8. I have a voice.

grayish beard and is walking down a roadway. Fields on each side. Juliana, with thick black hair flying behind as if the air is blowing it, short skirts, bare legs, is raking in the fields. I can hear her singing in the Spanish 'lingo.'

[Shift]

Juliana vividly singing in a sort of arena like the Coliseum in Rome. There is a big crowd of heads in the Coliseum. I can hear a voice singing in the 'lingo.'

On examination of the details of the script and the synchronously occurring hallucinatory imagery, we see that the latter is composed of just such images as the thought contained in the script would normally incorporate. The subconscious writes "As I paddled barefooted through brooks," and at that moment the subject consciously sees an hallucinatory Juliana walking barefooted through a brook, her clothes made of coarse cloth tucked up in front, etc. The picture of Juliana was identical with previously imagined pictures of herself as that personality.

The subconscious writes "and carry jugs of water upon a yoke," and thereupon the scene shifts and the subject sees an hallucination of herself as Juliana carrying water jugs on a yoke on her neck from a fountain in a village.

The subconscious writes "and danced barefooted before the King of Spain and his Court" (a scene from a former fantasy) and straightway the picture shifts again and the subject sees an hallucination of just such a scene at an imaginary Spanish Court. (This dancing scene had been previously constructed in subconscious fantasy and several times was reproduced in the course of this and other observations. (See Observation IV.)

The subconscious writes, "also when I walk to early mass at the village church or mission," and the scene of the hallucination shifts, a little church appears at the end of the road and she sees herself as Juliana walking down the road, etc. The imagery, as in all the other scenes, perfectly corresponds to the thought expressed in the script and is precisely such as such a thought would incorporate bearing in mind the Spanish setting and peasant personality. And so on with the succeeding three scenes. In her previous dissociated personality she had frequently constructed these same scenes with the same imagery which appeared in corresponding hallucinations. The scene in the Coliseum, for instance, she had previously constructed and had woven it into her fantasy of her previous thirteenth century existence. (Before these experiments were undertaken I had already heard this scene described in vivid detail.)

The richness of the imagery in each scene should be noted. When, for instance, the script speaks of the priest "Father Brazado" the corresponding image is not simply of a figure or face, or even a priest, but of a priest portrayed as a personality with particular physical characteristics. It is a piece of character drawing done much as would be done in a play or novel. This character is also given a setting rich in local colour comprising a roadway and fields in which Juliana appears as a peasant girl at work with her rake. Now all this is derived from a previous fantasy which had been constructed as a dream-like work of fiction. The imagery, in other words, includes and is largely constructed out of images belonging to associated ideas as happens in normal conscious ideation. One thinks of a certain person, and images of that person in a particular setting of previous experience arise. Similarly when the script states, "I have a voice," the image is of a particular experience when in fantasy she sang in the Coliseum to a crowded audience. This experience is a pseudo-memory which arises subconsciously.

This richness in detail and extensiveness of the imagery of a hallucination, transcending the verbal limits of the script, is noticeable in all the observations and will be discussed later with the evidence from subconscious introspection. As already stated this evidence was elicited after each observation as part of the technique, but it will be more advantageous to consider all this evidence together.

Observation III. For the following experiment the subject was instructed a day or two in advance to be prepared to write automatically at the next visit a fabrication in the form of a story or anything else of an imaginative character on any subject she chose subconsciously to select, but something distinct from the Spanish dreams of Juliana; that is, something that would be original and not a reproduction of former fabrications. Thus a chance for subconscious incubation was given. The result turned out to be a poetical (?) glorification of the talents which she has always felt consciously and particularly subconsciously, she possessed, but to which she had been unable to give expression owing to the circumstances of her life. The hallucinations were allegorical in form. It was interesting to watch the hand erasing and altering the phraseology as in conscious composing. There was evident difficulty owing to not being able to see the writing and therefore having to keep the written words in mind.

III. A Poetical Glorification of Her Own Talents.

1

SCRIPT: "Open wide thy treasure chest ladened with gifts so rare. And sing thy song of rapture of beauteous skies so fair.

SCRIPT

2

Thy tones will fall as gems that fell from founts of gold

And the echo of thy song shall die away like strains from lutes of gold.

3

Pandora's box is poor compared with all I hold

Within, and appears as a box of snuff to the one

Who knows, who sees, and who can tell

Glorious [picture grows larger] splendor of skies of roseate hues,
And the heavenly grandeur of azure."

HALLUCINATION

A big chest rises up in my mind-it is heavily carved -a gorgeous thing. At first it is closed and then it slowly opens. As it opens I see that there are in it beautiful strings of pearls and red and white roses. I see vials like cut glass flagons, and instead of seeing the liquid perfume in the flagons there comes out a sort of vaporous cloud that is perfumed, because I can actually smell it. And on the edges of this chest are beautiful birds, like pure white doves. They are alive and it seems as if I hear them cooing as in the spring time. I actually hear them coo. Then finally, a foggy vapour seems to cover the whole, to swallow it up, and it disappears. (It all seems to symbolize beautiful things.)

