent and hating the other are among the essential constituents of the stock of psychical impulses which is formed [n childhood] (p.362)

He starts to invoke the Greek myths and this leads up to page 363 on which he posits the central role of the Oedipus legend.

It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and our first murderous wish against our father. (p.364)

3. Other typical dreams

4. Examination dreams

6. The dream-work

Freud reviews the different mental processes he claims are at work in dreams, which collectively he calls the ‘dream-work’:

A) The work of condensation

Seen at its clearest when it handles words and names. In dreams words are often treated like things, chopped up, compressed etc.

B) The work of displacement

A dream is often differently centred from the dream-thought which lies behind it. The work of displacement as well as condensation are the result of the censorship imposed on the unconscious wish material.

The kernel of my theory of dreams lies in my derivation of dream-distortion from the censorship. (p.418)

C) The means of representation in dreams

Dreams do not have any of the methods with which we construct narratives or logical arguments at their disposal.

The most striking example of absence of logic is the absence of the negative, meaning that no means yes, that something can be represented by its exact opposite: the process of reversal (p.429) This can apply to causality where normal cause and effect are reversed.

Or dream images can appear by a process of similarity or consonance of even a tiny part of it with something else (p.431).

The common sensation of running but never getting anywhere.

Dreams are completely egoistic. They deal with the dreamer and only the dreamer (p.434).

D) Considerations of representability

Some dreams make use of ‘primeval’ imagery, being similes reaching back to remote antiquity (p.462).

Wherever neuroses make use of such disguises they are following paths along which all humanity passed in the earliest days of civilisation. (p.463).

E) Symbols in dreams: some further typical examples

Tempting to think that recurrent symbols in dreams may be universal symbols, specially when they recur in ‘popular myths, legends, linguistic idioms, proverbial wisdom and current jokes’ (which gives you a good sense of Freud’s evidence base).

Freud proceeds to give a lexicon or handbook of symbols, starting with the King and Queen who are, of course, the dreamer’s parents, moving on to how playing with a little child, especially beating it, betokens masturbation, and so on.

  • a hat is symbolic of a man, or the male genitals
  • a little one is the penis
  • being run over is coitus
  • buildings, stairs and shafts represent the genitals
  • female genitals represented by a landscape
  • castration dreams
  • urinary symbolism
  • staircase dreams
  • flowers represent the genitals (p.496)
  • dreams of flying or floating have a very varied meaning

He makes the ‘shocking’ claim that psychoanalysis makes no qualitative distinction between normal and neurotic life i.e. there is no ‘normality’ i.e. we are all on a spectrum (p.493).

And the centrality of sex in all these hundreds and hundreds of examples:

The more one is concerned with the solution of dreams, the more one is driven to recognise that the majority of the dreams of adults deal with sexual material and give expression to erotic wishes. (p.520)

F) Some examples: calculations and speeches in dreams

The special significance of numbers in dreams.

Speech rarely makes sense in dreams, being recombinations of words or phrases taken from other sources.

G) Absurd dreams: intellectual activity in dreams

Obviously many dreams are absurd or absurdist in content, but Freud tries to identify different reasons for this, often to do with negative or contradictory elements in the motivating dream content.

The dream-work produces absurd dreams and dreams containing individual absurd elements if it is faced with the necessity of representing any criticism, ridicule or derision which may be present in the dream-thoughts. (p.576)

H) Affects in dreams

It is commonly observed that the mood induced by a dream lingers longer than most of the details into the waking day.

I) Secondary revision

This occurs at the end of the process of dream-construction and is the application of conscious thought processes to the dream material. Just before waking the renascent ego tries to gloss over inconsistencies in the dream narrative, trying to create sense out of absurdity.

So it’s not part of the censor’s work, not part of displacement and condensation; it comes after that and re-arranges elements of the dream, but has the practical effect of scrambling it even more, making dream interpretation even harder (pages 641 and 642).

7. The psychology of the dream process

The dream-work is not simply more careless, more irrational, more forgetful and more incomplete than waking thought; it is completely different from it qualitatively and for that reason not directly comparable with it. (p.650)

A) The forgetting of dreams

Forgetting details of a dream is a common experience. But Freud is convinced that more is retained than we commonly think and that in the therapeutic situation more can be reclaimed than you’d expect. And often the so-called ‘forgetting’ of a dream is really only the work of the censor and repression; with sensitive work it can be recalled.

Can we interpret every detail of a dream, or every dream? No. Because the power of repression and resistance is so severe. But you can interpret much more than you’d initially believe.

B) Regression

Freud works through a series of diagrams meant to convey the relationship between dream wishes, memories, the preconscious, the unconscious and so on. By ‘regression’ Freud means that, with the motor system i.e. active use of the body, shut down in sleep, wishes express their outcomes not in (sleeping) body but by bouncing back into the psyche. Regression refers to internally generated images which are fed backwards into the cortex as if they were coming from the outside. He goes on to distinguish three types of regression:

  1. topographical regression
  2. temporal regression, the harking back to earlier psychic structures
  3. formal regression, where primitive methods of expression and representation take the place of the usual ones (p.699)

He concludes by making the picturesque but now discredited claim that some element of dreams also connects us with primeval memories of our ancestors.

