Freudian slips and others

I am leafing again through the book in which Freud gave the most complete account of the phenomenon known (after him) as the Freudian slip. First published in 1901 as The Psychopathology of Everyday Life, it's a collection of essays that was probably better-known and more widely read in Freud's lifetime than any of his other works.
    In my favorite local used bookstore, a shelf elf placed a copy of an elderly Macmillan edition, with A.A.Brill's translation, in my line of sight. The paper label on the spine had rubbed nearly away, like the label on a well-soaked bottle of wine, so I had to pull the book off the shelf to see what was facing me, which begins to sound like a Freudian joke in itself.

    The merits of Freud's study of slips of the tongue and memory lapses are threefold. First, he assigns meaning to incidents that many of us tend to overlook. Forgetting the name of a town where you once stayed, or giving the wrong name to someone you know perfectly well, isn't simply a memory lapse or passing confusion; it speaks of something in you and your life situation which merits close attention, because you can learn from it. Second, Freud does dreamwork with these incidents, applying the same principles of analysis to episodes in waking life as he applies to dream symbols. Third, his prime lab rat, first and last, is himself. Like Jung (and unlike lesser scientific minds that fail to realize that knowledge is state-specific) he knows that understanding begins with self-knowledge, and that the most important data on inner events (and their interplay with outer events) must be gathered from first-hand experience.

    We follow Freud down some interesting trails as he studies such phenomena as forgetting names and otherwise well-known phrases and word substitution. He recounts a chance encounter with a fellow-traveler on a train who begins to quote the famous line, in Latin, in which Queen Dido of Carthage issues a terrible curse against Aeneas, the hero who loved her and left her. Exoriare aliquis nostris ex ossibus ultor (Aeneid, IV 625). "Let someone arise from my bones as an avenger."
    In the days where a good education still required Latin, Freud's educated companion would be expected to get the quotation right. But he cannot recollect the harmless indefinite pronoun aliquis. By the end of a long conversation in which Freud guides his travel companion through the free association process he also applies to patients' dreams, they understand that there may be deep significance to the suppression of a seemingly harmless pronoun. In aliquis the speaker now recognizes the echo of "liquid" and "liquefaction" in the Latin word. This reminds him that he's alarmed that his girlfriend may have missed her period. He's scared that he is the "someone" who will be cursed if he abandons his girl and a baby he doesn't want.

    Now we come to the defect in Freud's approach to Freudian slips, which he called Fehlleistungen, which means "faulty actions" or "misperformances.". He wants to insist that word-amnesia and name substitution are related to "disturbing complexes" that prompt the psyche to seek to repress memories and information that may cause us pain. We hear of a man who simply cannot remember the name of a business partner who stole his girlfriend and married her; he just doesn't want to know. Freud can't remember the name of a town he knows well (Nervi) when treating a neurotic at a time when he himself is feeling nervous and may be heading for a migraine.

    While Freud's theory of repression may apply to some of his examples, there's both more and less going on with our slips and memory lapses than he allows for. Common sense tells us that memory gaps can be the result of all sorts of life factors, from fatigue to drug or alcohol abuse to migraine to information overload. Einstein once made people laugh because, asked for his phone number, he had to look it up in the book. He declared that he had so much on his mind that he didn't need to burden it by adding the need to remember things he could easily look up.

    I am generally pretty good with names, so when I call someone I know by a name that isn't their own I pay attention to what may be showing through my slip, In one of my workshops, I kept calling a man "Michael" though I was perfectly well aware that his name was "Don." Finally I asked, "Who's Michael?" Through tears, he explained that Michael had been his partner for many years; Michael had died but Don felt him close and was actually wearing his sweater that day.

     One of my rules for life navigation is: Notice what's showing through your slip. To which I will now add: And don't tag it a Freudian slip until you've explored what else may be going on. 

Text partly adapted from Sidewalk Oracles: Playing with Signs, Symbols and Synchronicity in Everyday Life, where you will find more on the game of noticing what's showing through a slip.

Photo: RM at Freud's last home at 20 Maresfield Gardens Hampstead

"What better guide to the Other Side than a poet?"