I see a fountain. It is beautiful. It is of green malachite. The base of this beautiful fountain is formed of funny little creatures that seem to be half animal and half human. They have the faces of goats, with horns and tails and hoofs. They seem like human beings and yet they are goats. (It seems as if I have seen such things before such as might be in Midsummer Night's Dream.) There are four of these figures holding up a big bowl, that of the fountain, which is about five feet tall. It seems to be located on the edge of a wood. In the background I can see light coming through the foliage. Flowing out of this fountain the beautiful crystal water falls over the edge into a basin at the base. And beautiful gems-rubies, emeralds, etc. fall out over the edge along with the water, as if they were bubbling out of the bowl, and falling into the basin they disappear. Around the basin at the base were lutes, and harpsgolden instruments. I can hear beautiful soft music inwardly. (I have often heard such inward music before. I have often got out of bed to dance to this inner music.) The music seems to come from the instruments although nobody plays upon them. It is very low, dim, soft music. (The vision seems to symbolize the natural gifts I have within me.)

3. Pandora's box is poor compared with all I hold

Within, and appears as a box of snuff to the one

Who knows, who sees, and who can tell

Glorious [picture grows larger] splendour of skies of roseate hues,

And the heavenly gran

deur of azure.

First I see a picture of a woman angel. She is holding a jewel box in her hand and butterflies are flying out of it. It seems to diminish in size until it gets real tiny. While she is holding it and as it becomes small, rays of light shoot up over the whole and shut out the angel.

These rays turn into a beautiful sky. [This was when the vision grew larger, as indicated in the script.] The sky is blue and pink. (It is very beautiful.) Then clouds form in the sky and then they break and show the pink colour through.

The correlation of the several elements of the hallucinations with the synchronously written words is strikingly manifest.

The hand writes "Open wide thy treasure chest-ladened with gifts so rare," and in a moment or two she visualizes a treasure chest slowly opening and disclosing gifts of rare value.

The script exhorts her to sing a song of rapture, and at the same time in the allegorical visual and auditory hallucinations she both sees and hears beautiful white doves cooing as in the springtime.

The script compares the tones (or words) of her song to gems falling from a fount of gold, and she straightway visualizes a beautiful fountain from which gems bubble out along with the crystal clear water.

The script compares her song (i.e. musical voice on which is centred her ambition) to the strains of golden lutes, whereupon synchronously she visualizes golden lutes and other golden instruments lying at the base of the fountain, and she hears "beautiful soft music inwardly" coming, as it seemed, from the instruments.

The script compares the gifts she holds within herself to those Pandora possessed in her box, to the disparagement of poor Pandora (of whom and the contents of her box by the way, her knowledge is very inaccurate1), and correspondingly she sees a vision of a “woman angel” (the facsimile of a picture in her possession which she, as it later transpired, imagined was that of Pandora) holding a jewel box in her hand.

The script emphasizes her own marvellous knowledge and gift to describe in song the splendour of roseate skies and the grandeur of the heavenly azure, in comparison with the poor little talents belonging to Pandora and contained in her box, and straightway in the vision only butterflies come out of the box which diminishes to a tiny size, and Pandora and the box are eclipsed by splendid rays of light which turn into a beautiful sky of pink and blue.

Another point worth noting is the wealth of imagery of the hallucina

1 As I later determined.

tions. If this imagery may be interpreted to represent symbolically the meaning of the script it approaches allegory with free use of symbolisms and analogies. For instance: her own personality laden with rare inborn gifts, or talents, is likened to and symbolized by a treasure chest filled with gifts of pearls, roses, cut-glass flagons, etc. As she exhorts herself to display her own gifts so she sees the treasure chest open and display its contents, and, somewhat astray in her knowledge of mythology and the contents of Pandora's box (as I afterwards discovered) she compares the gifts contained within herself to those of Pandora, to the disparagement of that mythological lady. Likewise the rich imagery of the fountain with its gems bubbling out with crystal water. All this reminds us of conscious imagery in composition of poetry, oratory and descriptive writing.

Observation IV. In this Observation the script records a subconscious memory of a consciously forgotten episode; that is a dream of which the subject has no remembrance nor of the circumstances excepting that during a severe illness years ago and while under the influence of morphine she had a dream of some sort of Spanish character. This was before the break-up into a double personality and the evolution of 'Juliana.' Indeed it was out of the fantasies of such night and day dreams, as I interpret the case, that the Spanish personality later became constructed. The hallucination is particularly interesting as it represents a dream within a dream, with corresponding shifting scenes of which the continuity is to be found in the subconscious script. The hallucination was described orally while the hand was writing the script.

IV. A Subconscious Memory of a Forgotten Dream.

1

SCRIPT: "Once when I was ill in the South I wished I was a strong woman; I wished I was a Spanish girl and this is what I dreamed:-that I was a Spanish maiden of rare beauty and charm, and then I saw her

3

2

4

sitting on a stump and I seemed to see her dreaming. I1 see her in a palace where there is soft music and there seems to be grapes and flowers and beautiful pictures and oil urns of coloured lights."

1 The exact moment of emergence of the last two pictures (3 and 4) by an oversight was not noted on the script. They are here given approximately.

J. of Psych. (Med. Sect.) 11

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