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perseverating remnant of the former secondary and alternating personality from which this system has been derived.
Observation VIII. In this observation a series of shifting scenes developed. As each picture appeared the subject, as in Observation VII, called out the fact and described in general terms the scenes: "I see a street in New York"-"I see a scene in a theatre"-"A ship on the ocean," etc., with a few additional descriptive words. While these pictures were developing the hand automatically wrote the script signed 'Susie.' At the same time I recorded each picture and marked on the script the moment of its beginning and ending. As in the previous observation, immediately after the completion of the script and the hallucination, the subject described in detail from memory the pictures she had seen, taking them one at a time in the order of succession. This she was easily able to do as she could vividly revive them rich in detail. Each picture was then compared with those words of the script that were written during the occurrence of that picture. Arranging the pictures with the corresponding script in parallel columns I would invite your attention to the striking failure of correlation between the two synchronously occurring phenomena. Careful examination reveals that the hallucinations cannot be regarded as the emerging imagery of the subconscious process producing the script. For example: corresponding to the picture of a ship's dock (4), we have only the word "shall"; and to Hotel (6), the word "earth." The complete observation may be arranged as follows:
VIII. Hallucination in seven scenes: Visit to Italy.
Scenes: 1. Street in New York-2. Theatre-3. Ocean-4. Dock5. Subway 6. Hotel-7. Hotel Room.
(Described in general terms verbally and synchronously with the script of the 'Susie system.')
SCRIPT OF THE 'SUSIE SYSTEM.'
"I am thinkinking  of New York and of the  fame I shall some day achieve as a great actress and of my dreams of long standing shall  shall  hall mature and I shall travel to various sparts of  the earth  and I shall become overjoyous of my painstaking efforts and the fruit of my toil.
[Signed] Susie Sub[conscious]."
J. of Psych. (Med. Sect.) II
[NOTE: Observe the halting and stammering at 3, 4 and 5, and imperfect spelling. The script was crabbed and was written slowly and apparently with some difficulty. This corresponds with the theory that the images came from still another train of thought which inhibited this one.]
1. Street scene in New York.
I saw lots of people-automobile busses-cabs -automobiles-myself I seemed to be very intent and in a great hurry walking on the sidewalk. 2. Theatre.
I was in a theatre on the stage (not set-only a piano and a man). I was being taught by this man at the piano, singing. (I could not hear my voice.) 3. Ocean.
I was on a ship in midocean-no land in sight. I was walking on deck with the same man. It was dusk.
I could see baggage being taken off by express and baggage people lots of people hurrying around holloing for cabs-awful turmoil-I was with the man leaving the ship and on the dockwas getting into a carriage with the man.
By the 'Susie system' written synchronously with the hallucination
I am thinkinking of New York and of the
fame I shall some day achieve as a great ac
tress and of my dreams of long standing shall
Trains in it. I went down the subway from the carriage and got in the train-doors opened on the side as in London. It was in Italy because I saw funny language like Italian on the bill boards. No, it was Spanish language. I don't know where I was. It was Spanish or Italian. The strongest feeling in my mind was Italian.
Portecochère of a big white building. I went in with this man, in a big lobby. I registered myself— I could see this man talking to the clerk as if he knew him. It was as if he was telling the clerk to look after me. He tips his hat and goes away.
7. Hotel room.
A beautiful room-done in old rose draperies-white furniture-imperial looking, it was so elegant. Different from anything you see in hotels. I was very tired. I was walking across the floor-all I could do and threw myself on the bed. I felt as if I said out loud-"At last I have realized what I long hoped for." ["I don't know what that meant."]
["I don't know who the man was-I felt that he was a foreigner—he knew how to sing—as if an impressario."]
hall mature and I shall travel to various sparts of
and I shall become overjoyous of my painstaking efforts and the fruit of my toil.