“What better guide to the Other Side than a poet?”

     The question was put to me by a dead poet, as I embarked on writing The Dreamer's Book of the Dead. I did not know, up to that moment, that a modern poet and his efforts to envision and create a Western Book of the Dead were going to figure as the central panel in the triptych my book was to become. 

      It seems to me that the true poet has two gifts that are vital for a reliable and effective psychopomp, or guide of souls. The first is the magic of words: passwords that open gates, and the power of naming that can bind or appease gatekeepers or even bring things into being. Shamans and initiates of all traditions know that poetic speech is important.

    The second gift of the poet as Otherworld guide is that poets live by metaphor and are therefore friends of metamorphosis – inclined by their calling to shapeshift realities, averse to being penned in any routine concept of what is solid or ‘real’.

      What better guide to the Other Side than a poet? The more I think about it, the more the answer seems clear: none better.

The poet who posed the question died seven years before I was born. You know his name: William Butler Yeats.

     Our conversations took place in a space that was outside the physical world, but quite real to me and to others who have learned – and been invited – to go there. It is a place like a library, inside a complex building I have come to call the House of Time. There are fierce guardians at the gates of the building.   

     This is, of course, a magic library. You can find a book on any subject that pleases you, and – as in the children’s movie ‘The Pagemaster’ – when you open any book you may be transported into the scenes or dramas that it concerns. 

     Yes, the magic library is a ‘made-up’ place. But so is the Sears Building or the Eiffel Tower in the sense that they are products of thought and imagination. The magic library may outlast either of those physical structures. It has its own stability, now that generations of visitors have been here and contributed the energy of their own imagination and passion for study. It is a real place in the imaginal realm, which for initiates of many traditions is more real, not less real, than the physical plane. 

     Yeats was no stranger. I had always loved his poetry and have been able – since elementary school – to recite long passages from memory. I have had dreams and visions of Yeats and his circle for as long as I can remember. He was not only a marvelous poet; he was a Western magus, one of the leading figures in the Order of the Golden Dawn.I had met him many times before, in dreams and reverie.
     On one of my visits to the library of the House of Time, while I was drumming for a group and helping to hold the space for what Yeats called ‘mutual visioning’, I found myself drawn from the ground level of the library up a corkscrew staircase.  Yeats was waiting for me, lounging at a table on a mezzanine. He appeared as he might have in his prime, broad-shouldered, his hair flowing, gold-rimmed spectacles on the bridge of his patrician nose, wearing a loosely knotted silk bow tie and a three-piece light-colored suit. I sat with him at the table and we had a mental conversation – no need to speak aloud here, and anyway libraries are meant to be quiet - that ranged far and wide and gave me crucial counsel for my life as writer.

Since I grew up on Homer and Virgil and struggled to read Dante in medieval Italian when I was a student, I was aware that poets are extraordinary guides to the Other Side.  All the same, I was shocked when my Yeats made a spontaneous appearance, and proposed that I should let him be my guide to the Other Side. He suggested that my fieldwork should include interviewing quite a few dead people previously unknown to me – but not, perhaps, to him – on their post mortem experiences.

      I was on the Connecticut shore on a blustery day in mid-November when Yeats made his proposal. I was leading an advanced group of dream travelers, by common agreement, on a group journey to the Library of the House of Time. I was drumming for the circle and watching over the group both physically and psychically, allowing myself to enter the astral locale quite deeply, but with no fixed personal agenda. I checked on our dream travelers. Some were meeting a favorite author, or consulting the librarian, or opening books and travelling into the worlds of knowledge and memory and adventure that each one contained. A couple of brave souls were inspecting the books of their own lives, looking in to the future or to things beyond time – for knowledge of the soul’s purpose, and the connectedness of one life in time to other lives in other times, and to personalities beyond time. Everything seemed to be going well. No need for me to intervene to help someone overcome their fears or open the vision gates wider.

