matter, for it is only with the content of the subconscious process that is writing that we are concerned) she dreams, so the script goes on, that she is a Spanish maiden and the image of such a maiden of "rare beauty and charm” appears as a hallucination but in a particular setting of the woods. The figure is an image identical with that which she had often fabricated of the Spanish peasant Juliana and just such an image as the maiden of the script would in conscious thought evoke. The setting of the woods is not described in the script but, as has been pointed out, Fig. 2. Juliana dancing before the king (drawn as in Fig. 1). the imagery of a hallucination is always richer than the script and the testimony of the subconscious introspection affirmed that all the details of the hallucinations were elements in the subconscious process as we shall later see. Then, as the subconsciously written script described the maiden sitting on a stump of a tree, day-dreaming, straightway a corresponding image of Juliana emerges as a hallucination. (Let us never for one moment forget in studying these phenomena, that the subject was entirely unaware of the content of the script-of what the hand had written, and therefore whatever images pertained to and emerged from the expressed ideas must have pertained to and emerged from a subconscious process, and, if the script was written by a subconscious process, such as the content of that script would require.) The script declares that (subconsciously) she sees the imagery of the dream and this imagery emerges into consciousness as a hallucination of Juliana dancing before the King and his Court-a long previously organized fantasy. Thus examined the imagery of the several shifting scenes of this hallucination is precisely such as the content of the script would require; if we are justified in defining that content as coconscious ideas, we may say such imagery as those coconscious ideas would contain. Observation V. The chief interest in the next observation lies in the facts (a) that the script was motivated by anxiety and not by a wish and therefore the hallucination was not a wish fulfilment; and (b) that the emotions linked with the subconscious process (a memory) emerged into consciousness along with the images of the memory. The emotions involved were both anxiety and anger, but it would seem that anxiety was the dominant emotion of the subconscious system producing the script while anger was that which was felt most strongly at least by the subject while seeing the hallucination. Apparently during the original episode, of which the hallucination and script were a memory, both anger and anxiety were elements. For this observation, it should be said, the subject had been directed to write automatically a memory of some episode in her life of an anxious kind. Of course neither the subject nor I had any idea of what would be written. The occasion referred to in the script and reproduced in the hallucination was one when the subject was in the clinic of the commercial establishment (where she was employed) to get her time card signed for the days she was absent on account of illness. The nurse must pass on such [Note: The script further claimed that she felt (subconsciously) while writing really anxious because it meant much to her if the card were not signed and her pay was 'docked.'] [Oral comment by the subject:] "A feeling of doubt and of being full of fight comes into my mind....While seeing the hallucination I felt worried as if my word was doubted, as if I were put on a level with other girls who tell a lie whenever they open their mouths....I had that feeling at the time." Immediately after the observation was finished the following questionnaire was put to the subconscious system. The answers were written automatically without the subject's awareness of their content. Q. "What were you concerned about?" A. "Whether the nurse will put a D.D. [Don't dock] on my card." Q. "Were you anxious?" A. "Yes." Q. "Was the conscious mind anxious?" A. "No." [Here in reply to my question the subject said, without knowing what the hand wrote, that she was not consciously anxious at the time of seeing the hallucination but only resentful.] Q. "Were you really anxious?" A. "Yes, and it would mean something if I do not get it signed." Temporal Relation between Script and Hallucination. It is obvious that there are two possible interpretations of the relation between the script and the hallucinations in these observations. First, the hallucination may be secondary to and a product of the script producing process; or, second, the hallucination may be primary and the subconscious process may simply describe in the script an independent hallucination. The point is crucial: for if the second interpretation be the correct one the hallucination could well be the product of an independent and unrelated process. In favour of the first interpretation and against the second is the fact to which I have called attention, that the writing of a given script always began before the correlated images appeared in consciousness. A moment or two always elapsed after the idea began to be written before its hallucinatory image developed. This can easily be recognized by noting the point marked in the script of the emergence of the image. If the script simply described a primary and independent hallucination