We may expect that the analysis of dreams will lead us to a knowledge of man’s archaic heritage, of what is psychically innate in him. Dreams and neuroses seem to have preserved more mental antiquities than we would have imagined possible; so that psychoanalysis may claim a high place among the sciences which are concerned with the reconstruction of the earliest and most obscure periods of the beginnings of the human race. (p.700)

C) Wish-fulfilment

It may be intuitively agreed that a dream expresses a wish, albeit heavily disguised by the censorship, but Freud goes on to address the paradox that anxiety and negative dreams can also express wishes. He devotes 2 pages to explaining the definition of a ‘wish’ as it first comes to be experienced by the screaming baby, considered as an inchoate organism seeking the most basic physical satisfactions.

During which he makes the kind of comment that I like, namely that ‘thought is after all nothing but a substitute for the basic physical wish’.

D) Arousal by dreams: the function of dreams: anxiety dreams

Further clarification of why anxiety dreams and other dreams with acutely negative affect are, nonetheless, expressions of a wish. The anxiety is an index of the force of the repression needed to keep the unacceptable wish material under wraps.

E) The primary and secondary processes: repression

In technical and difficult phraseology, Freud repeats the basic idea that the primary system (the unconscious) is concerned with securing the free discharge of the quantities of excitation which are troubling it, while the second system, attempts to inhibit this discharge (p.759).

The primary process endeavours to bring about a discharge of excitation in order that, with the help of the amount of excitation thus accumulated, it may establish a ‘perceptual identity’ with the experience of satisfaction. The secondary process, however, has abandoned this intention and taken on another in its place – the establishment of a ‘thought identity’ with that experience.

All thinking is no more than a circuitous path from the memory of a satisfaction (a memory which has been adopted as a purposive idea) to an identical cathexis of the same memory which it is hoped to attain once more through an intermediate stage of motor experiences. (pages 761 to 762)

These final pages take us deep, deep into Freud’s most theoretical musings about the nature of the mind and of thought, which tend to undermine the possibility of ‘reason’ at all, because he makes all the activities of the mind arise from a really primeval stratum of primitive needs, as transmuted into wishes, as repressed and distorted into a thousand and one memories, behaviour patterns, obsessions and so on. Nobody can think rationally, because this unconscious swamp is the basis of all human thought.

I’m not sure it’s worth reading the preceding 750 pages to get here, but they are in a sense the preface to a deep dive into a truly other vision of human nature, the human mind, human existence. All thinking is, in a sense, repeated attempts to recapture the primeval, primitive physical satisfactions of the baby which have been so thoroughly repressed that they can never be achieved. All humans are, in a sense, condemned to search endlessly for the unfindable. Hence [Freud doesn’t say this, I’m saying this] the universal notion of The Quest found across all human cultures.

F) The unconscious and consciousness: reality

The unconscious is vast and the basis of the psyche. The conscious mind is a small, fragile blip floating on the great unknown ocean of the unconscious.

The unconscious must be assumed to be the general basis of psychical life. The unconscious is the larger sphere which includes within it the smaller sphere of the conscious….The unconscious is the true psychic reality. (p.773)

Typically, Freud immediately goes on to say that this explains a lot of creative process too, with numerous poets and composers describing how their great works ‘came to them’ without planning, unexpectedly, whole and complete. Well…the unconscious!

The conscious mind is like a kind of sense organ for the perception of psychic qualities. It is entirely typical of Freud that this dense and difficult conceptualising gives way, on the page before last, to yet another reference to Greek mythology, and to the story of Zeus castrating his father, Kronos. Literature and myth are never far away in Freud’s writings. And are often a welcome respite from the more difficult technical passages.

And one of the oldest traditions of dreams, which he mentioned right at the start, 780 pages earlier, widely believed in the ancient world that they predict the future. Do they? No, not in a literal sense, no. And yet, in another sense:

By picturing our wishes as fulfilled, dreams are, after all, leading us into the future. But this future, which the dreamer pictures as the present, has been moulded by his indestructible wish into a perfect likeness of the past. (last sentences, page 783)

Criticism

The same period (1895 to 1900) saw the zenith of detectivehood in the fictional figure of Sherlock Holmes. Very widespread was the idea human personality as a mystery, a puzzle to be solved.

And the idea of psychic division into two opposing parts, light and dark, good and bad: the döppelgänger or split personality abounds in the stories of the time: Jeckyll and Hyde and The Secret Sharer and Dorian Gray and all the characters in Holmes leading respectable lives while concealing depths of vice and criminality.

After the long dull review of existing dream literature, Freud’s exposition his new theory of the interpretation of dreams contains steadily more and more personal material, including candid stories of antisemitism. He shares with us his identification with Hannibal; he describes himself as a conquistador; the narrative of the dream of Irma’s injection is above all a wish to be justified.

Surprisingly, maybe, there is no mention of the Oedipus Complex and little mention of childhood sexuality. He added notes about these to all the later editions, but reading the text as first published makes you realise how very bare of all his theories it is, or to put it another way, what a huge edifice of complex psychological theory it was to grow into.

Throughout the book you can see Freud extending the mechanisms revealed by his own dream analysis in order to derive a psychology of all stages of life; in particular pushing the source of almost all dreams back into childhood. The nature of childhood fantasy and its connection with childhood sexual feelings were to become central to the development of his theory over the next five years.


Credit

All Freud’s works have complicated histories in translation. The Interpretation of Dreams was first translated into English in 1953 as part of The Standard Edition of the Complete Psychological Works of Sigmund Freud. References in this blog are to the revised version, published in 1976 as Volume 4 of the Pelican Freud Library.

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