      So: my body is circling the room, my arm working the beater against the drum. My mind is tracking inside the dreamspace. And in that space, I feel the tug of a transpersonal intention. It is not coming from another member of our circle of thirty dream travelers. It is coming, quite specifically, from the figure who appears at the top of the spiral staircase that leads to an upper level of the library. It is Yeats, inviting me to join him up there, where he had called me in previous encounters. It is here that he makes his astonishing proposal: “Virgil was Dante’s guide to the Underworld, and I am willing to be yours.”

      The poet’s manner is quite brisk. He sounds rather like a tour guide announcing the schedule we’ll follow before a pub lunch. Next time we meet, Yeats advises me, we’ll visit the place of an ancient king. Later, we may delve ‘into the realm of Maeve’. Most certainly, I will need to interview quite a variety of people on their experiences of the afterlife, because these vary so greatly.

     Yeats insists on the need for me to understand the importance of Ben Bulben, the ‘bare’ mountain under which he had wanted to be buried – in Drumcliff churchyard – with the following inscription carved on his tombstone:

Cast a cold eye

On life, on death

Horseman, pass by

     Those lines had been with me since childhood, so I was a little wary of what I was receiving. I have a vivid imagination, and it seemed rather likely that it was weaving from half-buried memories. The idea that Yeats could play the role for me that Virgil played for Dante was absolutely thrilling, but was this anything more than a pleasant fantasy?

      The creator’s answer moved through me: Just let it play. Enter the game, and let the results be judged on their own merits. Whether you are talking to the actual Yeats, or the part of yourself that so loves him, or some daimon or essence of personality that is using the mask of the poet is of secondary interest. What is primary is what you bring through.

      Need I say that this offer was quite impossible to refuse?

      No sooner had I accepted the offer than synchronicity came into play, as may be counted upon when emotions are running high and bold ventures are unfurling their sails.

       I drove home from Connecticut and found a message waiting for me from a friend who had traveled in Yeats country in the west of Ireland the previous year. She had decided, for no obvious reason, to share with me her feeling that the barrows and faery mounds of Ireland had been used across the centuries as sites of shamanic initiation and interdimensional communication – even as launchpads for star travelers, coming or going.

     I shivered with excitement as I recognized the link with Yeats’s inaugural itinerary, involving two ancient tumuli in his own landscape. I hurried to research the names that Yeats had given me. My excitement deepened when I found that ‘Queen Maeve’s Tomb’ – a huge cairn that has never been opened – is right opposite Ben Bulben, at whose foot is Drumcliff churchyard where Yeats wished to be buried.

     In Yeats’s early book The Celtic Twilight, I found a passage in which he says that there is a gate to the Otherworld in the side of Ben Bulben, “famous for hawks” – “the mountain in whose side the square white door swings open at nightfall to loose the faery riders on the world.”

      I called the friend who had sent me the message, out of the blue, about the cairns of Ireland. She described how, as she drove by Ben Bulben, her Irish guide had pointed out a strange shadow moving across the side of the mountain and declared that Yeats believed that this marked a door to the Otherworld of the Sidhe and the ancestors.

      My encounters with Yeats have guided me to travel to ancient sites in the west of Ireland that were places of vision for him and portals to the realms of the ancestors and the Sidhe. 

Text adapted from The Dreamer's Book of the Dead by Robert Moss. Published by Destiny Books.

Photo: Ben Bulben from Yeats' gravesite by Wanda Burch

Drawing: "Yeats in the Magic Cottage" by Robert Moss
Photo: Swan on the Door of St Columba's, Drumcliffe by RM

In the presence of the numen

 

I dive again into a thick bilingual edition of Borges' poems. [1] Like a creature of the deep, a curious poem  titled “1891”, bobs up. It describes with exactitude a shady character with a knife in his waistcoat who is on his way to collect a debt and maybe to meet his own death. I nibble at words I do not know from the street argot. Esos changangos estan siempre amolando la paciencia.”These cheap guitars,” suggests the translator, “keep gnawing at the edges of his temper.” I open the book again to an astonishing eulogy of the German language. 

Then I find, early in the book, Borges long poem for the Moon, and how it will always escape the nets of the poets. I savor this verse in particular.