we should expect the latter to have appeared first and the descriptive writing of the imaged idea to follow later. But the reverse was the case. Then again the script is never technically speaking a description of the hallucination (such as the subject herself gave when she experienced it), but rather a theme in which the expressed ideas would normally have just such images as appeared in the corresponding hallucination. Further evidence confirmative of the first interpretation was obtained by subconscious introspection-the next step in the investigation. The evidence of introspection was to the effect, as we shall see, that the subconscious process was primary and the hallucination secondary; and that the latter was due to the emergence into consciousness of images belonging to and first formed in the subconscious process. Introspective Evidence from Self-Analysis by The next step in this study obviously was, as stated in the beginning, to learn what light, if any, the subconscious process itself could throw upon the relation between the images (hallucination) and the writing consciousness; and for this purpose to obtain a self-analysis based on introspection by the subconscious process that wrote the script. Such an introspection would be similar in every way to the conscious method commonly employed in psychological laboratory investigations. It would make use of retrospective memories of the content of the subconsciousness. Its value as evidence would depend like all introspection on the accuracy and completeness of subconscious introspection. The technique in the present investigation consisted in presenting a carefully worded questionnaire to be answered by automatic script and followed often by a rigid cross-examination of the replies, care being taken to suggest no leads or theories. Accordingly after each of the first four observations the subject was submitted to such an examination. The content of the subconscious process, whether or not it contained images and thoughts and, if so, whether or not such images were in any way related to those of the hallucination, or to the subconscious thoughts (if there were any) producing the script, of course could not be known to the personal consciousness, nor were the answers known until after the interrogation was finished. The self-analysis, introspection and replies were, therefore, necessarily subconscious.. (Observation I: Harvard University.) The replies of the script following Observation I1 (the scene at "Harvard University") are striking in that, without any suggestion of 1 As here arranged the observations are not in the sequence in which they were actually made. This observation was the third following the "Treasure Chest" (No. 3). any theory whatever on my part, or indication of any mechanism by which the hallucination might be formed, the script clearly and explicitly described the origin of the pictures or images in the subconscious process and their later emergence into consciousness as the hallucination. The only possible suggestion was in the question whether or not the pictures were in the subconscious mind 'also' as well as in the personal consciousness, as surely might well be the case, whatever the mechanism. For subconsciously there is awareness for all that which is in the personal attention. The question only related to a possible memory of a possible past experienced fact, not to an opinion or general idea, or other thought. The affirmative answer can scarcely be questioned in view of the fact that subconscious images are not a novel phenomenon, as I have recorded them in at least three other cases; and, secondly, in this case they were repeatedly described to me long before I undertook this investigation, and were then as well as in these observations, recorded under all sorts of conditions and relations and their behaviour correspondingly described, etc. They occurred, so it was testified, spontaneously as well as experimentally. Furthermore these images had been already described in two preceding observations. Specifically, the statements of the script in this observation were as follows: "The thought" arises subconsciously first, "then the pictures [images] are completely formed" and "all is visualized" subconsciously. "I visualize," the script states, "subconsciously the scene I am writing about just as I do consciously." [The significance of this sentence is that the subject visualized subconsciously one scene while consciously during the experiment the content of her thought was of a different order (the scene of the room, the experimenter, etc.). Hence the eruption of the former was an hallucination.] The images "are in the subconscious mind while writing and then they are shifted into the conscious until they become visions." "When set, so to speak, they are reflected into the conscious mind." "It takes some time [a few seconds] for them to come into the conscious mind." (Observation II: The Spanish Fantasy.) A source of confusion and error in drawing conclusions lies in the fact that sometimes the script is written by a subconscious system (e.g. Juliana) differentiated from that from which the images are derived. Speaking figuratively there may be two or more 'layers' or 'strata' of subconscious systems underlying one another. The system that does the writing may then derive its images and thoughts from a deeper and |