Although no detailed correlation between the hallucination and the script can be postulated from the point of view of imagery of specific concrete thoughts, that is in the sense that the imagery of the hallucination can be recognized as the images of the specific ideas of the script, there was a general correspondence of the themes expressed by both. The script speaks in general terms of her aspirations and their fulfilment: the hallucinations as a whole represent a series of imaginary incidents which carry out concretely as fantasies these aspirations. But no concrete subconscious thoughts are discovered of which the hallucinations would be the normal images. The first two scenes (New York and Theatre) and the last (Hotel Room) might be interpreted as exceptions, but in a second script obtained later we shall see that the imagery precisely corresponds to images that would be expected of this second train of specific thoughts.
Undoubtedly the general theme of the first script was determined in accordance with a well known principle: that is to say, by the more specific ideas of a second subconscious process that induced the hallucinations.
In search of another system that might be responsible for the imagery of the hallucinations, the ‘Juliana system' was now tapped by automatic writing. This system, after claiming that the pictures belonged to its
thoughts, wrote successively, but of course from memory, the 'thoughts that were subconsciously experienced during each hallucinatory scene. The given data may be tabulated as follows:
By Juliana system' written subsequent to the hallucination from memory. The form correspondingly differs from synchronous script1.
I thought I was in New York preparing my voice for an operatic career and I was on my way to the Metropolitan Opera House to see a man who would help me train my voice. That is why I was in a hurry.
I was thinking that this noted manI do not know his name but he was there [Metropolitan Opera House] and was very much in earnest with my vocal progress; I was thinking I was rehearsing an opera with him that he claimed I would score a success in, and he proposed taking me to Italy to further my studies in that rôle.
I was thinking of the trip promised me at the theatre and of being on the liner bound for Italy where I would resume my studies in the opera of Traviata; also that this man would take me there.
I was thinking that we had reached our destination and I was in Italy.
The scene as near as Susie told it was a perfect picture of what I was thinking.
I was thinking of passing through a subway. That was my thought a European one.
I was thinking I was in Italy and I was very tired after the ocean voyage and very joyous to be in the land of my dreams.
1 As the script purported to give the content of past thoughts by retrospection, the memories are given in rather general terms and it was obviously impossible to accurately correlate in time with the 'thoughts' the images within each scene. Therefore I did not ask for minute details. The danger of artifacts in so doing is obvious.
talking to the clerk as if he knew him. It was as if he was telling the clerk to look after me. He tips his hat and goes away.
7. Hotel Room.
A beautiful room-done in old rose draperies white furniture - imperial looking, it was so elegant. Different from anything you see in hotels. I was very tired. I was walking across the floorall I could do and threw myself on the bed. I could feel as if I said out loud"at last I have realized what I long hoped for." ["I don't know what I meant."]
["I don't know who the man was— I felt he was a foreigner-he knew how to sing as if an impressario."]
[The script later claimed she was thinking of a hotel also, but forgot to write it. The fatigued condition followed this thought. It is significant of the absence of any intentional fabrication of thoughts to fit the pictures that the script here went on as follows: "I was thinking this noted man was about to return to the hotel for me and take me to an opera house to try my voice, and I was thinking the place was very dark and cold and outside it was very bright and sunny." While the pencil was writing this sentence the subject saw a vision of a theatre corresponding in details to the thought; but there were no such images in the original hallucination. When asked to explain this absence of hallucinatory imagery, the script said it could not, but that the thought was "not vivid and did not develop into a picture," as obviously is most generally the case; otherwise we all should be having hallucinations.]
I was thinking that my efforts in the future should bring me the reward of such a beautiful chamber and I thought out each detail of rose and ivory that Susie described1 only she did not tell all the wonderful things.
C. AUDITORY HALLUCINATIONS.
Alongside of the visual hallucinations it will have been noticed that there occurred auditory hallucinations in a number of instances (Observations I, II, III). Experiments were now undertaken to determine, if possible, whether or not the mechanism of such auditory phenomena was the same as that of the visual variety. First such evidence as might be derived from the self-analysis by the subconscious process which induced the hallucination was obtained. In evaluating this evidence it should be borne in mind that the particular auditory hallucinations to which the subconscious analysis referred were 'messages' from the subconscious to the personal consciousness, or a subconscious intention that 1 Referring to the conscious oral description of the hallucination by the subject.