Siempre se pierde lo esencial. Es una
Ley de toda palabra sobre el numen.
No la sabrá eludir este resumen
De mi large comercia con la luna. 

In Alan S. Trueblood’s translation this becomes:

The essential thing is what we always miss.
From this law no one will be immune
nor will this account be an exception,
of my protracted dealings with the moon. 

-    He vanishes the critical word “numen”, thus fulfilling Borges’ law! And how essential this word “numen” is. It is indeed quite central to our understanding – within Western tradition – of the interplay of the sacred and the profane. Partly inspired by Rudolf Otto, Jung and Eliade both sought to trace the operations of synchronicity through the game of hide-and-seek played by the numinous.

The word numen, naturally, comes from the Romans. It is used to mean the presence or the will of a sacred power. Cicero uses the term to signify the "active power" of a god. [2] Ovid has  Numen inest  meaning “there is a god (or spirit) here.” [3] Its literal meaning is a “nod”, or “given the nod”.

Nil sine numine is the state motto of Colorado. “Not without the numen”. It derives from Virgil: non haec sine numine devum eveniunt (“these things do not come to pass without the will of Heaven”) [4] 

So, back to the Borges verse. I will try this:

We always lose the essential when we try
to find words to describe the numen.
I don’t know how to escape this law
in reporting my long engagement with the moon.

 And on to Rudolf Otto, who belied his Prussian appearance – Kaiser moustache, high-collared tunic, ramrod bearing – as a deep student of mystical experience. He insists that you cannot be taught the concept of the numinous; you must feel it. It “cannot, strictly speaking, be taught, it can only be evoked, awakened in the mind; as everything that comes ‘of the spirit’ must be awakened.” [5] . “It cannot be ‘taught’, it must be ‘awakened’ from the spirit….In religion there is very much that can be taught…What is incapable of being so handed down is this numinous basis and background of religion, which can only be induced, incited, and aroused.” We require “a penetrative imaginative sympathy.” [6]

His effort is to convey “the feeling which remains when the concept fails, and to introduce a terminology which is not any the more loose or indeterminate for have necessarily to make use of symbols.” ]7]

“The numinous is felt as objective and outside the self." The feeling is of mystery edged with shudders, a mysterium tremendum. Feelings may span the spectrum from a gentle tide, through sudden eruption with spasms and convulsions, to “the strangest excitements” to “wild and demonic forms” to “hushed, trembling and speechless humility of the creature in the presence of – whom or what? In the presence of that which is a mystery inexpressible and above all creatures.” [8]

Sophocles wrote of the experience of awe in the presence of the numen in Antigone, in a line which Otto renders as

Much there is that is weird; but nought is weirder than man. [9]

Otto also quotes Goethe’s Faust:

Das Schaudern ist der Menschheit bestes Teil,
Wie auch die Welt ihm das Gefühl verteuere,
Ergriffen fuhlt tief das Ungeheuere. [10]

My free rendition:

Shuddering is the best part of being human
though the world can stifle our feelings
we are gripped by the weird sense of the tremendous

In the presence of the numen, we are gripped in our depths by something vast and uncanny.

References

1.  Jorge Luis Borges, Selected Poems ed. Alexander Coleman. (New York: Penguin Books, 2000).

2. Cicero, De divinatione 1.20 

3. Ovid, Fasti III, 296 

4. Virgil, Aeneid II, 777.

5. Rudolf Otto, The Idea of the Holy  trans. John W. Harvey. (London: Oxford University Press, 1952) 7

6. ibid, 60

7. ibid, xxi

8. ibid, 11-13

9. ibid, 40

10. Goethe, Faust Part II, Act 1, scene v.

Magical Moon photo by Janne Loekkeberg

The Moon and the numen

I come again,in a thick bilingual edition of Jorge Luis Borges' Selected Poems, to his long ode to the Moon where he explains why it will always escape the nets of the poets. I am thrilled again by this verse:

Siempre se pierde lo esencial. Es una
Ley de toda palabra sobre el numen.
No la sabrá eludir este resumen
De mi large comercia con la luna. 

In Alan S. Trueblood’s translation this becomes:

The essential thing is what we always miss.
From this law no one will be immune
nor will this account be an exception,
of my protracted dealings with the Moon. [1]

I am not satisfied with the translation. It vanishes the critical word"numen", leaving not even a synonym,  thus fulfilling Borges’ law! And how essential this word “numen” is. It is indeed quite central to our understanding within Western tradition of the interplay of the sacred and the profane. Partly inspired by Rudolf Otto, Jung and Eliade both sought to trace the operations of synchronicity through the game of hide-and-seek played by the numinous.

    The word numen, naturally, comes from the Romans. It is used to mean the presence or the will of a sacred power. Cicero uses the term to signify the "active power" of a god. De divinatione 1.20  Ovid has  Numen inest (Fasti (III, 296)  meaning “there is a god (or spirit) here.” Its literal meaning is a “nod”, or “given the nod”.

    Nil sine numine is the state motto of Colorado. “Not without the numen”. It derives from Virgil: non haec sine numine devum eveniunt (“these things do not come to pass without the will of Heaven”) from Aeneid(II, 777).

    So, back to the Borges verse. Try this:

We always lose the essential when we try
to find words to describe sacred power.
I don’t know how to escape this law
in reporting my long engagement with the moon.

And on to Rudolf Otto, who belied his Prussian appearance – Kaiser moustache, high-collared tunic, ramrod bearing – as a deep student of mystical experience. 

He insists (as I am doing in my account of the experience of synchronicity) that you cannot be taught the concept of the numinous; you must feel it. He writes in  The Idea of the Holy that the numen “cannot, strictly speaking, be taught, it can only be evoked, awakened in the mid; as everything that comes ‘of the spirit’ must be awakened.”  “It cannot be ‘taught’, it must be ‘awakened’ from the spirit….In religion there is very much that can be taught…What is incapable of being so handed down is this numinous basis and background of religion, which can only be induced, incited, and aroused.” We require “a penetrative imaginative sympathy.” [2]

    His effort is to convey “the feeling which remains when the concept fails, and to introduce a terminology which is not any the more loose or indeterminate for have necessarily to make use of symbols.” He adds, The numinous is felt as objective and outside the self” 

    The feeling is of mystery edged with shudders. Mysterium tremendum. Feelings may span the spectrum from a gentle tide, through sudden eruption with spasms and convulsions, to “the strangest excitements” to “wild and demonic forms” to “hushed, trembling and speechless humility of the creature in the presence of – whom or what? In the presence of that which is a mystery inexpressible and above all creatures.”

    Sophocles wrote of the experience of awe in the presence of the numen in Antigone, in a line which Otto renders as

Much there is that is weird; but nought is weirder than man. 40

He also quotes Goethe’s Faust (Part II, Act 1, scene v):

Das Schaudern ist der Menschheit bestes Teil,
Wie auch die Welt ihm das Gefühl verteuere,
Ergriffen fuhlt tief das Ungeheuere.

Awe is the best of man; however the world’s
misprizing of the feeling would prevent us,
Deeply we feel, once gripped, the weird Portentous.  

        

My free rendition:

Shuddering is the best part of being human
though the world can stifle our feelings

we are gripped in our depths by something vast and uncanny

1. Jorge Luis Borges, Selected Poems ed. Alexander Coleman (New York: Penguin Books, 2000) 108

2. Ruldolf Otto, The Idea of the Holy: An Inquiry into the Non-Rational Factor in the Idea of the Divine and Its Relation to the Rational. Translated by John W, Harvey. (London: Oxford University Press, 1952) 60.

Drawing: "Moon at the Foot of My Bed" by Robert Moss

Gates of Horn and Ivory

In Homer’s Odyssey, we first learn, with Penelope, about the two gates of dream: the Gate of Ivory and the Gate of Horn. Dreams that come through the Gate of Ivory are “dangerous” and may not be manifested; dreams that come through the Gate of Horn are clearer, and may be embodied in events. The difference seems to be a matter of clarity rather than deception. Carved ivory is totally opaque; polished horn is translucent.

Synesius of Cyrene wrote a marvelous treatise on dreams around 405 in which he asserted that it is the weakness of our understanding, not confusion or deception in dreams themselves, that makes some dreams seem false. "The Penelope of Homer assumes that there are two gates of dreams, and makes half of them deceptive dreams, only because she was not instructed in the matter. For if she had been versed in their science, she would have made them all pass out through the gate of horn." Penelope was "guilty of ignorance" about her own power of inner sight, distrusting her dreams without reason. Therefore "we should not confuse the weakness of the interpreter with the nature of the visions themselves". 

The Gates of Horn and Ivory reappear in the Aeneid but Virgil changes the characterization in his account of Aeneas’ descent to the underworld to visit his dead father Anchises. Now dreams that come through the Gate of Ivory are designated “false”, while those that come through the Gate of Horn are “true”. This becomes a standard distinction for centuries in the minds of Westerners raised on the classics.

However, there is a mind-trap in Virgil's story. Anchises sends his son back from the Underworld through the Gate of Ivory. Aeneas and the Sybil return to the regular world through the gate of empty dreams. Is the poet hinting that our ordinary experience of reality is the false dream?

Image: Aeneas and the Sybil return to the ordinary world through the Gate of Ivory.  Codex Vaticanus Folio 57r  

Gates of Ivory

Thanks to last night’s dreams, I have no doubt why Virgil had his hero return to the ordinary world through the Gate of Ivory. The famous passage in Book VI of the Aeneid has sparked endless discussion among scholars and thoughtful readers.

There are two gates of sleep: one is called the Gate of Horn and it is an easy exit for true shades; the other is made all in gleaming white ivory, but through it the powers of the underworld send false dreams up to the heavens. Here on the night did Anchises walk with his son and with the Sibyl and spoke such words to them as he sent them on their journey through the Gate of Ivory.(Aeneid 6.893-898)

     In both Homer and Virgil, there are twin gates of dreams: false dreams come to humans through the Gate of Ivory, true dreams come through the Gate of Horn. The symbolism is clear: ivory is opaque, while polished horn, as the ancients knew it, is translucent and sometimes almost transparent. False dreams were thought to be brought to humans by low spirits; true dreams by higher guides. False dreams were held to be prevalent before midnight, true dreams after midnight.
    So one theory about Virgil is that Aeneas and his seeress companion, the Cumaean Sybil, returned from the Underworld after meeting the hero’s dead father Anchises because they traveled back before midnight, Then there’s the political theory, that Virgil was making a camouflaged dig at the emperor Augustus. The hero is returning to a world made false by Roman imperialism.
     A dream of last night confirms me in the view Virgil has Aeneas return through the Gate of Ivory because he is coming back to a world that is no more real, and may be more illusory, than the Otherworld territory where he has been.
     In the dream, I led a series of group journeys through various portals to places in the Imaginal Realm and in the afterlife. We shared very rich experiences. Each time I sounded the recall with my drum and brought our shamanic travelers back to their bodies, I enjoyed startling them by saying, “You are now in a dream.” Or: “You are now in the afterlife.” The last statement produced notable shock effects.
     I riffed on it with successive groups, saying at one point (as a voice in a much older dream had once declared to me), “This is not a dream. You are in the afterlife.”
     Thoughts come flocking, like the wild geese over the lake in my line of sight as I write. From the viewpoint of the beings we were before we came into this world, our physical existence is literally the afterlife. In dreams and visions, we often travel to realities where the dead are alive. We frequently fail to realize that we are with the “dead”. We also miss the fact that we are traveling in environments we may inhabit when we have left our present bodies behind. We may have known some of these places for eons, in the spaces between lives..
     So then: as you return from your night adventures, are you coming back through the Gate of Ivory or the Gate of Horn?

     

P.S. I have no doubt that my father came through the Gate of Horn when he recently brought me a vital medical advisory that I acted upon.

Images (1) Wooded path photo by RM (2) Aeneas and the Sybil c 1800, artist unknown.